risingson

Restrung my P-Bass with flats, it sounds... like it's got flats on again! Wonderful, big round sound that fills out lovely in a band setting. Also got the new masters of our new EP through, so I'm excited to get it all released so people can hear it.

[quote name='jakenewmanbass' timestamp='1348580531' post='1815466'] If you can play root and fifth in all it's permutations, still serve the song, and keep it interesting then you are worthy of some of the best bass playing jobs on earth... If you can't then I would suggest that your quest to play other notes is a little early. Be f***ing awesome with root and fifth before you decide to move on... (I am being deadly serious) [/quote] Absolutely, I wish I'd been astute enough to have said this.

[quote name='Dr M' timestamp='1348575536' post='1815367'] Ah, so the sound on the record is actually a synth? Been a while since I've listened to it, but in that case I'm impressed by whoever played that synth. Not easy to imitate hammer-ons and slides on a keyboard. [/quote] Aye, it was Toby Smith on keys at that stage still, very talented, also played synth bass on 'Canned Heat'. Fallings out were had with Stuart Zender and he left (or was chucked out of?) the band. The original bass parts are floating around out there, I got to hear them a couple of years ago I think but I can't remember what they were like.

Worth learning your chordal notes and which ones sound stronger than others. Playing a C in the key of Gmaj isn't a strong candidate and will sound unusual if played out of context (the key word, as perhaps in some cases the C may very well work). B and D (the major 3rd and 5th respectively) are stronger candidates, especially your B but remember, if everyone else in the band is working on a G major chord then playing a B under it all is going to change the chord to a G/B (G on a , which will alter the sound of the rest of the band. Don't fear root notes, try and develop the ability to play between the changes tastefully and without detracting from the song with what you're playing. No one is going to notice if you're getting root notes right, but people will certainly notice if you're throwing in notes that don't work against the chord.

Colin Greenwood used a Shin Ei Fuzz on 'Exit Music', Thom Yorke nicked it and used it later on 'The National Anthem' on Kid A as he was the one who ended up recording the bass part. I really love the tone on Lenny Kravitz's 'Rock and Roll Is Dead', it's a really throaty drive that gets used on the bass part and it sounds really cool. Also love Black Rebel Motorcycle Club's 'Spread Your Love', there's probably quite a few others! [quote name='Dr M' timestamp='1348574711' post='1815350'] The bass riff in Deeper Underground by Jamiroquai. (Unfortunately, I've no idea who the bassist is!) [/quote] It was Stuart Zender originally until his parts got scrapped and replaced with synth bass.

[quote name='Coilte' timestamp='1348476361' post='1813905'] As pointed out above by "risingson", endurance (stamina) and dexterity are what's needed. The former is best achieved by gradually building up your playing time on the bass. [/quote] I couldn't offer you any more than conjecture concerning the science behind it and I'm definitely no expert, but I noticed a marked improvement in my ability to play far more dextrously after extended weeks at the gym. Your muscles do have the ability to 'endure' extended exercise after training, so by extension there is no reason at all to assume that this premise couldn't be carried through to the act of playing a bass guitar or even drums as well, which requires a degree of upper body strength also.

[quote name='EssentialTension' timestamp='1348477078' post='1813920'] Now you know we want the Bruce Johnston story after that teaser. ... and +1 on 'God Only Knows'. [/quote] + 2 and yeh do tell!!

[quote name='Lord Sausage' timestamp='1348521532' post='1814835'] With regard to the 'clinical' thing. It may be, may not be, but by trying different things that you haven't before over time it will become part of your natural ear and ability etc. [/quote] It wasn't my intention to sound condescending with my comment, although it probably did come across as such. But I'll never be convinced by bass parts being pieced together so methodically, with notable exceptions of written bass parts for example being brought to life by the quality and idiosyncrasies of the bass player. Theory is very important, interval training and a strong understanding of chordal tones is everything but it should always compliment a musical ear.

To the OP. This is meant with the greatest of respect, as you're obviously keen to learn and that is a wonderful thing! But there is something quite clinical in the way you're discussing expanding on your bass lines. The notes on your fretboard should fit in your head and feel as natural as speaking and in the meantime, maybe it's worth paying attention to bass players you like who are able to string notes together in a way that directly appeals to you. It's less about learning what intervals work best, more to do with you perhaps improving your ear. There will be a serious lack of bass players that will look at creating their bass lines as theoretically as the way you describe. The theory of music should be leant and referenced when necessary, but a good ear is invaluable and that's what you'd need to work on. Just my 2p.

[quote name='Wil' timestamp='1348442960' post='1813785'] Has anyone seen the Pet Sounds live performances Brian did with the Wondermints? If so, anyone else think the bassists Lakland was just totally WRONG for the music, tonally? Way too much sustain and none of that lovely, tic tac character at all. [/quote] I'll have to check this out. There's a video of Carol Kaye talking about how much of a hard time she had getting on with her P-Bass somewhere back in the day, but IMO nothing compares!

[quote name='gapiro' timestamp='1348471119' post='1813856'] Excuse me for ignorance, but how can building more strength have a negative effect as opposed to a lack of positive effect? Is it because you have more to move ? [/quote] I wouldn't say that strength has a negative effect on bass playing whatsoever. But the point is that you shouldn't have to fight your bass guitar to play it as it's not considered proper technique, consequently strength shouldn't come into bass playing at all. Endurance on the other hand has a lot to do with bass playing.

