I'm originally a drummer who switched to bass 30 odd years ago because we couldn't find a bass player. It's true, you're not noticed until you make a mistake or are absent. I played in a rock band in the nineties and never missed a rehearsal until I got injured. At the next rehearsal the band leader said to me "I'll never take you for granted again". Yep.
Im a guitar player but i also play some bass, keyboard and drums too, especially when i record demos or something. Ive learned through the years and after spending time with them that every musical instrument is equally important, all of them have their own spot or place into a song and a especific function
@@axelbauron155 i get your point man, but i am so used to the perspective of a musician/producer, that there is no "in the shadows" for me. Maybe for a listener/no musician perspective is like you said.
Because while we are missing only 1/4 or 1/5 of the band, the frequencies that the bass resonate at make it feel like we are missing 1/2 of the band or more
@@avielp The important thing is knowing what you missed in the song... if you missed the break then you know it, and you'll have to work on the song more on your own. Also there's your sound, sometimes referred to as your tone. This is on you though, perhaps the guys didn't notice because you don't have a bright enough tone. You might need to try a bass flanger, it's a pedal you can get and it'll boost your signal and if you play a riff on the higher notes it'll help that riff cut through. IF you're in a band then you're fortunate to have a jam / practice space. You have to make the most of it and try not to turn up too loud. In my situation our guitarist would start turning up more as we went on. Then I can't hear myself so I git a 4 x10 acoustic bass cabinet, better sound. For a head I have a Hartke 1000LH, but I changed it to a Rumble 150 head. Then we turned down anyway and they hooked up a mixing board with ear monitors so in the room we'll turn down. That way he doesn't get complaints from the neighbors, but it's tough playing and keeping the earplug / monitor in but We get used to it. I only use one, not both ears because I still want to hear the room. Good luck in whatever your goals are.
@Vincent James Voice Sure it depends on the band, some bassists like Geezer Butler was always off to the side. Gene Simmons you're gonna notice!! Of course he sings some of their songs. Then someone might tell you oh I saw you, what you do is easy. So you have to say oh you think it's easy, let's see you do it then. One time a chick told me that so I had to figure out what to say - then I heard again - it was Gene Simmons and Paul Stanley that I got it from!! Just from reading or hearing them on the internet.
I’ve played bass for 25 years. LAYING OUT: I learned “space” from Miles. NOT PLAYING ROOT/NOTE CHOICE: I learned that from Sting. RIGHT HAND POSITION: I learned that from Jaco and Marcus Miller. MUTING STRINGS: that just comes naturally with time. All the masters are the best at this-most notably: Nathan East. ELECTRONICS: your hands are more important than any piece of equipment. Your gear/EQ/compression is important, but don’t overthink it. Play in time and choose the best notes. POCKET: feel is everything on every instrument. Pino Palladino is my favorite example of “feel”. Rick this is a great video, as always. God bless. 🙏
As a drummer, I learned leaving space from the great Bill Bruford. He said "rhythm is the empty space between the notes". You can hear in his playing how masterfully he manipulates the rhythm and music by restraining and NOT playing, focusing on the really essential notes. He also talks about "the beat", which is a another thing, playing simple and complex at the same time.
One thing I notice about ace bass players is the timing control over when a note ends...it's a conscious decision how long to hold a note, and the attenuation of a note clears the air to hear the attack of the next note -- all to better support the groove.
Absolutely, Samuel. The groove is paramount, even above talent and tone. As for playing slightly behind the beat, listen to Joe Osborn (and Hal Blaine on drums) in One Less Bell To Answer by the 5th Dimension. They BOTH play impeccably behind the beat in this song. Totally dreamy. You know where the (implied) beat is, but the those two guys are several zip codes away from it.
Very interesting as a bass-player going from channels like Scott's Bass Lessons, to this video, cause Rick is not talking about techniques to elevate playing, but instead he talks about what works in the production. Really good info, that is often left out in the more general RUclips bass channels.
@@fonkamex I totally agree. SBL is more of a podcast or social channel now. Especially since he started pushing his website for subscribers. But I get it, ya know. We all gotta make a profit, right?? Peace!!
0:28 Tip #1 - Lay out for dramatic effect/use space in your bass lines 1:27 Tip #2 - Play more than the root (but sth. different from the singer) 2:43 Tip #3 - Where you play determines tone 4:24 Tip #4 - Mute the unused strings 5:20 Tip #4 - Learn the tone tools 8:40 Tip #4 - Pocket! Free tip - impress your band peers, learn to count properly above 4! (Kidding, but very nice how you sneaked in 6 tips here ;-)
I’ll also studied “classical” bass as an undergrad but my instructor was a Latin jazz bassist named Carlos Castillo. He played with a band called Machito, as well as stints with Tito Puente and other Latin jazz bands in the 60s and 70s. What a fabulous experience and introduction to Latin jazz.
