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Substitute asked to change tone?

jaywa

jaywa

May 5, 2008
7,702
283
Iowa City, IA
#1
I'm wondering if anyone has ever done a subbing situation where the band or solo artist asked you to change your tone to something you were less than comfortable with because it's how their "other" bassist sounds. Did you just go ahead and do it? Push back? Compromise?

Fortunately I have never been in that situation (usually the band likes my sound BETTER - comments like, "wow it actually sounds like a BASS"), but am just curious in case it ever comes up.
 
#2
Yessir, it's happened more than once.

My usual reaction is to ask them to describe exactly what they want, and if I see their point for the music we're playing, I'll do it, no problem. If I disagree I meet them halfway and let them know that's what I'm doing, and generally what I've seen is that they can't really tell what I've done once I've done it, so it all works out either way.
 
#4
When I first started, I resisted because I liked a treblier tone than most and I thought the big fat sounds with no treble made it too muddy. Then I lost a permanent gig that paid pretty decently because of it. At that point, I decided to be a little smarter and play along with what the band wanted if it wasn't my gig. And I got more calls because I was no longer considered difficult to work with.

Play what you want on your own time, but if you're a sub, you owe it to the people paying you to do what they feel is necessary for their band to sound good. It's not the end of the world if they tell you to turn down the treble or the volume.
 
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#7
JimmyM said:
Play what you want on your own time, but if you're a sub, you owe it to the people paying you to do what they feel is necessary for their band to sound good. It's not the end of the world if they tell you to turn down the treble or the volume.
Click to expand...

+1 You are a paid invitee/substitue and the more eager you appear (even though it is not your sound) to please them, it pretty much guarantees you a spot the next time they need a sub.
 
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#9
When I am playing with my own bands, my tone, like my playing style, is mine. I've quit bands who have tried to change it. Sub gigs are different, though. When subbing my job is to temporarily replace - or mimic - someone, so that the impact of his or her absence is minimized. I try to play the regular player's lines and cop his or her tone as closely as I can. it's not my gig, and it's not about me.
 
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#10
VisualShock said:
yeah, I work in a theatre as a lighting technician. It's called the DFA button/fader/knob....
because you Do ---- All
:hyper:
Click to expand...

I think I remember years ago reading an interview with Lee Sklar wherein he described the "Producer Switch" on his bass. It was used when a producer on a session asked for more [something] in the bass sound. Sklar would flip the switch, play the line again, and the producer would say "yes!" The switch was actually connected to nothing at all.
 
#12
Not only is it the leader man's (or otherwise the check writer's) prerogative to request a certain tone from all the players, but I keep being amazed at players that are taken aback by such a request.

We all like to think we have our signature sound, which is fine. But hey, we gotta eat and keep the lights on. That doesn't make you a sell-out. It makes you a productive citizen of society.

I'm really fortunate that a couple of guys I work with are understanding about my in-ability to play with a pick. At 58, my fingers and hands never bother me with finger-playing, but my fingers go numb after holding on to a pick for a few minutes (same reason I'm careful when driving and I don't even ride a cycle anymore). So far, it hasn't cost me a gig. After a conversation with a very busy and successful CCM bassist, I'm about to try a thumb pick like banjo players use. Hey, if it keeps me working, why not...
 
#13
Whoever is calling the shots for the band and/or paying for my time has the right to ask me (or any of the musicians) to make whatever adjustments they wish in my book. If I find the changes too drastic or uncomfortable, I always have the right to suggest that I may not be the bass player they're looking for.

I've had producers and engineers in the studio even suggest style or riff changes as well as tone/technique changes to get what they're looking for.. Unless it's your band, I think taking direction is part of the job.
 
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#14
Geri O said:
We all like to think we have our signature sound, which is fine.
Click to expand...
well my signature sound is a P-bass into a sansamp set mostly clean, so the response at soundcheck is usually a slightly bored, "OK, that's good. guitar?..." :cool:
Geri O said:
After a conversation with a very busy and successful CCM bassist, I'm about to try a thumb pick like banjo players use.
Click to expand...
huh.

most thumbpicks are narrow, stick way out and are only good for downstrokes. that's how they're strictly used by banjo, pedal steel and dobro players.

i remember one company making thumbpicks that were actually wide flatpick shaped and thus could be used for up and down strokes, but i dunno if they're still in business.

what's your issue with regular flatpicks? do you feel like you have to squeeze them too hard to keep from losing them?

i like the big rounded triangle picks ("fender 346" shape), easy to hold and don't "catch" on the string as much for a smoother attack with up and down strokes.
 
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#15
I've never been in the situation either, but I imagine I'd try and see it there way and meet in the middle somewhere. They hired me and if I want to keep those gigs, I'll pretty much do whatever they want unless I think it sounds terrible.
 
#18
walterw said:
well my signature sound is a P-bass into a sansamp set mostly clean, so the response at soundcheck is usually a slightly bored, "OK, that's good. guitar?..." :cool:

huh.

most thumbpicks are narrow, stick way out and are only good for downstrokes. that's how they're strictly used by banjo, pedal steel and dobro players.

i remember one company making thumbpicks that were actually wide flatpick shaped and thus could be used for up and down strokes, but i dunno if they're still in business.

what's your issue with regular flatpicks? do you feel like you have to squeeze them too hard to keep from losing them?

i like the big rounded triangle picks ("fender 346" shape), easy to hold and don't "catch" on the string as much for a smoother attack with up and down strokes.
Click to expand...

Yeah, my signature sound is the bass I'm playing at the time (Stingray, Jazz, Precision) strung with round wounds ado the natural distinct round tone is prevalent (I'd LOVE to hear your Precision, I'll bet it's awesome the way you have it set up).

I've been asked a few times to tone down the roundwound tone of the basses some and the treble control and lightening up my playing technique has taken care of that easily enough.

That's good to know about the thumb picks. As I said, I was about to look into them. I have, I guess, some arthritis going on that makes gripping things a little difficult after a while (which is why I mentioned not riding bikes and motorcycles anymore). I've tried the thick Herco picks and I can almost manage them. It's very seldom I get asked to use picks, but some of the worship tunes are heavy with the Precision 16th-note style of playing (Phil Wickham's "This Is Amazing Grace" is one example) and I'd like to walk in one Sunday morning and nail that part as it's recorded. However, the MDs there are fine with me not using a pick so far, so it's not a "get the gig or not" thing so far.
 

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