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Who believes that its all about the tone?
- Thread starter ericmknight1906
- Start date
I prefer the word to use the word "Timbre". It is more specific in it's meaning.
For the science, there seems to be only two aspects to music, frequency and amplitude. But for our minds, it appears that we experience the hearing of sound in the following ways:
Pitch
Rhythm
Timbre
Dynamics (volume, envelope)
And then we use our minds and our memory to create and understand
Form.
So timbre is an essential element of sound and of music. Sometimes it can be more important than pitch or rhythm. It depends on the sounds being created. People notice timbre and dynamics more easily than we notice details of pitch and rhythm. A classical guitarist becomes known for his or her timbre, not for pitch. People appreciate vibraphones for their timbre and varying dynamics, not for pitch or rhythm which could be played on piano or guitar. For listeners, the difference between a real piano and a cheap keyboard with speakers is a difference of timbre.
In a certain instance, if some specific people want to hear a composition played on a un-amplified bowed double bass, and you give them that same composition played on an amplified electric fretted bass guitar with round wounds played with a pick, you could be rejected solely because of timbre, not pitch, nor rhythm, nor form. An acoustic piano player playing "left hand bass" can similarly be rejected based on timbre, when people want to hear a different sound of bass, either upright string, electric string, tuba, or organ.
For all listeners, timbre is what separates the various instruments from one another, in addition to range of pitch.
Timbre is pretty darn important!
The word "tone" though sometimes gets too tied into marketing for my tastes. "Buy this electronic product from us and you'll finally be able to dial in magical 'tone'."
That word can also mean a musical note or a pitch. That's why I prefer to use the word "Timbre".
So it depends. It's not "all" about timbre, however, sometimes timbre is more important than pitch, and rhythm. Other times, once the timbre is 'good enough', then pitch, rhythm and form take prominence. They don't exist fully independent of each other also. Certain timbres can influence how we perceive pitch and rhythm.
IMHO, YMMV
For the science, there seems to be only two aspects to music, frequency and amplitude. But for our minds, it appears that we experience the hearing of sound in the following ways:
Pitch
Rhythm
Timbre
Dynamics (volume, envelope)
And then we use our minds and our memory to create and understand
Form.
So timbre is an essential element of sound and of music. Sometimes it can be more important than pitch or rhythm. It depends on the sounds being created. People notice timbre and dynamics more easily than we notice details of pitch and rhythm. A classical guitarist becomes known for his or her timbre, not for pitch. People appreciate vibraphones for their timbre and varying dynamics, not for pitch or rhythm which could be played on piano or guitar. For listeners, the difference between a real piano and a cheap keyboard with speakers is a difference of timbre.
In a certain instance, if some specific people want to hear a composition played on a un-amplified bowed double bass, and you give them that same composition played on an amplified electric fretted bass guitar with round wounds played with a pick, you could be rejected solely because of timbre, not pitch, nor rhythm, nor form. An acoustic piano player playing "left hand bass" can similarly be rejected based on timbre, when people want to hear a different sound of bass, either upright string, electric string, tuba, or organ.
For all listeners, timbre is what separates the various instruments from one another, in addition to range of pitch.
Timbre is pretty darn important!
The word "tone" though sometimes gets too tied into marketing for my tastes. "Buy this electronic product from us and you'll finally be able to dial in magical 'tone'."
That word can also mean a musical note or a pitch. That's why I prefer to use the word "Timbre".So it depends. It's not "all" about timbre, however, sometimes timbre is more important than pitch, and rhythm. Other times, once the timbre is 'good enough', then pitch, rhythm and form take prominence. They don't exist fully independent of each other also. Certain timbres can influence how we perceive pitch and rhythm.
IMHO, YMMV
Flatwounds are no reason to play "boring" parts. And frankly, flats cut through better...
Why did it take so many posts for someone to clue in? Playing live - please yourself for the stage tone. Out front, it will be different and you usually have little control over it.
tru dat. still, i don't have to play an amp i don't like, so i think i'll keep the ampegsYou really should, because tone is all in your fingers anyway.
no matter what you call it, a great sounding source is easier for an engineer to make louder.
even better when the source is tailored/ performed in order to fit with the rest of the ensemble.
i believe a lot of complaining about engineers "messing up my sound" is due to an attempt on their part to make the sound of the ensemble work as a unit.... often, there must be a compromise in the ideal sound of each instrument in order for them to work together, as opposed to step on each other.
so, hell yes, it's about the tone... of everything....
even better when the source is tailored/ performed in order to fit with the rest of the ensemble.
i believe a lot of complaining about engineers "messing up my sound" is due to an attempt on their part to make the sound of the ensemble work as a unit.... often, there must be a compromise in the ideal sound of each instrument in order for them to work together, as opposed to step on each other.
so, hell yes, it's about the tone... of everything....
Yes some of us don't even think the strings START to sound good till after a month.
I think what OP is getting at is that the sound you hear helps you play.
The better my tone, the more inspired I am to play.
And that's why I have a Pedulla and an Eden.
The better my tone, the more inspired I am to play.
And that's why I have a Pedulla and an Eden.
For private practice there are two things that help me play better.
1. Great tone.
2. A great playing bass.
It is such a joy to not have to fight your instrument or hate your tone.
For group practice or playing out there are three things.
1. Hearing myself well in the mix.
2. Having at least a good tone (most of the time playing live you have to make some sort of compromise to hear yourself or be heard in the mix).
3. Having a great playing bass.
However...always remember...It is ALL about the GROOVE!
Joe.
Took me 30 years to get my tone , lots of hours .....
The biggest advantage of having a great bass tone is that no matter what amp/monitor you play on , you still can have a good sound.
( Please take note of the different application of words "tone" and "sound" and their context )
I think what OP is getting at is that the sound you hear helps you play.
The better my tone, the more inspired I am to play.
And that's why I have a Pedulla and an Eden.
I know but these types of thread are really only good for a bit of fun as the answer was/is a know.
The good thing is it is all in our own head. What is good "tone", what you list is my opposite, nothing wrong with that, my ultimate "tone" is that of flats through a tube amp, and maybe a good fuzztone though in from time to time.
Personally I disagree with the fingers thing because there is a lot more to the fingers thing then just "tone" and I don't think you can separate just "tone".
Sarcasm? Absolutely not. Flats sit under a mix far nicer than rounds. Ask anyone who plays them…
you 're tone depends on you.
If you play well you have a good tone,
If you play bad you have a bad tone.
Otherwise.
If someone bad plays with a 10 000 dollar rig, the tone is well, but its in the finger / picking too.
Thats what makes the noise, you plucking the strings your style
If you play well you have a good tone,
If you play bad you have a bad tone.
Otherwise.
If someone bad plays with a 10 000 dollar rig, the tone is well, but its in the finger / picking too.
Thats what makes the noise, you plucking the strings your style
You said ; " Sits better in a mix"
I say ; You should ask a soundman not another fellow flat user.
Do a little experiment , in a full range system (30hz-20Khz)
Put a variable LPF on a CD , put it @ 90hz and try to distinguish what is what , with a song you don't know.
The higher the LPF will be , the better your analysis of the program material will be.
