risingson

A bit of a rant here I guess, I appreciate not everyone's going to agree with me here, but here goes: Every demo and every video of a bass player on Youtube or elsewhere on the internet deems it necessary to damage your insides and your sensibilities with a slap bass solo in E, usually performed with more concern about technique than about notes and timing. I wouldn't usually be so bothered about this but I've been doing some preliminary research on some new bass guitars I might consider buying, everything from Sadowskys, Dingwalls, Laklands etc. and I just keep running up against players who think demo-ing a bass guitar has to involve slapping the living crap out of it. It's just not what I want to see from a good demo, I want to see a decent player making a good go of playing some real bass guitar, but it rarely happens without that player trying their hand, usually badly IMO at playing slap bass. Slap seems to be in most bass player's repertoire nowadays but I can honestly say there are very, very few bass players I have heard that have ever impressed me using it as a technique (honestly, I could probably count them on two hands tops, maybe even just the one). Most of the time all I see are sloppy performances with little attention paid to timing and musicality and it bores the hell out of me I'm sorry to say. What's more when it comes to actually playing on a track, slap bass immediately dates the sound of a record by 20-30 years, and with that in mind and the fact that very few players use it on records any more why is it necessary to demo a bass entirely slapped?? Answer - it's not. I'm fine hearing a bit of slap every so often, it's inevitable I guess, but it does very much irritate me that there are videos and demos out there from shops and reputable luthiers alike that rely solely on some bassist who thinks he's got all the slap chops in the world but ends up sounding dull, tonally plagarised and wholly uninspiring. Rant over!

I started out as a finger style player exclusively, but have found that over time it has become necessary to use a pick to acquire a good understanding of modern bass playing, as well as certain sounds and feels that simply cannot be performed with fingers alone. Anyone who claims pick playing is an easy way of playing bass is not only wrong, but also very ill-informed. Equally if you're worried about only ever getting one sound out of playing with a pick then you probably need to practice a little more and experiment with other kinds of picks. I'm not a massively technical player, in that I don't tap or slap much, but I'm pretty happy with the way I play and technique is not an issue for me. [quote name='LawrenceH' post='1042922' date='Nov 30 2010, 08:44 PM']In all seriousness I can't think of any tracks I like that use one...thinking...Carol Kaye on Pet Sounds? Doesn't sound too challenging though.[/quote] Oh dear, point missed entirely here. Carol Kaye was the foremost session bass player of the 1960's, possibly of all time if I'm not mistaken. Not even Jamerson or Chuck Rainey were as prolific. There's a good reason she can be heard on 1000's of records. Challenging doesn't even come into it, how challenging a part has nothing to do with how a bass line contributes to a good song.

Bobby Vega is one of the the few players whose technique genuinely interests me as well as his musicality. He's just an excellent player with a great sound, particularly love his pick playing.

[quote name='daz' post='1040571' date='Nov 28 2010, 10:58 PM']Just a little food for thought: If i recal correctly Stuart Zender says something like (and I'm massively paraphrasing here) ' I used a five stringer when i first joined Jamiroquoi, so i could emulate what had been done before I joined, but it wasnt really me. Now I have an established place in the band I am more likely to use a four stringer with an octave pedal'[/quote] I'd wager that Zender stopped using 5 string basses because they became a little '90's', but now using a vintage Fender is trending higher than a fancy Warwick 5 string with LED markers. To be honest his background with Jamiroquai and later solo work was very modern R&B influenced and at the time 5 strings were the thing to be using.