[quote name='Hobbayne' timestamp='1348440605' post='1813761'] Mike Love? The singer? Tell me more [/quote] A controversial figure, seen as ousting Brian Wilson during a time in which Brian probably needed him most. He shunned Wilson's attempts to move forward with his music and ended up taking the Beach Boys over in a legal capacity, the name, everything. Also noted apparently for his right-wing tendencies.

[quote name='mcnach' timestamp='1348437422' post='1813721'] in my case it was not strength, but stamina, for fingerstyle. It helped me a lot more than simply just playing. Good warm up too. [/quote] I think one or two people might be labouring under the slight misapprehension that these things are going to be detrimental because 'strength' isn't necessary factor in playing bass guitar. Quite right, however strength in part comes from improved muscle mass and that will simply not be achieved with these powerball things as the work the muscle group is doing simply isn't strenuous enough. [quote name='chrismuzz' timestamp='1348438783' post='1813735'] On the subject of wrist exercises helping or not helping with bass playing... I have been seriously weightlifting for about 4 months now, and twice a week I do dumbbell wrist curls. It hasn't helped my bass playing in the way of speed or anything.. But it HAS dramatically increased my strength and endurance so that I can play hard for much much longer without my arm feeling fatigued! I do 2 hour long metal gigs quite often and I can definitely assure you I've noticed a difference [/quote] Likewise, for me also. Dumbbell curls include your forearms as synergist muscles, the muscles that aid the target muscle in the travel and completion of the move.

[quote name='Spoombung' timestamp='1348227035' post='1811068'] This is cool: This is meant to be cool: [/quote] I think that's the other way round

The term 'fusion' tends to send a shiver up my back. But you can't go wrong with a bit of Weather Report. http://www.youtube.com/watch?v=ThF63iql478&feature=related

There was a thread a while back about this where I argued that I thought that they weren't totally useless and got into a bit of a debate with another poster. Personally I do not use one. But put it this way, any exercise, musical or not that warms the muscles of your forearm up before playing is going to go some way to helping you perform to your potential. Bass playing can be seen like an exercise, typically when you lift weights in a gym for example you would not throw yourself in at the deep end with the heaviest dumbbells in the gym without doing potential damage to your muscles, instead, you start out with lower weights and work your way up to begin with. The power ball accesses and utilises your forearm muscles in what is known as a compound move (more than one muscle group being used to achieve the exercise) which would suggest to me that actually, once you've got your blood supply pumping to the right place in your body, this does indeed constitute at least a step in the right direction to a decent warmup and as we all probably know, muscles work best when they're warm. Personally I'm an advocate of warming up on your bass first and foremost as exercising in context is important, especially before gigging. But I also see no reason why if you think a Powerball would go some way to helping you out in your warmup routine that you shouldn't use one.

[quote name='BottomE' timestamp='1348412016' post='1813276'] I try to deals with people who are:[list] [*]Regular posters in the forums [*]Have great feedback [/list] So far, all the transactions have been smooth as a babys proverbial. [/quote] +1 to all of this.

Don't get offended, just let your playing do the talking for you. I started gigging when I was young too (I guess I still am relatively young at 23) but it's your [i]playing[/i] that counts. Most of the guy that would be quick to tell you that you're too young will soon shut up when you start to play if you're a good player who's got a professional attitude. Act your age as well though, there's nothing worse than being old before your time!

Remember that price has little bearing on personal preference. I've played £200 basses that to my ears and hands play better than £2000 basses I've played. I tend to find that I get on well with Stingray pickup configuration quite well i.e. that single humbucker in the sweet spot that your Sterling will have, but I have my reservations that have stopped me owning one, namely I don't think it's got the same kinds of lows and low mids that I can get from a P-Bass for example and therefore wouldn't cut it in my band. Others will disagree though, that's why your own personal preference is more important than anyone else's. If you feel more comfortable on the Squier then play the Squier.

Here's another favourite, 'God Only Knows': http://www.youtube.com/watch?v=kak2x0j_m8I&feature=related

I've been listening to the Beach Boys, probably due to the fact I've got a P-Bass again and have once more gotten totally hooked on the brilliance of Carol Kaye! Thought I might share this audio clip for those who haven't heard it before, it details Brian Wilson in the studio directing 'The Wrecking Crew' session players and other assorted musicians from L.A on what to play and where on one of my favourite songs, 'Sloop John B'. It touches on Wilson's need for absolute perfection from the guys and girls he had in the studio during the Pet Sounds sessions, really incredible stuff and an superb ear for arrangement and production. It has also got one of my very favourite Carol Kaye bass lines on it also. Check it out: http://www.youtube.com/watch?v=h9iu65sot1E&feature=related

It's a free bump and a compliment, so no I don't find it in the least bit annoying. Quite the opposite in fact!

I can vaguely understand why someone like Matt Garrison for example has one, as his right hand technique involves his thumb and three fingers spread across a wider area than the standard two fingers, giving a more even playing surface presumably. Personally I don't get them at all, clearly some players swear by them but I can definitely get by without one.

[quote name='Low End Bee' timestamp='1348181303' post='1810672'] I shall just mention the popular music combo 'Keane'. I think I need say no more. [/quote] The White Stripes, The Yeh Yeh Yehs, a lot of Radiohead's latest stuff... it's a rich tapestry of 'no bass required'!!