After 25 years of playing I can honestly say you need to be one with the drummer, lay down solid grooves and fill in when necessary and do it tastefully.
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What makes a good bass player ?
- Thread starter benlauziere
- Start date
Funny this should be in the technique forum because being a good bassist is so much less about technique (which is HOW) to play, but about WHAT to play or not play.
A. Understand the bass's role. No matter the style, it's always the same and time is NOT all of it. The two aspects of the bassist's job are to define the harmony and to connect the rhythm parts with the melodic/ harmonic parts. Neither takes precedence over the other. Note that this does not relegate the bass to mindlessly thumping 16th roots no denigrate doing the same. As my hero Jack Bruce said "Just because the bass has a traditional role to fill, that doesn't mean one HAS to fulfil it in the traditional manner."
B. Have a life and use music to speak of that life. Music is an expression of who you are, it's not who you are.
C. Don't be a jerk. You can have high standards and demanding a la Miles, Fagen/Becker, etc. But you never get to that level without people skills that allow you enough work do people actually knowntou CAN play.
D. Play the gig. That means not only take gigs for experience and connections, but know whatvthe gig is. Have the wisdom to know when and where you can push the envelope and when to stay in it- and the confidence to whichever is appropriate.
Note that for point A, it's vitally important to LISTEN all thebto what others are playing around you. That really hip Victah/Marcus/Les/Jaco/whomever lick may be great, but if it's not musically fitting with THIS drummer, THIS keyboard, THIS guitarist, THIS Singer, its the wrong thing to play. It's just as wrong as playing root-five on "Moondance".
John
A. Understand the bass's role. No matter the style, it's always the same and time is NOT all of it. The two aspects of the bassist's job are to define the harmony and to connect the rhythm parts with the melodic/ harmonic parts. Neither takes precedence over the other. Note that this does not relegate the bass to mindlessly thumping 16th roots no denigrate doing the same. As my hero Jack Bruce said "Just because the bass has a traditional role to fill, that doesn't mean one HAS to fulfil it in the traditional manner."
B. Have a life and use music to speak of that life. Music is an expression of who you are, it's not who you are.
C. Don't be a jerk. You can have high standards and demanding a la Miles, Fagen/Becker, etc. But you never get to that level without people skills that allow you enough work do people actually knowntou CAN play.
D. Play the gig. That means not only take gigs for experience and connections, but know whatvthe gig is. Have the wisdom to know when and where you can push the envelope and when to stay in it- and the confidence to whichever is appropriate.
Note that for point A, it's vitally important to LISTEN all thebto what others are playing around you. That really hip Victah/Marcus/Les/Jaco/whomever lick may be great, but if it's not musically fitting with THIS drummer, THIS keyboard, THIS guitarist, THIS Singer, its the wrong thing to play. It's just as wrong as playing root-five on "Moondance".
John
Lots of good advice already. Good "Feel" is the key. Doesn't require a lot of technique most of the time. The right feel for the song requires really listening to the song, being a good mimic. You need good time, as much of the groove is playing stuff around the beat, sometimes before, sometimes after, often not directly on the beat. You may be laying back, or anticipating, but either way you must be able to do so without altering the timing. Anticipate without rushing, lay back without slowing down. Pay attention to the articulation. How long do the notes ring? Are there accents?
You have to be able to play the seemingly simple lines that are out there and make them come alive. Anyone can play them "straight", make them sound boring. I pretty much hate Bob Seger. Simple predictable boring songs. I went to see him in concert because a friend of mine was playing in the opening act. I was tempted to leave after they played, just skip Seger altogether. I figured I'd stay for a few songs. Amazingly enough, they played those simple boring predictable songs with a lot of energy, great feel. Maybe it was playing for a hometown crowd, but they played their asses off. I was very much impressed. Learned a lesson that day.
There aren't a lot of technically challenging basslines in most commercial music. It's not a matter of technique in most cases, its a matter of restraint, a matter of NOT trying to show off your technique every chance you get, but focusing on the drums and locking with them, while simultaneously listening to the rest of the band and matching what they're doing also. You're the bridge between the rhythm and the chordal structure. You must match the drums rhythmically, and the music harmonically.
The general rule is, it's what you DON'T play that gets you hired. Playing too much all the time gets you fired.
