Down and dirty bass secrets - Page 3

lowenduser · #41 10-04-2006, 07:00 AM

Quote:

Originally Posted by Basshole

If you are going to be singing background vocals at all, while holding your strings mute with the left hand, very quickly tap the mic grill with your right hand. Feel any electrical potential? Reverse the polarity on your amp.

On this note - an obvious, but overlooked (well, by me on occasion) related issue is, if doing backing vocals, is to actually check where the mic you're singing into is. I've walked on stage. "there's my mic". Between moving a bit round stage, concentrating on my playing and what's going on round me (musically), I have risen my head to where I think the mic is just before I'm supposed to do my "oo"s and "ah"s to discover I've misjudged it and the mic is a foot to my left or my right! D'OH!

tZer · #42 10-04-2006, 07:18 AM

wowzers... thanks fellas! I only hope I can practice what I preach!

I know that these concepts in live performing are a good way to go about it - I also know that the energy and adrenaline that go with live performing - or playing in general - make it very hard to stick to. I catch myself constantly realizing half way through the second verse that I have already got the throttle all the way out...

I have jam sessions with my friends where we record everything. I am constantly listening to the playback and realizing that I "give way too much, way too early" in just about every take. My overall feeling about everything I play is that there are really good ideas in there, but I pour them out way too fast and way too soon as opposed to holding back and giving when it is really needed.

Thanks again, though! Everyone has shared good tips here.

driver800 · #43 10-04-2006, 07:48 AM

it's so easy to over do it on a song. one song that really affirmed this for me was Prince's Raspberry Beret. The Hindu Love Gods (Warren Zevon w/ members of r.e.m.) did a rocked-up of version of it.

In the original version, there is a keyboard riff played in the chorus. It is a really nice melody line but is only played a few times in the song.

The HLG's must have really appreciated that riff too, because they basically built the entire song around that line. They played the riff in the intro, 4 times during each chorus and repeatedly in the outro. While it was worthwhile version of the song, that riff was just overdone.

I really appreciate how Prince had a really nice melody, and then used it sparingly to great effect.

Lesson learned.

**iriegnome** · #44 10-04-2006, 02:32 PM

Quote:

Originally Posted by driver800

i'm not sure about this one...why not play an open note? I play open notes A LOT, maybe even "as much as possible".

The statement is ment to use the open notes as Monsters!! At least that is how I understand it. I live on and around the 7th fret. Personal preferance. I have heard this quote from local players as well has the heaviest hitters like Phil Lesh and others.

fcleff · #45 10-04-2006, 09:39 PM

Quote:

Originally Posted by tZer

wowzers... thanks fellas! I only hope I can practice what I preach!

I know that these concepts in live performing are a good way to go about it - I also know that the energy and adrenaline that go with live performing - or playing in general - make it very hard to stick to. I catch myself constantly realizing half way through the second verse that I have already got the throttle all the way out...

I have jam sessions with my friends where we record everything. I am constantly listening to the playback and realizing that I "give way too much, way too early" in just about every take. My overall feeling about everything I play is that there are really good ideas in there, but I pour them out way too fast and way too soon as opposed to holding back and giving when it is really needed.

Thanks again, though! Everyone has shared good tips here.

Whoops. I just re-read tZer's original post and realized that I misread 'contrasts' for 'contracts'. Too many homebrews will do that to you. No wonder nobody got the joke. He's still right, by the way.

Now, if you'll excuse me I have a brew waiting down in my hole. I'll just crawl back into it now.

tZer · #46 10-05-2006, 07:50 AM

fcleff - to be fair, after I read your post, I went back and edited my title. I intended it to be contrast - I typed contract...

fcleff · #47 10-05-2006, 10:08 AM

Quote:

Originally Posted by tZer

fcleff - to be fair, after I read your post, I went back and edited my title. I intended it to be contrast - I typed contract...

So I am not crazy after all. Whew, what a relief!

I figured that's what you meant but couldn't resist the quip. Thanks for making me look like a like a dumba$$, though. I can always count on you!

seanm · #48 10-05-2006, 10:34 AM

Quote:

Originally Posted by driver800

i'm not sure about this one...why not play an open note? I play open notes A LOT, maybe even "as much as possible".

