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How often do BL's request you use a particular bass?
- Thread starter Bar Band Bassman
- Start date
Not so much a request, but I was questioned why I didn't play a P Bass like many of the other bassists he'd played with before.
I explained that because I play in a range of musical styles, I liked the sound, versatility, and playability of my modern Carvin/Kiesel. I then dialed in a nice thumpy and balanced tone - after which he got a big smile and we've been jamming for the better part of seven years now.
I explained that because I play in a range of musical styles, I liked the sound, versatility, and playability of my modern Carvin/Kiesel. I then dialed in a nice thumpy and balanced tone - after which he got a big smile and we've been jamming for the better part of seven years now.
Not a bass story, but I feel your pain. I replaced a lead guitar player for a friend-of-a-friend's band. They had good word-of-mouth and press; was good for exposure and expanding my circle of connections.
But I swear, it was more about style than substance. They provided wardrobe recommendations, but it wasn't about elevating our stage appearance; we were supposed to all represent different personas or whatever. I think my persona style was something along the lines of trust-fund grunge. Anyway, the band leader liked the way my '71 SG looked more than my custom built Robin (made locally, think Les Paul/PRSish). Band leader didn't care about how it sounded, 100% I had to bring the SG 'cause it fit the look in his mind's eye.
But I swear, it was more about style than substance. They provided wardrobe recommendations, but it wasn't about elevating our stage appearance; we were supposed to all represent different personas or whatever. I think my persona style was something along the lines of trust-fund grunge. Anyway, the band leader liked the way my '71 SG looked more than my custom built Robin (made locally, think Les Paul/PRSish). Band leader didn't care about how it sounded, 100% I had to bring the SG 'cause it fit the look in his mind's eye.
Stan Ridgway of Wall of Voodoo did not like the StingRay SR5 one bit. Luckily I had an Alvarez Jazz as a backup and I played that in the few gigs I did with him here in NM maybe 18-20 years ago, It was a strong dislike
Also it was a hard sell to one engineer/producer that the 3 way switch on my MIJ Jazz Special PJ s just like a single P and that it was a passive EMG Geezer Butler. Anyway next day, I brought my Fender 2012 P with the CS-62 along and he liked the MIJ PJ more and we used that for the additional tracks,
Also it was a hard sell to one engineer/producer that the 3 way switch on my MIJ Jazz Special PJ s just like a single P and that it was a passive EMG Geezer Butler. Anyway next day, I brought my Fender 2012 P with the CS-62 along and he liked the MIJ PJ more and we used that for the additional tracks,
No one cares which bass I play. They generally don't even notice if I show up with a new (to me) bass. Once I had a bass repainted, and they did notice that. They also noticed a Rickenbacker.
I also got compliments from non-musicians on the looks of one bass, a Danelectro Hodad, but I didn't end up keeping that one.
I also got compliments from non-musicians on the looks of one bass, a Danelectro Hodad, but I didn't end up keeping that one.
When you played with Stan, was it with drummer Bruce Zelesnik?
NO it was just him so the musicians were local from Santa Fe and Albuquerque
Ahh, so even his wife Pietra wasn’t involved? Bruce had been a roadie for WoV after drumming for this goofball Wazmo Nariz, then I played with Bruce in a band called Hex, fronted by a woman from Game Theory, Donnette Thayer. We shared a rehearsal space with Stan. When Hex fell apart, Bruce went to drumming for him. Just keeping track of the six degrees.
I brought my MIM Special Deluxe P (P/J, passive, VVT) to an audition back in December operating on the theory that nobody gets upset if you bring a P-bass. Sat really nicely during silent rehearsal and I got the gig.
Brought my Spector to the next rehearsal after getting it all dialed in with a new LHAZ and EMGX, and after the first song BL requested I keep bringing it. Band was unanimous. The P was great, but for the synth-heavy arena rock thing, a bit of R&B, and the odd pop song the Spector is the right call.
Works out nicely as I can turn up with my bass, cans, and the HX Stomp for that gig and it's a totally independent rig from my R.E.M. tribute. P-bass and the Zoom are all I need for that (and my amp and a.cab or two and the amp stand and speaker cables and power cables and the mixer because we're Neanderthals over there.)
Brought my Spector to the next rehearsal after getting it all dialed in with a new LHAZ and EMGX, and after the first song BL requested I keep bringing it. Band was unanimous. The P was great, but for the synth-heavy arena rock thing, a bit of R&B, and the odd pop song the Spector is the right call.
Works out nicely as I can turn up with my bass, cans, and the HX Stomp for that gig and it's a totally independent rig from my R.E.M. tribute. P-bass and the Zoom are all I need for that (and my amp and a.cab or two and the amp stand and speaker cables and power cables and the mixer because we're Neanderthals over there.)
That hasn't happened to me since 1999, when I subbed on a few gigs with the last touring version of the Mamas and the Papas. The musical director told me explicitly "This is a P-bass gig." That was odd to me, since Joe Osborn used a Jazz Bass on the original recordings. Fortunately I owned a P-bass and it was no sweat for me. The MD also wanted me to use their bass rig, which was a GK 400RB through a Hartke 410 cab with aluminum cone drivers - probably my least favorite combination at the time, but for some reason that was the directive. I enjoyed the gig - the drummer was Aaron Ballesteros, who was great, and it was a pleasure to try to recreate Osborn's parts.
