I disagree. The only people in an audience who will notice your tone are other bassists or musicians. Generally the ordinary punter is not concerned with tone. They are more likely to notice sloppy playing.
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Concentrating on tone rather than playing...
- Thread starter 4 string mofo
- Start date
I disagree. The only people in an audience who will notice your tone are other bassists or musicians. Generally the ordinary punter is not concerned with tone. They are more likely to notice sloppy playing.
I'll preface by saying that obviously if one is good and the other's terrible it will be noticed, but if instruments and vocals have better sound quality the lay-person will think it's better and more professional. This happens even if they don't know that it's the tone that they like.
Of course I'm comfortable agreeing to disagree.
The "tone is in the fingers" argument has always perplexed me. I've heard some amazing players with terrible or misapplied (sounding like Geddy Lee on a Motown song) tone and some marginally ok players with great tone (my neighbors 14yr old/Adam Clayton). On the other hand, there's been many times where I passed my bass to someone and was blown away at how great it sounded....in their hands! It's one of those things that every time I think I believe one side of it, something comes along to disprove or at least challenge my opinion of it.
Yes, it's of primary importance to have a good technique and ear first and foremost, but having a good (or appropriate) tone shouldn't be discounted. I like to think of it as supplementary to a constantly evolving skill set, and should evolve simultaneously with said skills. The better the player, the EASIER it will become to achieve or emulate any tone that is desired.
Here's an example of the bass player tonally sticking out like a sore thumb (though I guess it will be argued that's exactly what he's trying to do, it really takes away from the song, IMO) :
Yes, it's of primary importance to have a good technique and ear first and foremost, but having a good (or appropriate) tone shouldn't be discounted. I like to think of it as supplementary to a constantly evolving skill set, and should evolve simultaneously with said skills. The better the player, the EASIER it will become to achieve or emulate any tone that is desired.
Here's an example of the bass player tonally sticking out like a sore thumb (though I guess it will be argued that's exactly what he's trying to do, it really takes away from the song, IMO) :
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Yeah, everything sounded really great until Billy came along and dropped a massive, steaming dump on it, IMO.
Holy crap, +100. And he's basically playing a pbass...without that overdrive everything would be fine. I guess all guitarists look like Steve Vai to him. He has guitarist blindness. Otherwise I love Billy sheehan.
I could buy into a distorted tone for that song if it was less mid-rangey and more scooped, kind of like dUg Pinnick or Entwistle, or dark with pushed low end like Jamerson. But the frowny face EQ he's got there isn't hitting the spot for me. OTOH, he does have an image to uphold 
Wow... That solo section....
Reminds me that the thing about those that strive to innovate... Sometimes the experiments fail.
Reminds me that the thing about those that strive to innovate... Sometimes the experiments fail.
This is exactly what what I meant by knowing the basic tips of equalisationI could buy into a distorted tone for that song if it was less mid-rangey and more scooped, kind of like dUg Pinnick or Entwistle, or dark with pushed low end like Jamerson. But the frowny face EQ he's got there isn't hitting the spot for me. OTOH, he does have an image to uphold
A tone can be not perfect but it should fit the song.
No offense to the winery dogs (not that they care) but this is obviously a Sheehan showcase band. I would imagine the majority of the fans there are there to see him...which is probably why he's purposefully sticking out. He's really talented but knowingly making music sound bad so you can stick out and be a "showcase" is bad form...always.
I've spent quite a bit of time trying, buying, and selling amps, pedals, basses, cabinets trying to get the right sound. It took a lot of time, reading, trying out different gear, and experimenting. Did I spend lots of money... yes. Did it take away from practice time... yes. But as a result I've developed a much better ear for such things and have gotten to a point where instead of using all sorts of equipment to sound how I want I can just change my playing or make subtle eq tweaks, often on the bass. While my chops aren't as good as they could be I still think it was a valuable part of progressing as a musician. So for that reason I feel it was time and money week spent.
That said, a bassist does not live by tone alone. It doesn't natter how good your setup is dialed in... the wrong notes at the wrong time still sounds bad.
That said, a bassist does not live by tone alone. It doesn't natter how good your setup is dialed in... the wrong notes at the wrong time still sounds bad.
Technique is obviusly important. But how high you'd want to have it. Depend, it's personal preference, what kind of music they play, etc...either they want to be as skillful as 'Jaco' or no.
After reaching some point, one's need of technique doesn't necessarily need to be focused on consciously anymore (or temporarily). It happens to all players. At that time, they naturally focus on other things than technique.
Me, if I have to choose now only one at a time between technique/skill or tone (or other detailed nuance about bass) to bringing the 'quality' of my music forward, I'd choose the later.
YMMV
Its crazy how many facets there are of electric bass playing.
I am not a double bass player so I am only speaking from experience for the electric.
Seems like there are not enough hours in life to be completely satisfied with our bass sound/playing, and when I spend alot of time in one area I get frustrated in others.
I remember when I was in my early teens I occupied all my time learning my fav. band songs.
I then got into writing my own stuff and trying to be creative.
Later I realized I wasn't technically where i wanted to be so I practiced arpeggios/ scales/ coils all day.
I didn't have any idea what exactly what I was doing, so I started learning the fundamentals of theory/ chord blocks/ circle of fifths.
Finally was somewhat satisfied with playing, but never payed attention to "my sound" so got into shaping my playing through different instruments/amps.
This funky piece of wood I spend so much time on I still didn't know how make adjustments for cept for changing strings, like a race car driver who can only change his oil, so tried learning more about setups/adjustments.
16 years later and I still suck.
I am not a double bass player so I am only speaking from experience for the electric.
Seems like there are not enough hours in life to be completely satisfied with our bass sound/playing, and when I spend alot of time in one area I get frustrated in others.
I remember when I was in my early teens I occupied all my time learning my fav. band songs.
I then got into writing my own stuff and trying to be creative.
Later I realized I wasn't technically where i wanted to be so I practiced arpeggios/ scales/ coils all day.
I didn't have any idea what exactly what I was doing, so I started learning the fundamentals of theory/ chord blocks/ circle of fifths.
Finally was somewhat satisfied with playing, but never payed attention to "my sound" so got into shaping my playing through different instruments/amps.
This funky piece of wood I spend so much time on I still didn't know how make adjustments for cept for changing strings, like a race car driver who can only change his oil, so tried learning more about setups/adjustments.
16 years later and I still suck.
