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Advice for Blues trio bass please!

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Dr Improbable

Apr 15, 2013
287
3
Wisconsin
#1
I just grabbed a spot in a blues band. We do 3, 4, or 5 pieces depending on the money. I just watched some live vids with the old bass player, and he was using a very similar rig to mine (MM style 5 string). Our tones are pretty close. Anyway, in the larger settings this sounds good, but in the trio (which happens a lot) no matter how I EQ, it doesn't fill up enough background space under solos. I only own one bass, so I'll be buying a second one anyway. What do you guys think? P-style bass? EB-0?

I use: Carvin MB115 + Carvin MB15 extension cab (2 15's, 250 watts). No effects.

Well?
 
#6
The Carvin 2x15 rig is great for the blues!

Although the MusicMan is an outstanding bass, 5 string and RWs for "real" blues isn't a good fit (especially with a trio).

And before I get flamed for my opinion, I played "da blooz" in Chicago for over 20 years - 17 yrs with the same band! And the down n dirty stuff too... Harmonica, 2 guitars, bass and drums (one guitarist could double on Wurly E. piano, but too cumbersome to haul)... Played every 80-250 seat club on the north and west sides... I used a Carvin 4 string with flats (very P like sound, but with choice of single coil or HB), through a '72 Fender Bassman 100 and the small Showman 2x15 cab (with EV SROs)...

In my opinion, a P bass or equivalant, or SG bass (to name a couple), with flats. Straight - no FX - is the way to go.

These days, being tube-less, I add just a small amount of distortion (RH450 "TubeTone") - barely noticeable - to help "fill out" the sound in a trio. Not sure it would work the same way with round wounds, however... I use lots of distortion (RWs too) and other FX, in a Rock improv trio. But that sound doesn't fit da blooz...

Try before you buy, if possible. If changing to flats from RWs, pick a cheap set first. I prefer the sound and feel of nickel flats... But stainless is cheaper...

Just my two bits...
 
#7
I play in a 3 piece similar & like you, when the guitar hits a solo, sure, you lose a li'l "fullness" -.where -.such as a rythym guitar or keys would give some backing.
As suggested flatwounds help give a punchy fundamental & a "solidity". I've also tried using an "ELECTRO-HARMONIX" 'Micro-Pog' fx.pedal.
It's an octave UP as well as octane DOWN effect. You can control em both- able to have just octave UP or octave DOWN on-or both. & everything from a li'l to a lot of effect.
So, for adding some fullness under a solo, I've used it like this :-
Keep my playing (when the effect's on, under certain solo's) simple & mainly root notes.
- turn octave DOWN effect off.
- use octave UP effect just enough to add a sound "almost" like another instrument is playing- blend that octave UP effect so when it's switched on, the sound is STILL mainly just ur normal bass sound, but with an octave higher "guitar-like" tone enters the "equation"/song :rolleyes:
This works pretty well for me as long as you keep it subtle.
It CAN, of course, be used as a far wilder effect, & used as a lower octave effect, but does fill in our solo sections when needed.
Adding some overdrive/fuzz can sound great for dirty blues stuff too. & added to the above suggested "Micro-POG" gets filthy :D
Just one more suggestion & my 3c :thumbup:
 
#11
Adding a few double stops or dhords can help, Tommy Shannon, for example, did some of this with Stevie Ray Vaughn. But you probably already knew that. :)

I don't think there's one answer for this, and there are all kinds of Blues and we don't really know the exact style your group plays or what sound you are going for. Still, it would be hard to go wrong with a P-Bass. I like a Jazz with flats for a lot of Blues stuff, too.

Going back to Tommy Shannon as an example, though, I've watched him play some fairly traditional small group Blues with a Stingray, and it sounded great. :)
 
#12
A Precision, no more worries.

I'll suggest roundwounds with only one guitarist, full tone goes a long way here.

Style wise I'm happy to see Tommy Shannon mentioned, and I will suggest to also check out Oteil Burbridge for good, tasteful Blues bass playing style.

Also, it's the Blues, the space between is just as important and the notes being played. Don't worry about the open sonic space, it's not a bad thing, honest! ;)
 
#14
AltGrendel said:
Right. Either way, fill up the sonic space. I suggested an 8 string because the OP stated "no effects".
Click to expand...

Then maybe it's time the OP tried some effects to help fill in the sonic space! I was in a similar type band to the OP except we also had a harmonica player. With only one guitar I had to fill in more, especially during guitar solos. I'm not a big effects guy but I did find the addition of chorus and a mild OD to help fill in the gaps.
 
#15
I'm tempted to just say "P-bass with flats" without thinking...Pino Palladino got a lot of mileage with that setup playing in the John Mayer Trio, and he also took all the high end out of his EQ for a more thundering sound that could be felt as well as heard. But as WoodyG3 said above, there are all kinds of blues...either a P or a J with roundwounds would work for me for more hard-charging or modern-sounding blues.
 
#18
It is not the bass ... or the amp ...

Check this out ---

http://www.3dentourage.com/425/dave_griggs_blues_band.htm

I played with a blues artis Dave Griggs. I was using a 1968 4001 with roundwound strings. Not a p-bass, not a jazz, not a stingray, not a Gibson.

You need to fill up the mids and low mids and of course the bass frequencies. Part of it is EQ and part of it is style.

I like some grit and dirt in my tone to play blues. I also like a 5 string bass. I also prefer the added overtones from roundwound strings to fill in when the guitar solos.

My number one suggestion is add effects to your existing setup. You need more dirt, more fullness, and more control over the eq.

Here's another recording of me using a Rick to play blues with rounds, and effects ... https://www.youtube.com/watch?feature=endscreen&v=a5HAv1R3AEk&NR=1
 
#19
Having played in 3 pieces for most of my 45 years of playing, I've tried lots of tricks. My current band is the most successful and it takes a group effort to minimize the holes. The biggest thing for us is for the guitar player to not overplay. I cover enough sonic space that the guitar player doesn't feel he has to fill every space, but builds on the foundation the drummer and I lay. With less guitar happening there isn't the big hole left when a solo comes. It was almost more of a happy coincidence of the three of us getting together with our individual styles than planning. Our guitar player was reluctant to be the only guitar player (he also plays in another band) he was pleased to find he didn't have to cover everything and all the time.
 

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