Hello Mr. Neher, I am an 18 year old bassist from MN, and I first want to thank you for taking your time to address players questions on these forums, I feel that your perspectives are very insightful and valuable to any musician.

My questions are these: How do you practice? Specifically, I would very much like to know how you approach the process in itself, like if you have a journal,routine etc. What should a bass player keep in mind as he or she is practicing? How do you approach problems, and how do you work out solutions?

Thank you so much for your time, your viewpoints are much appreciated. By the way, I love your bass. I feel that the french solo basses have a "vocal" tone - a.k.a. what a REAL solo instrument should sound like

Hello Mr. Neher, I am an 18 year old bassist from MN, and I first want to thank you for taking your time to address players questions on these forums, I feel that your perspectives are very insightful and valuable to any musician.

My questions are these: How do you practice? Specifically, I would very much like to know how you approach the process in itself, like if you have a journal,routine etc. What should a bass player keep in mind as he or she is practicing? How do you approach problems, and how do you work out solutions?

Thank you so much for your time, your viewpoints are much appreciated. By the way, I love your bass. I feel that the french solo basses have a "vocal" tone - a.k.a. what a REAL solo instrument should sound like

Hey there, MahlerBass,
Sorry it has taken so long for me to respond to your inquiry. Been away. Now: How do ** I ** practice? Well, it changes a lot. When I was in college I practiced about six hours per day. Now I am lucky to get two hours per week in. My schedule is so busy performing and teaching, that I rely a GREAT deal on what I learned in my "formulative" years: high school and college. I still "cram" a bunch before a major recital or performance in a festival or chamber ensemble concert. And right now I am preparing two recordings, so I am "maintaining" by practicing everyday (Whoo Hooo!) for about 2.5 hours.
I usually start by warming up (see other threads about this) for about a half hour. This includes getting my muscles ready to play, scales, arpeggios, and improvisation (every time!). Then I move on to etudes (which I love sight-reading in big cycles of many etude books), then on to what I need to know for the next concert or recording. I do not stop playing for 2.5 hours, usually. I also make sure that if I cannot have that much time to myself, I just don't do it.
Everyone is different and everyone eventually finds the routine that works for him/herself. It is NOT the amount of time that is important, it is the quality of the work you do, the concentration, the dedication, and the detailed analysis of what you are DOING!
I generally do not keep a journal. I did everyday write notes when I was studying with F. Rabbath. And in college, I recorded almost all my practicing and all performances (both video and audio). It is really important to have these perspectives to make analysis and solutions, and to set future goals.
I have also come to striking conclusions about who I am by recording. We grow and we move towards different aspects of our personalities. I was never as much into improvisation and theatrical presentation as I am now. Part of this comes from being confident that I know my limitations and the barriers I CAN push.
Hope this helps. Glad you like the Quenoil model bass. It has really released a lot of anxiety for me. It is easy to play, and I am a small person, so I had to swallow my ego and sell my larger instruments. But for what I do, this bass has allowed me to stretch my potential and find characters and sounds I never thought I would/could express.
Happy Holidays!
PN:hyper:

Hi,

I am new to this forum, and a newbie to DB. I started playing EB about 5 years ago at the age of 51, having always wanted to play Bass but never had the time. I always actually wanted to play DB but got sucked in by rock and roll and EB. I play a 5 string due to the fact that I have a broken left ring-finger which doesn't stretch too well over the first 5 frets, so I use from the fifth fret upwards as much as I can.
To cut a long story short, I recenly purchased an EUB (ARIA LITE-ONE) which has a full scale DB fingerboard. It also has a contraption that fits into the side and "emulates" the body of a DB. My questions are:
1) what is the correct stance for such an instrument.
2) I struggle to get anything sensible out of anything higher than C# on E String. due to the body of the instrument getting in the way. Do DB players use their thumbs on the strings. As you know, on EB's the thumb is on the back of the neck.
3) Would I be breaking tradition by making a stand that gets the instrument into a position that makes it easier to play, so that I don't have to support it whilst I am learning.
4) Any hints or comments involving the change from a EB to EUB would be welcomed.