Playing live vs recording are two quite different things for a player. Rick is aiming mostly at recording. I submit one other bassic rule for playing live in a small combo. Get a wireless, walk around the venue and listen. Every room has a different low frequency response and resonant points. In large rooms, I find I have to play slightly ahead..speed of sound varies with frequency. I also cut notes shorter in large rooms with high ceilings. Knowing when to stop notes is really important too. I'll get off my soapbox now.. Thanks Rick.
Your absolutely right. The size of the venue makes all the difference. To your point also, there is nearly always one point in low frequency range that rings, or resonates louder than the rest. This also changes with acoustic characteristics of any given venue. A good sound man (FOH) will catch this, if he doesn't already know it. Either way, I like to run a "midrange sweep" before giving my line out to the PA.
The other big one is dynamics live as well. What sounds great on a recording or in the bedroom will often sound completely different on a stage and require you to be able to adjust your dynamics and playing style on the fly. Percussive sounds seem much louder so you have to dial down hits and pops to compensate.
@@isogash Absolutely true, and worth stating. On that point, resisting the urge to "dig" into the strings when we can't quite hear, or feel, the bass well enough. This can certainly put one on the sound engineer's/front of house's "poop" list, not only because it sounds sloppy, but also makes others wonder why you can't pay attention during sound check. An experienced sound man will know what you are trying to do, and why, simply because he has dealt with lowered monitor levels due to mic' bleed and overzealous, hard of hearing bass players. Just glad I'm not the only one!! 🎸🎶 👍👍
I wish Rick would expand a bit more on the pocket thing with example showing the effect playing behind, ahead or on top the beat and how to choose which is appropriate in different situation. I hope he makes a full video on this
Steve Martin, the comedian/banjo player, said that when he makes a mistake on a note, since what he plays is Bluegrass, there are people in the audience that know every note. He'll see several people look around like, "he missed a note." So he said, when that part comes around, he'll deliberately mess it up again. The same people look around again. When he comes around again he will mess up, and the same folks get a look on their face like, he must have done it on purpose. Steve will come back a last time and mess it up. Those same folks will go, yeah baby that sounds good. I heard Steve tell this story on the "Dennis Miller Show." Vaughn
yes! My first bass teacher used to tell that If you repeat a wrong note, after some repetitions it looks like a right note! It's almost the same effect of playing "outside" scale notes in purpose
@@acprado67 I told that to a bass player that I know a few years ago. When he heard that, he laughed and said that he was going to try it. It works. When you listen to a lot of these classic rock bands they never play their hits exactly the same every time. My opinion is that when they play a concert they make mistakes and just roll with it. Take care. Vaughn
The problem is that in the bass it is easier to notice the errors, because we use to play slower scales and not to use as many effects as in the guitar
I played bass for 3 years helping out in my singers classic rock cover band. Man, these years made a much better guitar player. Suddenly something clicks. You start to understand. And you start to listen better to the rest of the band.
Bass Tip: It's far more efficient to do the string muting with the plucking hand, since it allows the fretting hand to move freely and quickly. Gary Willis has an incredible technique for it. Floating thumb also gets the job done.
I played bass 5 to 7 nights a week in the 60s. I moved on to keys and guitar after that a total of 30 years. I am 78 years old now. Although I had good chops knowing what not to play was as important as knowing what to play. My role as a bass player was to set up the rest of the band to play better. If the focus was on me then the rest of the band suffered. The bass is not a guitar. It is part of the percussion section as well as the bottom. Fortunately I'm not very opinionated about this.
I played bass in my youth and got back into it a few years back, but I've also held the same opinion that the Bass is part of the percussion group. It's not a solo instrument. Those that I've seen pull it off have done it as an expression of the INSTRUMENT, but not as that of the MUSIC.
Every guitarist thinks they can play bass but it's really a totally different instrument. I was fortunate to start off playing both from the very beginning so I learned the difference early on.
Rick, it's so great to see you give some instrument-specific tips. I hope you'll do more. If you revisit the bass (please do!), I'd love to see & hear a video where you dive more deeply into EQ and compression, with examples, and also some examples of playing ahead, on, and behind the beat. Thanks!
Rick is right as ever: avoid doubling thirds, and he's right on everything else here, as usual. A lifetime's experience and study, all for free. But avoid doubled thirds.
@@cbpeddie1 A lot of times the bassist is playing notes that outline the chord the melody is sitting over. These chord tones are quite commonly used as melody notes, as one might suppose. For instance, if it's C major that's C E G. If the lead singer is singing an E (the third), you really need to stay away from E. Maybe it's OK as a passing note on a weak beat, but don't hang around there. In general, the bass should avoid doubling the melody as much as possible because the bass has so much more energy in it than the melody will and thus it'll make the melody feel really weak/overshadowed, but a third is particularly important because it's the note that tells the listener whether the chord is major or minor. A lot of melodies will use notes like the third as a consequence.
