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Acoustic sound on bass?
- Thread starter gualaguala
- Start date
Palm Muting can be very effective it you have the time to incorporate it into your playing. It will take time to become comfortable with the technique while reading an entire show. Depending on how much time you have before the performances. If it's coming up soon I think I'd go with the sponge under the bridge as it's a simpler way to mute the strings. Just my take of course.
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This is my way of simulating a standup double bass; a 21" scale bass uke with flatwound nylon core strings, bass pot max, treble pot min, replaced the piezo pickup with a humbucker, had a cherry veneer added and stick-on ƒ holes to look like a db. Play over the pickup.
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Most string bass players don't use slap technique for general purpose playing so there is no "strings hitting the fingerboard giving it a clacky sound".
The big thing where an electric bass, played as several of us have described, won't cover string bass parts (keep in mind, this is a pit orchestra for a musical) is if there are any arco parts. I suppose I'd just play as smoothly as possible and for long long bowed notes play them as a series of half or quarter notes, with the minimum of strong attack.
First reply really hit it perfectly, but to get more of the thumpy sound I've found something rather counterintuitive works best for me.
Play up close to the neck and play very softly, you'll get a very bassy warm tone where playing harder gets you more overtones and clack. Let your amp do the work when it comes to volume, and use some flats if you can afford them. However, they can be pretty pricey so I'd just stick with whatever strings you have on the bass (in addition to everyone else's good advice)
Play up close to the neck and play very softly, you'll get a very bassy warm tone where playing harder gets you more overtones and clack. Let your amp do the work when it comes to volume, and use some flats if you can afford them. However, they can be pretty pricey so I'd just stick with whatever strings you have on the bass (in addition to everyone else's good advice)
Don't worry about your tone.
Things to worry about: Playing the right notes. Blending with the ensemble/playing the dynamics. Locking in with the drummer on the dance numbers. Keeping your eyes (or one eye) on the conductor at all times.
You don't have to spend any money on a different bass. Flatwound strings will help some foam or sponge by the bridge to dampen the sustain and the most important element is to release with your right hand to shorten the note. There is a bassist in the Carolina's Mookie Brill who sounds just like an upright when playing a Fender Bullet bass.
Were you a student? Did things matter to you then?
This comment reminds me why I hated adults when I was in school.
I'm 50 now, but having played in the pit band for Fiddler on the Roof in high school was, and still is important to me.
I'm proud of how hard I worked on it. It was a formative experience in my growth as bassist.
I think the first response was good regarding tone. Try to practice with just the drummer if you can.
And don't forget to have fun.That might sound dumb, but I forgot to too often.
yes...I was a student...and I wish I knew back then not to try to replicate what professional productions with a full orchestra can do on a <checks notes> ZERO budget and just decided to have fun and see what I could do with what I had.
you can't "replicate" a double bass with a P bass anymore than you can "replicate" a real piano with a NORD (no matter how hard they try)...so why even bother? Maybe it might even be cooler if you just lean in to what you have.
I play over the fret board, and roll off tone until it sounds right when I want to do a fake upright bass.
I also have one of those spongey string deadeners that you put near the nut. I don't always use it, but sometimes it helps.
Not sure if this is the brand/the one I have or not, but this is essentially it:
gruvgear.com
I also have one of those spongey string deadeners that you put near the nut. I don't always use it, but sometimes it helps.
Not sure if this is the brand/the one I have or not, but this is essentially it:
FretWraps String Muters (1-Pack)
Finally, a professional string dampener / muting accessory that every studio, session player, and tapping aficionado should have! Slide on a FretWrap to effectively cut overtones and sympathetic resonance during recording, live performance, two-hand tapping, or any creative situation where you...
gruvgear.com
Don't sweat it. If you get a set of flatwound strings and rely on the neck pickup, everyone is going to like the way it sounds for all the Pizz sections. I wouldn't use a mute. Arco sections with long sustained notes are a little tougher to deal with. Easy answer is to play these quietly with a light attack and hide your plucks behind other things happening in the music or on stage, but you could also try using a volume pedal and/or compressor to further lighten the attack and increase sustain.
Play with your thumb anchored on the neck.
But also consider that the bass part will probably cut through if you jsust play it normally with a rolled off tone.
For sure use less gain.
Just don't buy anything haha
But also consider that the bass part will probably cut through if you jsust play it normally with a rolled off tone.
For sure use less gain.
Just don't buy anything haha
Use whatever bass you have. Either thumb-pluck and palm mute, or use a foam mute and finger pluck up towards the neck. It's all about the short decay. Roll some highs down.
Most importantly, try to phrase your parts like a DB player. Think of the physicality of playing the DB, it's a lot harder than the BG to get around on. Some things you can't play as legato as you would on a BG. "Think" DB, as in the physical work required.
Most importantly, try to phrase your parts like a DB player. Think of the physicality of playing the DB, it's a lot harder than the BG to get around on. Some things you can't play as legato as you would on a BG. "Think" DB, as in the physical work required.
It’s never going to sound the same.
Instead of trying to do that, focus instead on coming up with a tone that compliments the music, and focus on getting the feel right.
I would suggest rolling off the tone, and playing rather staccato with a focus on making sure your left hand is really helping to keep those note durations short.
And swing like you mean it.
Instead of trying to do that, focus instead on coming up with a tone that compliments the music, and focus on getting the feel right.
I would suggest rolling off the tone, and playing rather staccato with a focus on making sure your left hand is really helping to keep those note durations short.
And swing like you mean it.
mute with foam under the strings at the bridge, palm mute, left hand mute, tone knob down, flat wound strings,
Common question. Here's a whole recent thread on it:
Upright approximation - your preferred approach
NO. It's impossible.
Mutes can help. To keep it cheap and simple (without a mute, as that's a whole different discussion), just roll off the J signal, and for the P pickup, roll off all the tone and play with your thumb. The side of your hand along the little finger can lightly rest against the strings next to the bridge, which acts as a mute. It will feel unnatural at first, but in context of the music, it'll do the job and most people in the audience won't know the difference.
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I've played a PJ bass on a couple of musicals before. That will work just fine. I favored the neck pickup and rolled the tone down.
