Guitarists trying to write your basslines..

[aborgman]

What are you guys' opinions on when guitarists try to write a bassline for you?

Depends on whether the bassline he writes is any good or not.

 

[aborgman]

If I wanted to play other peoples bass lines Id join a coverband.

I'm not really interested in playing bass lines - I'm interested in playing music.

 

[aborgman]

I'm all for it - but sometimes the author wrote a crummy bassline that *doesn't* serve the song.

Are you supposed to play it anyway, or write something better that does serve the song?

Yes.

You're supposed to play it anyway AND write something that you think better serves the song... and then the whole band should listen to both and decide which one serves the SONG better.

 

[groooooove]

I'm not really interested in playing bass lines - I'm interested in playing music.

then why do you play the bass?

of course music is a whole, you don't need to point that out. but your role- as a bass player- is very specific, in ensemble playing, to play bass lines, witch require special attention. even in choral music, melody and bass lines are written first because each needs to be crafted a certain way. ignoring that creates bad music. so you want to play music? learn how to create and play good basslines.

 

[aborgman]

then why do you play the bass?

Because it just happens to be the instrument I play well.

of course music is a whole, you don't need to point that out. but your role- as a bass player- is very specific, in ensemble playing, to play bass lines, witch require special attention. even in choral music, melody and bass lines are written first because each needs to be crafted a certain way. ignoring that creates bad music.

No, it doesn't.

Good (or bad) music can be written in any order one likes. It can start with a melody line, or chord changes, or a bass line, or a pure rhythm.

so you want to play music? learn how to create and play good basslines.

...but that just gets me good bass lines, not good music.

 

[CS]

Unfortunately I have come across hobby band musicians who want me to be their personal sideman/volunteer/slave. I have no interest in being part of someone else's ego trip without substantial monetary compensation (working band situation). These people want you to help them live their dream/vision and do everything they say (control issues) for little to no monetary compensation. Why would anyone do that?

I have actually done this. I was the singer/songwriter/guitarist and made all the decisions. They were aware of this before they joined and were happy to play for me. I did let them play exactly what they wanted. I also paid for rehearsal studio time, paid all refreshments, provided transport and backline, where possible.

The music was experimental and always on the verge of a trainwreck. I think they played to see if it worked.

I played bass for a singer song writer, for free to 3 years. He didnt drive so I was roadie and transport. I was happy to do it because he provided gigging experience I didnt have and I picked and chose what I wanted to do locally on my 'CV'.

IMHO it's all about communication. Tell people what you want, find common ground and fulfil your commitments.

 

[cnltb]

Let's say your guitarist writes a song and shows it to the band at practice. No big deal, sounds like fun. But then he turns to you and shows you the bassline he has written for you to play.

It's hard to argue when it's "their" song. But as a bassist, I'd sure like to write my own basslines, even if I didn't come up with the original song idea.

What are you guys' opinions on when guitarists try to write a bassline for you?

If the bass line they have written is good I'll go with it , if it isn't I'll suggest changes.
There is no reason why a guitarist should not be able to write good bass parts I think.
To me it has nothing to do with who wrote what but if what is there works.
No room for ego on that one as far as I'm concerned.

Edit...
The above is written from a musical standpoint.
A business view would obviously be different when royalties, copyright etc comes into it.

 

[Arthur Strand]

Issues: 1. Composition. If you write the bass-line, you are a co-collaborator and are entitled to copyright and royalties..
2. If you are not adding your bit to the composition, and it is arranged by someone else, then that is what you play for live or recorded purposes. For recording, you should be entitled to claim performance royalties if commercially viable.
3. It is a bit of a quagmire at professional, international levels.
I have worked as a full time bassist for a large proportion of my music career and could be quite influential as to the outcome in the future of whether adding a bass line even just simple root notes qualifies for partial rights as a joint composer. Juniors, take note. As it happens, much material is underground and so never comes to light.

 

[makkE]

Used to play with a songwriter who came up with tasty basslines for some of his songs, so that wasn't a problem - he knew what a bassline needed. Sometimes he had no idea for a line, so I made one up, often with him correcting me on certain notes, since the harmonies were usually complex . Worked out fine - the guy was very good at songwriting and knew theory much more than me, so I learned quite a bit.

On the other hand, I know quite a few guitarrist that would have me suspicious if they said "I also wrote a bassline for this".

 

[dave64o]

The only time I was doing original songs the guitar player did most of the basic ideas and I did most of the arranging. He'd give me a guitar riff or even a complete recorded guitar track and I'd add drums, bass, and sometimes additional guitar tracks and solos. It would take a while for me to come up with all of that, so he'd be waiting and trying to anticipate what would come out the other side. But he always told me the fun of doing that was that somehow I'd pick up on what he was envisioning and deliver exactly what he was hoping for. Only once can I remember him stopping me and asking me to try a particular bassline he heard in his head. It was only for one section of one song, and after we played it I liked it so we used it. Overall that was a great collaborative experience.

Even though we always seemed to be on the same wavelength, there was one time I did something different from what he was thinking. I mean 180 degrees opposite from it. However, when he heard my arrangement, he was as happy with it as he was with everything else we collaborated on and that song ended up being one of our favorites. We also agreed it would be cool to try his original idea and we started working on an arrangement that went in that direction. Unfortunately we never finished that one.