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Essential Bass Arsenal
- Thread starter DRay521
- Start date
Sorry that I am the eternal contrarian, but you need one bass and one important skill for studio work.
For the bass I would go with a Jazz bass since you can coax a Precision sound out of it.
The skill? The skill you need is to be able to play an instrument that you’ve never played before when the producer hands you a bass in the studio and let’s you know that the bass he is handing you matches the concept in his head.
(Note that I am not saying that all producers are male. I simply try my best to stay within the rules of English grammar.)
For the bass I would go with a Jazz bass since you can coax a Precision sound out of it.
The skill? The skill you need is to be able to play an instrument that you’ve never played before when the producer hands you a bass in the studio and let’s you know that the bass he is handing you matches the concept in his head.
(Note that I am not saying that all producers are male. I simply try my best to stay within the rules of English grammar.)
Some great answers here! But I should’ve pointed out in the OP, this is really just a “for fun” thread, I’m not searching for suggestions. I’ve got my GAS bucket list narrowed down, and if I ever come across something on it I’ll throw out an offer, but I’m pretty happy with what I’ve got for now.
And of course I agree, tone is in the hands, musicianship is most important, etc etc etc…the intended point is to list basses that you feel necessary to cop any sound a producer or artist may want. If that’s one bass for you, awesome! If it’s 20, have fun!
And of course I agree, tone is in the hands, musicianship is most important, etc etc etc…the intended point is to list basses that you feel necessary to cop any sound a producer or artist may want. If that’s one bass for you, awesome! If it’s 20, have fun!
This is my arsenal. 3 P-Basses all with flats. 1 fretless jazz and 1 Musicman style bass. I would like to add a cheap 5er to the mix.
Yes they are all Warmoth Builds. The Sunburst one has a Squier body with a Warmoth neck. All are amazing and I love them all!
This is what I have. I still need a 5 string, a p-j, a Thunderbird, an upright (and an Audiovox 736).
Ric5
Inactive
- Jan 29, 2008
- 29,772
- 30,452
- Disclosures
- I like 5, 8, 10, and 12 string basses
1 - passive 5 string
2 - active 5 string
3 - fretless 5 string
4 - long scale 5 string
5 - medium scale 5 string
6 - short scale 5 string
7 - and make sure you have a few more 5 string basses
2 - active 5 string
3 - fretless 5 string
4 - long scale 5 string
5 - medium scale 5 string
6 - short scale 5 string
7 - and make sure you have a few more 5 string basses
4+1 all day baby. 3+2 or 2+3 is great too.Haha I never could have guessed by your handle that you’d be interested in 5ers!
IMO, Consolidate the herd ----
1) a 5 string fretless with active electronics. (5)&(F)&(A)
2) A P or J with flats but not both. Logically exressed, (F) & (P&J)→((P&F) V (J & F)) & ￢((P&F) ∧ (J & F))
I'd probably just show up with a P Bass.
No one is going to hire me to play flats, fretless, or a Hofner.
No one is going to hire me to play flats, fretless, or a Hofner.
A killer DI, a fretted P with dead strings, a fretted P with new rounds and something woody like a Hofner is going to cover the vast majority.
Why? Because the vast majority of people we put bass parts down for aren't bass weenies. They just want it to sound like bass in less than 90 seconds. Under a minute is even better.
Sure, there'll be exceptions. Maybe good paying exceptions. But by the time those people are calling you'll know what you need to own and what you need to bring to make them happy or they wouldn't be calling. Non-bass players tend to be more impressed with how you sound on what you have not with what you have.
Why? Because the vast majority of people we put bass parts down for aren't bass weenies. They just want it to sound like bass in less than 90 seconds. Under a minute is even better.
Sure, there'll be exceptions. Maybe good paying exceptions. But by the time those people are calling you'll know what you need to own and what you need to bring to make them happy or they wouldn't be calling. Non-bass players tend to be more impressed with how you sound on what you have not with what you have.
You are more than set.
