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Overplaying vs Underplaying?

#44
Someone told me recently that I was overplaying on a particular song, which I found amusing because it's one of the few songs in our set that I play note for note. There are some songs that I feel the original part is overplayed and I simplify it. Other times I add things to make up for us not having the full instrumentation of the original recording. It just depends on what you're going for.
 
#45
If you can listen to what you're playing in the context of the entire band what to play starts to become obvious. A lot of times a board tape or rehearsal tape can be a revelation and you can tell if you're doing too much. Sometimes playing less than you think will be all you need-just listen to Sting's bass line in Roxanne. Sometimes you need to do more-just listen to Jack Bruce in Crossroads.
After a few years of recording work I started realizing that I was playing fewer notes but being more musical with them and I really felt I was making progress. I like what Rufus Reid said about this, "Have a reason for everything you play." It makes sense to me.
 
#46
It's not a bad bassline. There's so much going on, vocals, drums, audience chanting, guitar solo that adding in bouncy, scale-like runs and fills just might be over the top. Like most people said, the mix did have alot to do with it but even if mixed well it's still a bit busy. And saying that the audience was drunk and you are just playing a cover. People want to listen to you play the original song regardless if they are drunk.

Now if you were to play a jazz jam version of this or any other style then maybe it would have been ok.
 
#47
Birdland11 said:
I hate when people talk about overplaying, and sticking to the written bassline.Here is oasis dont look back in anger. Is this overplaying? Why would I play the written bassline here? Does this ruin the song? I dont think it does. Why not go all the way with it? Opinions? This was recorded with a video camera on the bass side of the stage, so its not as loud as you think.Guitar is on other side, thats why it sounds like im hogging it all.
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I thought it was fine.

I would say always be conscious of not doing too much all the time, but I don't see where that playing was over the top.

Do you do that on every song? I wouldn't recommend that.
 
#48
IMO playing bass in a band setting is a relationship. Just like any relationship there's a thin line between love and hate. I take it to the limit until I start getting negative feedback from other members in the band. This gives me a threshold level and I take it from there. I do believe however in making a bass line mine even if it is someone elses. I often listen to my favorite monster bassist in a band setting to see how they play. A good example would be Victor Wooten when he is doing his thing vs. when he playes with Bela Fleck. Or Marcus Miller when he played with Miles Davis or Joe Sample. I also study and encourage my students to sit down with their rig and study how hitting the string differently moves air (the speakers differently. I'll practice just hitting an individual note different ways. So even if I am just hitting a C note I am hitting it special. If you really develop this you will sound good and unique no matter what you play and no one can complain. I often get compliments on my tone. Your fingers are part of your tone as well. Concentrate on your delivery in a less is more kind of way and not only the kind of notes or how many notes you hit.
 
#50
Birdland11 said:
Besides the one or two musicians in the room, people wouldnt know the original bassline if all four of us were playing it!
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True for the most part. I am more on the side of a "busy player" in a live setting. I get positive comments all the time from musos and regular folks alike about me not being a "boring bassist".

This is actually how I got hired into my last band. The members were all refreshed that I played "busy" and not just on the downbeat.

At the end of the day you have to serve the song. But who is to say that being busy does not serve the song? It is all subjective, even though subjectivity can be a majority opinion.
 
#51
shredhead68 said:
If whatever you play steps on the vocal - it's too much. Otherwise, play as much as you all agree sounds best IMO
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LOL. The "vocalist" and I are always in 100% agreement about the bassline. That is to say, we are of two minds, that always agree.

And yes, I do like me some busy bass lines. Getting them to work with my vocal is a little like working out one of those 3-d puzzles that you have to turn your head just so to visualize.
 
#56
I was expecting that too be much busier, it wasn't terrible. If you were a cover band, I think cover bands should play it as people are familiar with, especially with a vocal song, which you swamped out with your bass. From the sounds of it your an original band who chose a cover, I am guessing this because the guitar player isn't playing the solo note for note, it is close, but not quite right. Since your an original band covering, do what you want.

I thought it was an alright bass line but it was inappropriate for the song. I am a huge Oasis fan, and if I saw you in a club I would have most definitely thought you were a wanker.
 
#57
I thought your playing was tasty, and is probably exactly how I would have approached it 20 years ago. I've changed since then. Now, I like to screw with the audience and have some really tasty, catchy lick to play near the beginning of the song, getting everyone to anticipate it every time the part comes around, but never do it again, or maybe a variation of it toward the end of the song. Otherwise just getting in the pocket with the drummer and driving the song. Not bragging, but just sayin', I usually get compliments on my playing from audience members during breaks. I now get now fewer, and maybe even more, after taking this approach. Plus my fingers and head are a lot less tired by the end of the evening.
 
#58
DiabolusInMusic said:
I was expecting that too be much busier, it wasn't terrible. If you were a cover band, I think cover bands should play it as people are familiar with, especially with a vocal song, which you swamped out with your bass.
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If my band did that, nobody would come see us. In our neck of the woods, we have a gigantic following and we often draw thousands to our gigs (not exaggerating either, although those gigs are usually free admission ;) ), and consistently, people tell us they like us because we do things a little different. Not all of our covers are wild rearrangements, but most have at least been tweaked a good amount, and we don't do any strictly note for note. Our feeling is if you want to hear the record, go home and play the record.
 
#60
themacinator said:
A musician and recording engineer in my area says "the notes you don't play are just as important as the ones you do". I stick by that philosophy.
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That's an important lesson. If you want a classic example of how holes can help create an incredibly grooving, huge sound, listen to Little Feat. Lowell George said "The secret of LIttle Feat is knowing when not to play".
 

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