When I learn songs I try to learn them without relying on open strings unless you know what key you will always play it in. If you learn the song relying on the open strings and then the lead singer goes "let's capo this one", you are in trouble. Unless you are really quick at detuning

There are exceptions. I rely on the open strings for "Takin' Care of Business". One band I play in plays this song in A or E but it is so fast and the rhythm so weird that the original bass line dosen't work anyway. I just pound roots since I never know when the chord changes are. This is one case where knowing the song well is a real problem

PaleMelanesian · #49 10-05-2006, 11:48 AM

Quote:

Originally Posted by Basshole

If you are going to be singing background vocals at all, while holding your strings mute with the left hand, very quickly tap the mic grill with your right hand. Feel any electrical potential? Reverse the polarity on your amp.

Discovering that there is a >100 volt differential with your upper lip SUCKS.

So does discovering it between your left hand and right hand. What's directly in between those two? YOUR HEART!

Try touching the actual strings to the mic, or use a hand and an elbow, or something, but not your two hands! That's dangerous.

**WillPlay4Food** · #50 10-05-2006, 11:54 AM

Quote:

Originally Posted by PaleMelanesian

So does discovering it between your left hand and right hand. What's directly in between those two? YOUR HEART!

Try touching the actual strings to the mic, or use a hand and an elbow, or something, but not your two hands! That's dangerous.

Yea, using both hands is the worst possible electrocution scenario. Electricity (like water) always travels the path of least resistance. In this case, that would be you!

Basshole · #51 10-05-2006, 11:58 AM

Quote:

Originally Posted by PaleMelanesian

So does discovering it between your left hand and right hand. What's directly in between those two? YOUR HEART!

Try touching the actual strings to the mic, or use a hand and an elbow, or something, but not your two hands! That's dangerous.

I thought of that, and yes, you're right...but unless you are one heck of a contortionist, what you describe is tough. I've always just lightly "flicked" the mic grill with a touch, so that if there is potential, I wouldn't end up "glued" to the mic, in a crippling power-induced spasm while my heart took a major hit.

PaleMelanesian · #52 10-05-2006, 12:33 PM

That's assuming it's a continuous, moderate, alternating current shock. If it's a single big spike, that one time could be all it takes.

Here's a way that isn't contorting:
Wrap your left hand around the neck at the nut, touching the strings. Then take that hand and touch your knuckles to the mic. Now the path of least resistance is just through your fingers, and no contorting. You'll feel any shock that's there, unlike just touching the strings to the mic.

mrmoonjam · #53 10-06-2006, 09:44 AM

Quote:

Originally Posted by DemoEtc

.... learn how to 'reel in' the drummer when he starts to speed up (they rarely start to slow down, esp. at a live gig)

Amen to that

! I play and jam a lot with a drummer who speeds up, and we worked this out: when I feel him speeding up, I start to play nothing but root notes in a straight rhythm, dead on the beat. That gets his attention and we can work on getting the tempo right. You can't get away with this at every point in every song, and you have to feel whether to be playing quarters, eighths, sixteenths or whatever.

**iriegnome** · #54 10-09-2006, 08:30 AM

Quote:

Originally Posted by PaleMelanesian

That's assuming it's a continuous, moderate, alternating current shock. If it's a single big spike, that one time could be all it takes.

Here's a way that isn't contorting:
Wrap your left hand around the neck at the nut, touching the strings. Then take that hand and touch your knuckles to the mic. Now the path of least resistance is just through your fingers, and no contorting. You'll feel any shock that's there, unlike just touching the strings to the mic.

A very simple cure to this problem is to carry a windscreen with you. I have my picks, cables, mic's and windscreen where ever I go. Every show is completely different, but I am prepared!!

saxnbass · #55 10-09-2006, 08:48 AM

Here's something I do when playing at church. A lot of the songs we play in church have a D and then an E (guitar chords). I will play the D root at 5 on the A string and then slide it up to E (7 on A) and then kind of hit the Open E to get an octave chord thing going. Easy, but sounds nice.