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Here are a couple of examples of the chordal work I do on bass. These are from my "Stream of Unconsciousness"™ series.

Bass Noodle #1215 Copyright © Jeffrey P. Scott 2016 All rights reserved.

Bass Noodle #1486 Copyright © Jeffrey P. Scott 2017 All rights reserved.
 

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Here are a couple of examples of the chordal work I do on bass. These are from my "Stream of Unconsciousness"™ series.

Bass Noodle #1215 Copyright © Jeffrey P. Scott 2016 All rights reserved.

Bass Noodle #1486 Copyright © Jeffrey P. Scott 2017 All rights reserved.
toughs are both really good, but i personally only like giving support to the people i'm playing with since i'm still pretty new to bass
 
Here are a couple of examples of the chordal work I do on bass. These are from my "Stream of Unconsciousness"™ series.

Bass Noodle #1215 Copyright © Jeffrey P. Scott 2016 All rights reserved.

Bass Noodle #1486 Copyright © Jeffrey P. Scott 2017 All rights reserved.
Yeah, uh-huh, that's the stuff... ...an' I gotta go practice a lot more!! :thumbsup::D
 
Also, stay away from close intervals down low, those do get muddy (though good clean amplification helps somewhat).
To elaborate:
On guitar, you play chords with notes on adjacent strings. With the higher frequency of guitar notes, this sounds good. On the lower frequency of low bass notes, this sounds like mud.
Fewer notes in the chord, spaced widely apart, are your friend. So for example, root on the E string, third and octave up on the G string. That sounds pretty great.
 
Full chords are less common than double stops. I've also heard a lot of lines using an open string drone under a melodic or walking line (such as Mike Dirnt's line on Geen Day's Longview). True chordal work is more the province of savants like Les Claypool (check out Jerry was a Race Car Driver by Primus) and Jeff Scott (posted above). It works best in a sparse context - such as a trio.