Start with the thing as written or recorded, correcting only the most obvious gaffes and mistakes. Then make your own contribution by improving upon it.
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Should I play the original basslines?
- Thread starter TheIndieKid
- Start date
The BL likes them. If they fit the song, stick with them.
Unless explicitly told to do otherwise, I will always serve the song in my way whether that means covers of known stuff or covers of originals. I would listen for key moments from the original and then build off of that unless the BL said to cover his lines. I personally hate copying other lines note for note- even from the greats.
My rule for bass parts on covers (which is essentially what you are playing) is if the bass is a noticeable piece of the song, or signature part, then I stick as close as I can to the recording.
IE_ Pyscho Killer or Flea on Higher Ground. I am not really going to put my own spin on either of those songs, as the bass is in your face, and a different line will screw up the song.
Now if like most songs, the bass is just kind of there (like Nate on most Foo Fighters songs, or just about ANY Cult song) I am going to tastefully add my own fills to it, But I will stick to the spirit of the part, So for both these bands the majority of what I would play is steady 8th notes just like the record, but I will add fills, because to be honest otherwise these songs are just too damn boring.
IE_ Pyscho Killer or Flea on Higher Ground. I am not really going to put my own spin on either of those songs, as the bass is in your face, and a different line will screw up the song.
Now if like most songs, the bass is just kind of there (like Nate on most Foo Fighters songs, or just about ANY Cult song) I am going to tastefully add my own fills to it, But I will stick to the spirit of the part, So for both these bands the majority of what I would play is steady 8th notes just like the record, but I will add fills, because to be honest otherwise these songs are just too damn boring.
Thanks for all the advice guys. I think actually sticking to the parts, but omitting all the unnecessary fills (imo) that lead into most sections works. The only one part that bothered me was a part when the drummer switches to the hi-hat. A straight kick-snare-kick-snare pattern while the guitarist solos. The previous bassist still let his notes ring out, whilst I would normally go for that staccato groove. What would you advise?
I was in this situation with a band I joined a few years ago. I learned the old lines. I embellish them a bit, but I'm fine playing them as they were written because they're pretty good. When we wrote new songs I put my own stamp on those. The old bassist and I had quite a lot in common though in terms of how we approach lines to serve the song, so I never really cared that I was playing someone else's lines. I like playing.
If your part fits the groove better, I would play the part with the staccato groove that you like... maybe nobody will say a word. If anyone does says anything, say -- "I'm playing most of the lines like the old guy and respecting that, but I think this part fits the song better, and since I'm the bass player in the band now, I'd like to be able to have some input. I think this works better."
If the BL argues back, request that you play the song with your part, and see if you can take a band vote or something.
Or a better way might be to address it before you start the song... "hey guys, before we play this one, I'd really like to try something out different in this one part. Cool with everyone? You can let me know what you think after." If the BL automatically says the old part is better (obviously he had his mind made up already and didn't actually listen), then say the thing about "I'm the bass player now..."
You don't want to be in a band where the BL controls you and dictates every note you play. That's no fun unless the BL is paying you to do what he says.
All IMO. Of course take the other band members and the band dynamics into account.
Make it easy for your bandmates. Let them lead the way. Start with the familiar lines. Commit to those lines and play them well and confidently. Don't say anything about them, and let your work speak for itself. From time to time casually ask for feedback. This may lead to opportunities for development. Playing unassumingly and faithfully the parts you aren't crazy about may give the bandmates the opportunity to reveal to you that they weren't big fans either. Then when you find something that works better it's their idea. People like that better. Or maybe you can find a way to pull off what the last guy didn't do so great. Don't make any drama about the old parts being lame. In fact, don't say anything about it at all. Build trust and confidence in your talent and your hang, and the gig will become more successful and become yours from the inside out.
Staccato vs. ringing notes is such a minor change that I suspect most people won't really notice exactly what's different. They may only pick up that it feels better. So I wouldn't deliberately make an effort to draw attention to it.
One thing I have learned is that the minute you give people reason to overthink something, especially in music, you will never hear the end of it. Start talking about these changes and it will lead to an hour's worth of analyzing, everyone in the band will start listening to you with a hypercritical ear, and they will all have their own suggestions and each member will want you to do it differently.
Once I realized this, I decided that keeping it to myself was generally a better approach because most of the time they won't notice it's different and if they do notice they'll be less likely to worry about it if I haven't directed their attention to it first, as long as the lines work and serve the song.
The MXR El Grande Bass Fuzz is in the ballpark, (no gating) but 1/2 the pesos.
Play the OG parts if they're good and serve the song as well as you think could be done. The ones that you think you can improve on and elevate the song to a better place, do your thing - which it sounds like you're already working on. Just keep it up but do give some deference to the original parts since the BL did help write them. And, the other guys can evolve their parts too, particularly the drummer, now that there's a "new" bassist. Sometimes the littlest thing can really create a fresh new spark in an arrangement. It's why we play live instruments! Otherwise might as well just sing on top of backing tracks...
Might check that out. I do like the sound of a clean bass in the mix though. But anyhow, ZVex effects are definitely in the top-end of price.
Bass lines do not exist in a vacuum. Sometimes they are locked in for sure, but the rest of the time what you play depends on what everyone else does and vice versa.
So don't sweat it if they react to you playing something a little differently by playing it a little differently themselves. It may be that you reacted differently to something someone else did differently and the other didn't notice that but noticed you.
In other words, roll with it by learning the lines as recorded and then trust your own ears. It sounds like the original guy probably never played anything the same way twice anyway.
So don't sweat it if they react to you playing something a little differently by playing it a little differently themselves. It may be that you reacted differently to something someone else did differently and the other didn't notice that but noticed you.
In other words, roll with it by learning the lines as recorded and then trust your own ears. It sounds like the original guy probably never played anything the same way twice anyway.
I suggest you get the "blue notes" of bass parts the other guy played but take your artistic privilege and blend in your own playing style and tasteful parts. If the other bass player was sloppy and found lacking you don't want to reproduce that.
And you can tell your band mates as much. I bet they understand.
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