I've been exclusively a 4 string player for the ten years I've played. However I would very much entertain the idea of getting a 5 string next time I buy a bass, for a few reasons; 1.) I don't have to set up my current 4 string basses for lower tunings 2.) it will save me faffing round with more than one bass during future gigs and 3.) I need the extra low range. [quote]Bit of a nerve about the learning to play before going to an ERB maybe? Oh well.[/quote] Someone already quoted Anthony Jackson a few pages back, but his basic argument is that why should a player be learning on a 4 instead of a 6 string bass? To him it makes more sense, the way the guitar evolved catered for six strings and being a direct ancestor of the guitar it seems like a natural progression for bass guitar design to have taken... and the only reason it didn't was because Leo Fender made popular a design that took equal influence from upright. As a result, he spent hours fixing his Fender Jazz bass's intonation problems when he played in drop tunings, and this frustrated him endlessly, hence why he went to Carl Thompson I believe to design the world's first 6 string bass guitar. I don't necessarily agree with this argument. I suppose it's a bit like saying 'why haven't cars always had power steering because it makes more sense than not having it'. But I don't disagree with it either. I don't necessarily know if it's in a beginner's interest to purchase a 5 or 6 string instrument as their first bass guitar, but as long as they learn how to play it does it really matter that much?

I absolutely love Yamaha basses, excellent construction and the 5 strings always have tight, focused low B's. Enjoy!

[quote name='Mog' post='1034061' date='Nov 23 2010, 04:14 PM']I know a lot of players who are going back to or switching to Fenders because of reliability. Nothing got to do with brand or image. They just want a simple bass that does the job night in night out, can take being knocked about on the road and sound great every time. In fairness to fender they pretty much nailed it first time out. The only other brand I'd have that much confidence in is Yamaha.[/quote] +1, without adding too much more to what is clearly an ancient thread, plenty of good players play Fender because they do the job. Engineers all over the world past and present love Fenders because they get the job done and sound great. There's no undermining the fact that Fenders have provided the backbone of modern music, no other guitar manufacturer can claim this.

[quote name='MythSte' post='1034007' date='Nov 23 2010, 03:32 PM']Oh you bet! Its "open mic" on mondays but last time they just had a guest drummer and a few guest singers, it seemed a bit of a personal circle on stage so I didnt want to get up. But yeah, I'll look forward to that - And if you want to try any of my gear just give me a shout! The Mesa scout cab and Trace Twin valve is a particularly sweet little setup![/quote] That sounds excellent mate. Will do my best to make it over and when I do I'll let you know.

[quote name='MythSte' post='1033994' date='Nov 23 2010, 03:22 PM']Ive only seen bands there on a monday night, Guy playing a nice lakland through a GK rig - If that was you your a cracking player! Hannahs is a great bar, let me know next time your out? [/quote] Hmm not me I'm afraid, I'd be the chap with the Fender and the Eden rig! Could be a new chap. I've not been down to play this term but if I do I'll most certainly give you a shout. Always nice to nerd it up about bass in between sets

Alright matey! From your neck of the woods also, used to study at LIPA. Welcome on board. EDIT - Mythste, I didn't realise you were so close matey. I dep at Hannah's bar sometimes on a Thursday night with a mate of mine's band on Hardman Street, would be good to see you out one night!

I sound like me, I don't try and sound like anyone else and I never sound like anyone else!

Billie Jean. This thread is full of bass lines so many people aren't going to know but I can guarantee that's the one that's the best known.

This will do what you need. EDIT unless you need something everyone can hear, in which case this probably painfully little use to you at all, and I'm sorry. [url="http://www.korg.com/Product.aspx?pd=234"]http://www.korg.com/Product.aspx?pd=234[/url]