Kind regards

Hey there, MahlerBass,
Sorry it has taken so long for me to respond to your inquiry. Been away. Now: How do ** I ** practice? Well, it changes a lot. When I was in college I practiced about six hours per day. Now I am lucky to get two hours per week in. My schedule is so busy performing and teaching, that I rely a GREAT deal on what I learned in my "formulative" years: high school and college. I still "cram" a bunch before a major recital or performance in a festival or chamber ensemble concert. And right now I am preparing two recordings, so I am "maintaining" by practicing everyday (Whoo Hooo!) for about 2.5 hours.
I usually start by warming up (see other threads about this) for about a half hour. This includes getting my muscles ready to play, scales, arpeggios, and improvisation (every time!). Then I move on to etudes (which I love sight-reading in big cycles of many etude books), then on to what I need to know for the next concert or recording. I do not stop playing for 2.5 hours, usually. I also make sure that if I cannot have that much time to myself, I just don't do it.
Everyone is different and everyone eventually finds the routine that works for him/herself. It is NOT the amount of time that is important, it is the quality of the work you do, the concentration, the dedication, and the detailed analysis of what you are DOING!
I generally do not keep a journal. I did everyday write notes when I was studying with F. Rabbath. And in college, I recorded almost all my practicing and all performances (both video and audio). It is really important to have these perspectives to make analysis and solutions, and to set future goals.
I have also come to striking conclusions about who I am by recording. We grow and we move towards different aspects of our personalities. I was never as much into improvisation and theatrical presentation as I am now. Part of this comes from being confident that I know my limitations and the barriers I CAN push.
Hope this helps. Glad you like the Quenoil model bass. It has really released a lot of anxiety for me. It is easy to play, and I am a small person, so I had to swallow my ego and sell my larger instruments. But for what I do, this bass has allowed me to stretch my potential and find characters and sounds I never thought I would/could express.
Happy Holidays!
PN:hyper:

Thank you for replying PERIOD! If I wasn't a patient person, I don't think I would be playing DB, haha.

Your great answer has definitely confirmed what I was trying to understand. Even with my relatively short time playing, Ive started to realize how true conscientious practicing leads to results. I guess thats why I thought I was cool with my journal haha - It seems you used one to get the most out of lessons, especially lessons with top-notch players (Like Francois Rabbath! - that must have been incredible for you).

If I had to draw some kind of a conclusion from your answers here, and your answers to other questions, I think a big part of your philosophy is to be truly "aware" of playing the DB, in all forms (hence bass guru!). For young and/or easily stressed players like me, your approach is truly helpful. Without this awareness (it usually happens during my "drone-like" 6-8 hr a day practices) I just feel like CRAP, not to mention my technique goes flying out the window. Its so refreshing to hear that playing the bass shouldn't hurt!

You have left me with even more questions - but I think thats a GOOD THING! They're questions that I must answer on my own. I may just having to stop viewing talkbass so much, what a concept. I'm thrilled that you chose to answer my questions, again, I really like your approach to playing! It's interesting, I too am small, which maybe drew me to the shape and feel of the sloped shoulder french basses - especially the Quenoil. But its sound that matters - it really is unique is that respect. Just curious - did you ever get a chance to try out Mr. Rabbaths bass?
Happy holidays to you as well!

Glad to be of help. Yes, when we identify our goals and make careful analysis of WHAT were ARE doing... in relationship to reaching the goal, progress is usually obtained, and rather quickly. Whatever the method, it is personal and cannot really be "taught." A teacher or other observer can help give you perspective on whether you are meeting your goals, but ultimately YOU must find the WAY that meets your goals. I used to hate practicing, now I love it, I look forward to it, and I seek time to do it. I suppose it is because practicing (or shall I say just playing) gives me a chance to find and reconnect with myself. The bass is my tool for personal expression (sometime better than my speaking or writing voice) and has become a wonderful extension of "Me"... this is good for me 'cause I seek attention I guess. So for whatever reason you are playing the bass, I hope its role is fitting into your goals.
Happy Holidays, New Year and All!
PN