No arsenal for me. When I was busy no arsenal also. Only had 2 basses for a long time. You really have to get busy first and I think when you do you'll figure out what you need. I am not trying to be a do gooder and tell you you should only have one which I think is really ego when some TB'ers say that and preach it. Wrong place to do it. For extended low, I also did not get a 5, I tuned down
Arsenal is such a strong word. Mercenaries probably start with one rifle, assault auto rifle and a good pistol. Those John Wick arsenals are only in the movies.
A bass that is easy to play and you bond with is all you need in a studio a proper studio with outboard EQ and compressor and if they have classic boards like a Neve, SSL or Audient etc, the channel strip on those can do wonders for the bass sound. There is a Bass Player magazine a long time ago when they interviewed Pino when he was primarily a StingRay user and he said that on the sessions, some engineers would ask him if he had any pedals or gear and he'd respond by saying "I have you" - or something to that effect. There are dogmas here in TB like saying all you need is a P and that actives are not allowed in a studio. The engineers have powerful tools at their disposal. A producer will be more intrusive than an engineer so probably, the tried and true P and J is something you need to have in your 'toolbox".
The way I remembered some of my recording sessions where the clock was ticking was , they spent a minute on the bass while they spent 1-2 hours on the drums. It did NOT matter what bass I had, active or not. If the producer wants to do it Cowboy Junkies style with just one stereo mic, then they busted out a combo or an amp and cabinet and they'll ask you to set everything open or flat if you have actives and they'll tweak the amp. Sometimes they rerecorded your bass lines using a synth in the final version.
Upright got mic'ed, usually a couple mics and in big band where they do not have enough headphones or it is just impractical, they used a small GK 120MB or a Portaflex or a SWR BabyBlue. I also got to use a rumble (not the brand ) cabinet. You sat on this thing and it help with monitoring along with the headphones. EA amps used to sell those. If the producer is not feeling it then they may bring in another bass.
But it is totally okay to collect... Many of us here are.
No arsenal for me. When I was busy no arsenal also. Only had 2 basses for a long time. You really have to get busy first and I think when you do you'll figure out what you need. I am not trying to be a do gooder and tell you you should only have one which I think is really ego when some TB'ers say that and preach it. Wrong place to do it. For extended low, I also did not get a 5, I tuned down
Arsenal is such a strong word. Mercenaries probably start with one rifle, assault auto rifle and a good pistol. Those John Wick arsenals are only in the movies.
A bass that is easy to play and you bond with is all you need in a studio a proper studio with outboard EQ and compressor and if they have classic boards like a Neve, SSL or Audient etc, the channel strip on those can do wonders for the bass sound. There is a Bass Player magazine a long time ago when they interviewed Pino when he was primarily a StingRay user and he said that on the sessions, some engineers would ask him if he had any pedals or gear and he'd respond by saying "I have you" - or something to that effect. There are dogmas here in TB like saying all you need is a P and that actives are not allowed in a studio. The engineers have powerful tools at their disposal. A producer will be more intrusive than an engineer so probably, the tried and true P and J is something you need to have in your 'toolbox".
The way I remembered some of my recording sessions where the clock was ticking was , they spent a minute on the bass while they spent 1-2 hours on the drums. It did NOT matter what bass I had, active or not. If the producer wants to do it Cowboy Junkies style with just one stereo mic, then they busted out a combo or an amp and cabinet and they'll ask you to set everything open or flat if you have actives and they'll tweak the amp. Sometimes they rerecorded your bass lines using a synth in the final version.
Upright got mic'ed, usually a couple mics and in big band where they do not have enough headphones or it is just impractical, they used a small GK 120MB or a Portaflex or a SWR BabyBlue. I also got to use a rumble (not the brand ) cabinet. You sat on this thing and it help with monitoring along with the headphones. EA amps used to sell those. If the producer is not feeling it then they may bring in another bass.
But it is totally okay to collect... Many of us here are.
Last edited:
P bass with flats
P bass with rounds
Active Jazz bass with rounds
Dingwall 5 string
Something Hollow
Something Weird
I'm not running a studio so I just have a bunch of Something Weirds and a P Bass.
P bass with rounds
Active Jazz bass with rounds
Dingwall 5 string
Something Hollow
Something Weird
I'm not running a studio so I just have a bunch of Something Weirds and a P Bass.