[quote name='Doddy' post='1030078' date='Nov 20 2010, 01:58 AM']True,but having an impact on popular music and being 'the best' aren't necessarily related. I don't think I'm out of line by saying that what someone like Wooten does on the bass is far in advance technically than Jamerson. Does that make Wooten better than Jameson? In some aspects,yes it does,but no one will ever deny the awesome lines that Jamerson laid down,and how they affected future players-including Wooten.[/quote] I don't think 'the best who ever lived' should ever be used to describe any given musician, although I understand Bubinga's use of the term concerning a player he holds with such high regard in this case. But whilst VW may have changed the way we view bass playing, JJ changed the way we hear music, his impact reverberates through virtually all music that preceded the advent of Motown, and yes, I believe this to be more important. Technicality and musicality are not intrinsically linked. The first is simply there to complement the latter, never the other way round. To say that Wooten is technically more proficient than Jamerson actually isn't right. Neither can/could play like each other, and both know/knew a lot of theory. Unfortunately it's why comparing bass players can be so very futile, there never are any real conclusions to be drawn... however, Jamerson was hugely technically proficient if you consider his feel and choice of notes and his sheer volume of output (and not just mediocre output, more or less consistently brilliant output in terms of commercial performance and critical acclaim in his heyday), it becomes very apparent that his impact - not only bass playing - but on 20th century music is massive, and eclipses basically every other electric bass player I can think of in terms of importance. EDIT - I should add that whilst I'm not a fan of Victor Wooten's music I think he's a brilliant player with a great feel, and is as every bit as important a bass player as he's made out to be. The 'best bass player who ever lived' though? No way!

I used to get shouted at by my mum and dad for tapping my bedroom floor whilst I played bass. I resorted to putting a pillow under my foot when I practiced.

[quote name='bubinga5' post='1030053' date='Nov 20 2010, 01:11 AM']ok ive been studying Victor Wooten...i say study..its more like my mouth is open.....Ive come to the conclusion Victor Wooten is the best bassist who has ever lived..[/quote] Really? I understand his contribution to the instrument is substantial and his attitude as a musician is impressive (hugely impressive), despite the fact I do not listen to his work. But the best? It's a thorny issue. I would argue his bass playing has had no direct impact on popular music whatsoever, whereas irrefutably James Jamerson's has.

Very nice bass Silddx! I'm not keen on DRs myself but the colour combo definitely works. Looks great.

How did I miss this thread?? Absolutely hilarious!

[quote name='thisnameistaken' post='1028775' date='Nov 19 2010, 01:28 AM']TBH I think any musician's output is what it is, and you either like it or you don't. This stuff does nothing for me, and some lesser (in terms of technique and commitment to the instrument) bass players have produced stuff that I've thought was more clever and more interesting. But that's just how it goes. I don't get upset when people don't like my band or don't like what I've played on a given song. It's just me doing what I do and I don't really have any influence on whether other people enjoy it or not. I imagine it's the same for everybody else, even (especially?) people who do "bass clinics".[/quote] I've never once been to a bass clinic, partly because most of them cater rather heavily for solo bass players or simply bass players I have no interest in. I'd want to sit down and talk about music more than I would about technique or gear, both of which interest me to a degree but neither are as important as what gets played on the record. Gear and technique are much of a muchness, it's nice to have both but never critical in my view to making good music. I always wonder if underneath his calm and friendly exterior, Victor Wooten gets hacked off by people draining the life out of him with the same questions. It's a testament to his personality really.

I've been playing a a fair bit tonight on my P-Bass. I love it to pieces but I can play a lot faster on my Jazz, mostly due to the slimmer neck profile, plus I can dig in over the bridge pickup, something I find difficult (although not impossible) to do on my P because of it's lack of pickup at the bridge. Bottom line: I love precisions because of the way they can bed a track and how fundamentally rich they sound in the low/low mid end but if I had to choose one bass to play for the rest of my life it would most certainly be a Jazz bass.

I used to have competitions with Stuart Zender to see who could nail the most correct intervals in the dark, but he always used to win for some reason.

That candy apple orange and the candy apple red are just beautiful with the tort pick guard combo. I'd add sonic/daphne blue w/3 ply white and a maple board into the mix as well, probably seamfoam green also.

The best funk players used P-Basses. Louis Johnson, Bernard Edwards, Anthony Jackson, George Porter Jr., Paul Jackson, the list is endless.

[quote name='steve-soar' post='1026066' date='Nov 16 2010, 04:59 PM']Don't get me wrong, I don't find them gloomy at all but their music has a beautiful melancholia that I like.[/quote] Yeh absolutely. Waiting on any hint of a new album from them but they're taking their sweet time.