I've been playing with a really good band lately, and I've been playing pretty conservatively, concentrating on just keeping up, playing with a lot of feel, but following the original bass lines pretty faithfully. Was worried at first I should be jazzing it up more, as its a real high energy act. Yet I have had a lot of people coming up and complimenting me on really holding the bass down. I'm actually amazed, it's been pretty much every gig we do. And that's one thing, but I always figure maybe people are just being polite. One that really stands out for me was the bass player from a real live pro band said I was a really good bass player. What makes it special for me wasn't that he's a pro bass player. What makes it special is he didn't tell me, he said it to someone else, who passed it on to me. He had no reason to lie to be polite.
I'm no technician, I'm reasonably competent, but plenty of guys can play circles around me. I try to play with a lot of energy, not a lot of notes.
The key is this: It's not how many notes you can play, its how you play the notes you choose to play.
The other key is this: Don't be a jerk. Show up, on time, know your parts, have decent equipment that is up to the task at hand, don't be a prima donna. The guys that can play rings around you and know it think people have to kiss their butt to deserve their participation. You don't need a bass player that can play like lightening, they may get the job for a short while until they stab themselves in the back with their attitude. There are plenty of really beautiful girls out there that are really high maintenance and not worth the drama they bring to the relationship. Same goes with bass players, and really any other instrument as well. The trouble with bass players is that you don't really NEED a great technical bass player to play 99% of the cover songs out there, so there's even less reason for anyone to put up with drama than other members.
Randy
You have to be able to play the seemingly simple lines that are out there and make them come alive. Anyone can play them "straight", make them sound boring. I pretty much hate Bob Seger. Simple predictable boring songs. I went to see him in concert because a friend of mine was playing in the opening act. I was tempted to leave after they played, just skip Seger altogether. I figured I'd stay for a few songs. Amazingly enough, they played those simple boring predictable songs with a lot of energy, great feel. Maybe it was playing for a hometown crowd, but they played their asses off. I was very much impressed. Learned a lesson that day.
There aren't a lot of technically challenging basslines in most commercial music. It's not a matter of technique in most cases, its a matter of restraint, a matter of NOT trying to show off your technique every chance you get, but focusing on the drums and locking with them, while simultaneously listening to the rest of the band and matching what they're doing also. You're the bridge between the rhythm and the chordal structure. You must match the drums rhythmically, and the music harmonically.
The general rule is, it's what you DON'T play that gets you hired. Playing too much all the time gets you fired.
I've been playing with a really good band lately, and I've been playing pretty conservatively, concentrating on just keeping up, playing with a lot of feel, but following the original bass lines pretty faithfully. Was worried at first I should be jazzing it up more, as its a real high energy act. Yet I have had a lot of people coming up and complimenting me on really holding the bass down. I'm actually amazed, it's been pretty much every gig we do. And that's one thing, but I always figure maybe people are just being polite. One that really stands out for me was the bass player from a real live pro band said I was a really good bass player. What makes it special for me wasn't that he's a pro bass player. What makes it special is he didn't tell me, he said it to someone else, who passed it on to me. He had no reason to lie to be polite.
I'm no technician, I'm reasonably competent, but plenty of guys can play circles around me. I try to play with a lot of energy, not a lot of notes.
The key is this: It's not how many notes you can play, its how you play the notes you choose to play.
The other key is this: Don't be a jerk. Show up, on time, know your parts, have decent equipment that is up to the task at hand, don't be a prima donna. The guys that can play rings around you and know it think people have to kiss their butt to deserve their participation. You don't need a bass player that can play like lightening, they may get the job for a short while until they stab themselves in the back with their attitude. There are plenty of really beautiful girls out there that are really high maintenance and not worth the drama they bring to the relationship. Same goes with bass players, and really any other instrument as well. The trouble with bass players is that you don't really NEED a great technical bass player to play 99% of the cover songs out there, so there's even less reason for anyone to put up with drama than other members.
Randy
My friend is going to this music school and he keeps telling me of the awesome bass player there, he's saying that this guy can slap on all strings, play all scales, but then i tell him, does he know how to groove or making sounds that grabs the audience and gives them an incredible experience ?
Everyone can learn techniques and scales, but not everyone can make good sounds and music
Everyone can learn techniques and scales, but not everyone can make good sounds and music
You know, I see this stuff a lot. Go into almost any music store and some youngster will be there just beating the hell out of some bass. Slap, pop, twang, fret buzz, all treble and mid on the amp, looking real smug about their I'm a Flea Wannabe skills. But go and tell them that's cool and all, but can you lay down some blues and you just get the old blank stare that signifies, quit bothering me old man.
Yeahh, I'm usually that kid in a music store.. Ya know the one who is playing a bunch of simple Nirvana and Metallica stuff..
Although if they're really interested in being good bassists naturally they'll move on to other genres of music.