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The only bass I’ve ever owned that my band mates didn’t appreciate was a Gibson EB3 as it was either all mud or all treble. That was back in the early 70’s. Since then playing mostly Fender basses, I’ve has zero complaints, suggestions, or negative comments about my choice.Really just what the title says. I have a BL who is also a good friend (was a guest and played at his wedding, etc.) who I've worked with off and on in everything from duos to 8 piece horn bands for 40 years or more. I have played MANY different basses (and amp rigs) with him over the ensuing years with little or no comment from him. Recently we did a gig and I played my MTD Kingston LK 4. He specifically asked me to bring it to the next gig, which I did. Last Saturday we had another date and while I brough the MTD, I also brought my new to me Ric 4003, which I opted to play all night (it was my Xmas present to myself, after all). He mentioned the Ric "didn't sound too bad"!Talk about damning with faint praise! I think I'll play the MTD next time! I always bring a backup, though... Anyway, this is so uncommon in my experience that I wondered about others' experience.
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My thought on this is if your bass sounds like a bass, odds are nobody is going to squawk about your choice of bass. If there is an issue two things are probably at play here. One is ignorance of the commenter, the other? Maybe your choice of EQ (effects) may need revisited.
Keep in mind it’s your money, your fingers, and your art as to what you play. However, when the boss wants the barn painted red, you’d best have red paint, not pink.
Not very often. But I have been asked to play a Precision bass on a few occasions - which I have no qualms with, since the Precision is one of my favorite basses. I have also been asked to play a headless bass on rare occasions when room on the stage is tight.
I play in this band and the BL doesn’t care what bass I use. He’s more into how tight we are…are patrons bobbing their heads…tapping their feet. Do we get compliments when we go on break? He’s like “dudes let’s have some fun…it’s about the music!” We look at each other with raised eyebrows. But, I must say, most of the time all the sh*t mentioned above happens. I know…I know…sounds really weird.
I’ve definitely had some of the same experiences as others here - especially bringing a Hohner Steinberger copy as a travel bass to gigs where a traditional FSO was expected.
Some band mates have expressed preference for a 75ri Jazz, a Geddy Sig Jazz, a Heartfield DR5, and strangely enough, an OLP Tony Levin SR5 copy with Chromes.
I can’t tell how many of these were due to “listening with their eyes”, but for me it’s nice to know that someone is paying attention to the bass sound.
I also have preferences for guitar tones - my current guitarist has a custom shop telecaster that I prefer to his Les Paul or PRS guitars. That chime-y tone really mixes well with bass guitar.
Some band mates have expressed preference for a 75ri Jazz, a Geddy Sig Jazz, a Heartfield DR5, and strangely enough, an OLP Tony Levin SR5 copy with Chromes.
I can’t tell how many of these were due to “listening with their eyes”, but for me it’s nice to know that someone is paying attention to the bass sound.
I also have preferences for guitar tones - my current guitarist has a custom shop telecaster that I prefer to his Les Paul or PRS guitars. That chime-y tone really mixes well with bass guitar.
one of my basses is voiced extremely deep and the orange 115 s have kind of a long throw, so when we play small places the guy i play with requests that i bring a brighter bass so the sound actually coalesces in the venue and not across the street
Years ago, I was on a gig with my band playing my usual Sadowsky (MIJ) Metro. I had recently bought another nice bass, the brand of which will remain nameless, and tried it out for the 2nd set of the night. After a couple songs, the guitar player looked over and said, "Pick up that other bass you were playing". He wanted the Sadowsky back. I did so with no regrets...
As I recall, he commented that it sounded "warm" or "round" or the like. I appreciate that but not all of the material calls for that sort of sound and of course the MTD and Ric both have the ability to do that and much more. I'm not a "set and forget" kinda player (used to be!) and I regularly adjust tone depending on the song.
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Just to clarify - BL did not make a demand, just a request. I really like the MTD (and all of the other basses I own) so there was no issue, per se. I was mostly surprised that after all these years he expressed any preference at all.
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Pretty seldom but not never.
I had one BL years ago who tended to prefer active basses. He never demanded it but he asked nicely if I would stick with active basses so I did - most of the time. (Surprisingly, I think he actually could hear the difference!)
A BL recently was so impressed by the sound of a G&L L2000 that he exclaimed “Next time we’re recording, I only wanna record THAT bass!” Sure, why not? If it makes him happy.
Those are the only two instances I can think of in 40 years of playing when a BL requested a specific bass.
I had one BL years ago who tended to prefer active basses. He never demanded it but he asked nicely if I would stick with active basses so I did - most of the time. (Surprisingly, I think he actually could hear the difference!)
A BL recently was so impressed by the sound of a G&L L2000 that he exclaimed “Next time we’re recording, I only wanna record THAT bass!” Sure, why not? If it makes him happy.
Those are the only two instances I can think of in 40 years of playing when a BL requested a specific bass.
