dynamic control on multistring basses

yowzer.

You going F# to F? Or B to Bb? Who's makin' it?

IME (on a mere 7 tuned BEADGCF), the higher strings simply do not "thump" like the low ones. I think of my basses as almost two separate instruments -- a low groover connected to a tenor-range soloist. A single-necked doubleneck, if you will. The simple fact is that I can't get *BASS* out of the high strings, so I don't bother to try. Face it -- I don't care if you're playing cello, string bass, or sousaphone -- you can PRODUCE notes in and above the middle C range, but they are simply NOT functioning as bass. If you really want/need to, you could try plucking up by the fingerboard for a rounder tone. (Someone will doubtless correct me, but I have not heard of flatwound high C and F strings.) In fact, this is one reason Jeff Berlin gives for sticking to 4 -- "Those skinny little strings just don't sound like BASS." So to answer your question, it's not a technique issue, really -- I just don't think it's EVER gonna happen. You want real bass, you move down.

On a related topic: To get those high notes to be heard without using a compressor ( ), I recommend adjusing the pickup height screws so the high end of the pickup is closer to the strings. I was amazed at how well this simple trick worked (and disgusted with myself for not having thought of it some years earlier ).

 

BTW -- fretted or fretless? You'll get an even thinner sound on frets up there.

 

When you play fretless in the upper registers of a 7 string tuned BEADGCF it still sounds like a bass - a fretless piccolo bass - quite a unique sound really, but something that cannot be mistaken for anything else. I agree though when you play with frets up there it sounds more like a guitar.

 

Well said. I played melody on a tune on fretless at a recent gig, and several people in the audience asked just what instrument that WAS that played that tune.

In any event, I stand by my previous statement that in this register, I certainly wasn't functioning as the root or foundation of the chord. When you're up there dancing with the violas and English horns, you are not playing "bass" (function) even though you are playing "a bass" (instrument).

 

Regarding volume balance, do the pickup-tilting trick or compress.

Regarding tone, on a fretted instrument played with a pick, the higher notes simply DO approach a guitar-like tone. The best way to keep them distinguished is roll off the treble considerably and play fingerstyle. Maybe switch to the neck pickup if you're going to spend considerable time up there. Boost mids, then, to keep the ultra-low stuff out of the real mud zone.

I think perhaps the real point we've been missing here is that the objective is to make MUSIC, and if you have something interesting to say, methinks the timbre of the device is of secondary importance. You can find plenty here who'll say this lovely instrument you're playing isn't really a bass anyway. (I put up with similar $#!+ in my band.) My advice, then, is: just PLAY -- and don't worry about allegiances to one instrument or another.

 

Aren't all basses multistring? - just kiddin'

All have made good points.
I thought I would throw a couple in for consideration.

1) Perhaps a bi-amp rig with a carefully selected crossover frequency would facilitate more control on the high strings. You could then run a compressor on just the high frequencies while not muting the attack on the low strings.

2) Maybe a high cut filter would let you produce the fundemantals of the high strings while taming the upper harmonics that make it sound guitar-ish. An EQ may do this well enough. You would have to try it and see.

3) A graphic or parametric EQ with a boost in the 200-300 range or so may give you a more bass-like sound on the high strings.

BTW - what amp and speakers do you plan to run it through?

 

You might try playing a standard 6 string (non-bass) guitar as you would a bass (fingerstyle) on the lower 4 strings or so and experiment with making that sound as bass-like as possible. It might give you some clues before the 8 string arrives.

 

Stew,

I just realized you were in New Orleans. I'm a Louisanaian (is that a word) by birth. I lived in Gretna for a while.

When I start playing bass, I had no bass and no money. I learned on my brothers 6-string. I'm not comparing what you're doing now with what I was doing then, but some interesting things may come out of it.

Martin

 

I'm a 4-stringer. Right now I'm playing an old Peavey T-40. I have a short-scale Fender Musicmaster that I use sometimes. I also play (but don't own) a Yamaha (don't know the model). I've got my eye on a Carvin 5-string.

I have played bass with 5 or 6 different groups in the past. Right now I'm playing with our church orchestra and the youth praise band (although I don't qualify as a youth).