Do you think the scale will ever tip back towards hi-fi/active basses?

[6-3-2]

Pbass with a pick and roundwounds is one of the iconic bass sounds of all time and there's no shortage of it out there today. I'd venture to say it's the most ubiquitous bass sound in "indie" pop/rock. The differences I think are: (a)that kind of melodic playing has largely been replaced with plodding 8th note roots simply following the chord changes as the writing has generally become dumbed down/lazy, and (b) the production was different with someone like The Smiths--it was often sparser, there was more separation, there was less low end information in a track overall - as a result you heard the bass better. Kinda funny how advancements in music production has led us to lots of music that's just kind of a mush. I don't listen to rock much these days, but when I do I certainly favor artists who go for that leaner production, like The Strokes, some QOTSA, etc.

Oh, that's so interesting and makes so much sense in regards to production. I just listened to Tears for Fears and then The 1975 (great current band). The 80s production has plenty of layers, but it sounds so airy and open. Way less ultra low end. The bass is crystal clear too. Whereas the 1975 bass is fatter, but it sounds nasally and indistinct in comparison. Makes me think of live bass sounded I hated too, where it was just mud that dominated the mix.

I'd check out Her's (both members sadly passed) if you want a modern group that has simple production and a great 80s sound. Really assertive, focused Rick tone from their bassist.

 

[Timmah]

To the OP: No, I don't think we'll ever see "the scale" tip back towards favoring active/high-end basses. Why?

1. "The scale," or the idea that there's a unifying trend line that all or most music conforms to, is a thing of the past. We live in an age where the music world is less of a river and more of an ocean, or a million little lakes. Not everyone is riding the same wave, so to speak. In retro-rock circles (which seem healthily represented here), Fender P and J basses are currently in vogue. In indie-adjacent genres (from pop/songwriters BoyGenius to jazzers like Nick Campbell) short scale basses are having a moment. Jam bands like the Dead (Oteil's Modulus) or newcomers like Goose (guy plays a really nice Elrick) are still carrying the torch for coffee table basses. I'm not real familiar with gospel/r&b circles but it seems like most of those guys are rocking superJazz designs as of late, with five or six strings and a preamp. In so much of pop music, key bass is still common. In short, each of these worlds are so separate from each other that it's hard to imagine them all following a singular trend.

2. Boutique basses are expensive and hard to get a hold of. Fenders are cheap and plentiful. In a world where working musicians make less and less money, it's unsurprising that the most visible instruments are (comparitively) cheap, attainable, and replaceable designs.

 

[Conejo Bajo]

[QUOTE "There's that story of Sean Hurley moving to L.A. with a five-string active Lakland to become a session player just to realize it's a P-bass world out there."]

Part of the reason that the P-bass was preferred by studio engineers is that, at least in the old days (late '60's/early '70's), EVERY engineer in L.A. knew what settings to use on the board to properly place the bass tone of a P-bass in the mix...some of them not only pled ignorance about how to handle active basses but even had problems setting levels on non-Fender passive basses (they frequently had trouble controlling the tendency of Gibson EB-0's and EB-3's to sound like mud or duck farts at even modest gain levels !).

 

[wraub]

I haven't really played my active 5 string basses in a while- but I still have them.

 

[Ostie]

I never thought the scale was tipped. Plenty of active modern players on this site. There’s room for everyone here.

 

[VeryTallBassist]

Every bass I own is a 5 string active. Am I so behind the times that I'm destined to become cool again in a year or two?

 

[ProbablyTooLoud]

What scale

 

[roccobass]

All of my basses are passive 4 stringers. So now I'm hip again? Wow! The circle comes back around. LOL.

Seriously, The only time I get any sort of flack is when the gig is ultra modern pop/dance material. But it's not my thing so it doesn't affect me. To each their own and there are players who fill the niche and they still look pretty hip too. More power to them.

 

[Jeff Scott]

...I’m not even hip to Rick Beato, and have no idea who he is.

 

[JIO]

All of my basses are passive 4 stringers. So now I'm hip again? Wow! The circle comes back around. LOL.

Seriously, The only time I get any sort of flack is when the gig is ultra modern pop/dance material. But it's not my thing so it doesn't affect me. To each their own and there are players who fill the niche and they still look pretty hip too. More power to them.

This '80s modern pop/dance song appears to have been played on a Fender P... at least for the video.

 

[JIO]

What scale

 

[JIO]

To the OP: No, I don't think we'll ever see "the scale" tip back towards favoring active/high-end basses. Why?

1. "The scale," or the idea that there's a unifying trend line that all or most music conforms to, is a thing of the past. We live in an age where the music world is less of a river and more of an ocean, or a million little lakes. Not everyone is riding the same wave, so to speak. In retro-rock circles (which seem healthily represented here), Fender P and J basses are currently in vogue. In indie-adjacent genres (from pop/songwriters BoyGenius to jazzers like Nick Campbell) short scale basses are having a moment. Jam bands like the Dead (Oteil's Modulus) or newcomers like Goose (guy plays a really nice Elrick) are still carrying the torch for coffee table basses. I'm not real familiar with gospel/r&b circles but it seems like most of those guys are rocking superJazz designs as of late, with five or six strings and a preamp. In so much of pop music, key bass is still common. In short, each of these worlds are so separate from each other that it's hard to imagine them all following a singular trend.

2. Boutique basses are expensive and hard to get a hold of. Fenders are cheap and plentiful. In a world where working musicians make less and less money, it's unsurprising that the most visible instruments are (comparitively) cheap, attainable, and replaceable designs.

word

 

[ProbablyTooLoud]

View attachment 5265263

Doh my bad thanks

 

[Artman]

Most active basses can do passive tones just as well as most passive basses do, but they can also do tones that passive basses cannot.
Just play whatever you like. Who cares what anybody else is playing, anyway.

 

[Chickenwheels]

Sean also plays a fretless StingRay so there’s clearly more to the story ie: he uses all the Pino instruments, and therefore is actually Pino in disguise.

 

[JIO]

Doh my bad thanks

We're all Bozo's on this bus!

 

[JIO]

Most active basses can do passive tones just as well as most passive basses do, but they can also do tones that passive basses cannot.
Just play whatever you like. Who cares what anybody else is playing, anyway.

this -

 

[bucephylus]

OK. I see he has a big presence on YT. That’s not my hang, other than when I’m specifically looking for something.

 

[B-Mac]

There's that story of Sean Hurley moving to L.A. with a five-string active Lakland to become a session player just to realize it's a P-bass world out there. It wasn't always the case though. There was time when hi-fi or active basses were all the rage, like Warwicks, Ken Smiths, Alembics, Tobias, Zons, Spector etc.

Do you think the scale will ever tip back towards hi-fi/active basses? If so, how do you think it'll happen?

Tip back?

With the amount of EBMM and SBMM enthusiasts here at TB, I'd have to say it's at least a 12 O'clock if not tipped toward 1 O'clock at least.

 

[Acoop]

It's why they call it a circle and it goes round. ... Musicman's will never go out of style.