Hi,

I am new to this forum, and a newbie to DB. I started playing EB about 5 years ago at the age of 51, having always wanted to play Bass but never had the time. I always actually wanted to play DB but got sucked in by rock and roll and EB. I play a 5 string due to the fact that I have a broken left ring-finger which doesn't stretch too well over the first 5 frets, so I use from the fifth fret upwards as much as I can.
To cut a long story short, I recenly purchased an EUB (ARIA LITE-ONE) which has a full scale DB fingerboard. It also has a contraption that fits into the side and "emulates" the body of a DB. My questions are:
1) what is the correct stance for such an instrument.
2) I struggle to get anything sensible out of anything higher than C# on E String. due to the body of the instrument getting in the way. Do DB players use their thumbs on the strings. As you know, on EB's the thumb is on the back of the neck.
3) Would I be breaking tradition by making a stand that gets the instrument into a position that makes it easier to play, so that I don't have to support it whilst I am learning.
4) Any hints or comments involving the change from a EB to EUB would be welcomed.

Kind regards

Thanks for the questions.
What little experience I have had on this topic I will share, but seriously, I am no expert on this!
1) there is no right or wrong way of standing or sitting with the bass. You likely need a consultation with a DB player just to get you started but be sensitive to your own body, acknowledging positions that seem truly ackward and/or uncomfortable. Observe others to get ideas
2) Yes, thumb positions are very common with DB and EUB, as well as with EB and AEB. Use your thumb... it's a finger too! I even use my chin sometimes (really!).
3) A stand contraption is an interesting idea that many bassists have explored. Some use a big heavy cinder-block to support the end pin and bass! I had a student design a tractor-like thing that came over him and held the bass at the scroll. But, if you are planning to perform WITHOUT any support other than your own body, learn how to do that from the beginning!
4) Electric bass and stand-up bass (acoustic, normal double bass) have many similarities of pedagogy, but they "feel" really different. The hold or stance is really different but the hand positions are quite similar. Sounds like you need a teacher to help you make the addition of DB a smoother, more satisfying experience. Electric Up-right (I call them Stick basses, like the Clevinger) is yet another "feel" more similar to DB but different enough that some additional observation by a teacher while you are acquiring the technique will always be helpful.
Best to you for the New Year!
PN

Glad to be of help. Yes, when we identify our goals and make careful analysis of WHAT were ARE doing... in relationship to reaching the goal, progress is usually obtained, and rather quickly. Whatever the method, it is personal and cannot really be "taught." A teacher or other observer can help give you perspective on whether you are meeting your goals, but ultimately YOU must find the WAY that meets your goals. I used to hate practicing, now I love it, I look forward to it, and I seek time to do it. I suppose it is because practicing (or shall I say just playing) gives me a chance to find and reconnect with myself. The bass is my tool for personal expression (sometime better than my speaking or writing voice) and has become a wonderful extension of "Me"... this is good for me 'cause I seek attention I guess. So for whatever reason you are playing the bass, I hope its role is fitting into your goals.
Happy Holidays, New Year and All!
PN

I have to be honest, I just had to copy and print out this response of yours.

I'm not sure if you would want to reply to this "polarized" statement of mine, but anyway, I honestly feel that what you just described is what separates "good bass players" from the GREAT bass players. I guess I was subconsciously trying to imply there how having a UNIQUE identity and way of expressing yourself is what makes one so compelling to listen to, and at an audition, worth selecting out of the scheme of hundreds of other musicians.

Also, what you've pointed out has really helped me as ive been playing these past few days. I quickly realized why I felt I was in such a musical rut - because I was obsessed with churning out some kind of musical PRODUCT. I needed a fresh reminder that I'm playing the bass because I want to express myself, add to a given "musical picture", and because its AWESOME!

Your advice has truly opened my mind, so THANK YOU! :hyper: (hmm a strange sense of dega vu here)

Hi, what is a good pick gauge to use, thanks!

alktay, I think you lost your way. You might try starting a thread about pick gauge on the Bass Guitar side, since you haven't had much luck asking in random places. :smug:

And Mr. Neher, thanks for the thoughtful and interesting responses!

:hyper: Yes I'm lost but i'll keep looking around, thanks...