As a bass player with chops, the time an instructor put in my place for being to busy was really eye opening. Knowing what not to play will make you a better player. A bass player is a sacrifice, the Limelight for the quality of the song.
Tried out for a blues band, couldn't bring myself to plod through the regular blues riff without deviating from 4/4 on the beat. Didn't get the gig. But then, I probably wouldn't have been happy doing that song after song after song anyways.
Yeah when I first became any decent at the instrument (in my late teens I guess) I had the feeling I had to let everyone know 100% of the time. Nowadays I'll often just play root-rest-fifth-rest in quarter notes with an occasional linear fill leading to the next chord because in a lot of songs that works infinitely better than running up and down multi-octave arpeggios all the damn time. I suppose age can be a factor in itself, I think of this development in my playing as a result of the transition from teenage exhibitionism to a more humble (or having-been-put-in-your-place as you put it) approach to life in general.
Leland Sklar is an excellent example of this. On most of the thousands of albums he's played on, he plays what's needed, no more - very minimalist. But when he was out touring with Phil Collins, he got quite busy on "Sussudio" - he has the technical skills to hang with anyone, but he's probably the best in the business for knowing when to get freaky, and when to stay with those whole notes. He also knows when to give a gig up for the best result - he once was asked to play a tune like Jaco would, and his response was, "if you want a Jaco sound, then you need to call Jaco. Here's his number."
As a bassist from 15 years my best recommendations are this: 1. Change your strings regularly. 2. Keep practicing and don't fall into thinking that your struggles with the instrument are caused by your equipment, brand of bass or anything else like that. Just keep practicing. Everything else will come naturally.
I agree buuuttt.... I've been playing bass on and off since my teens but never really progressed and quit a million times. I got a short scale for my 40th birthday this year, and can immediately play so many things I struggled with for many years. I'm still not a great bass player or anything but I've progressed more in 5 months than I did in 2 previous decades lol
I tried watching this on my phone and can barely hear the bass. It's so sad that most people never experience music with full range speakers or a subwoofer these days. Laptop speakers don't cut it either
I started watching a lot of music on You Tube ...realised I couldn't hear the bass so got a relatively cheap set of computer speakers that included a bass speaker and opened up a whole new world of music.
Bang on. I was 19, playing in a restaurant in a quartet. The owner was losing money so he wanted a three piece. I was fired. They played one night without me, then rehired me. They hated the missing bottom end. It was a high for a young player. When I give advice I always say...knowing when to stop a note is just as important as knowing when to start it.
Fred Herfst That’s something my dad and brother (both bassists) taught me about playing bass long ago: When it comes to bass, people don’t know you’re there... until you’re not there!
Same with keyboardists. Nothing worse than a piano player pounding away with their left hand to "tell" the bassist what to play and obviously having no idea of the role of the bass in a band.
The bass has a dual role: rhythm and harmony. You have to groove with the drummer, and you dictate the harmonic context of everything else on top. So you have to be precise. Guitar can be quite sloppy, in fact, sometimes, it's part of the thing that the guitar is sloppy - over a tight rhythm section...Luckily I have not had to deal with a keyboard player 'telling' me what notes to play with his left hand....
@@anguskerr1872 exactly. It's really frustrating to have a keyboardist who won't stay in lane. Thankfully I've only had to deal with a few over the years.
I started with a guitar, then singing and the bass. Bass can be a lot more difficult than the guitar. In a band I listen mostly the singer while playing bass. No other instrument can replace the groove of a good bass player
I would add 1 very important rule for any bassist. Victor Wooten tip: Don’t lose the groove! The bass is also the rhythm section so if you miss a note don’t go fishing for it. At least keep the rhythm and get the note right next time through. The band will appreciate it.
The ability to play behind, on, or ahead of the beat is also useful for parts of the song - ie., drop behind the beat you have big pocket and niche groove - move to the front of the beat during the chorus to help create the elusion the song is speeding up and gaining emotional energy. A problem with that can be if you are playing with a drummer who doesn’t understand that you are moving intentionally and reacts to your playing by also moving rather than holding the groove.
0h snap Jason didn't come in to the studio that day...or week...or month? I miss Cliff Burton like he was my own blood...brothers and sisters please check out 'Murder in the front row', a verbal and visual history of one of the last greatest musical movements and happenings of the 20th century that really mattered...SF Bay Area Trash Metal scene, 81-86, it was something special me and my friends lived it every weekend and it was fkn glorious🤘
Instead of learning parts to a metronome, much better to learn how to become a metronome. Years ago I woodshedded daily for hours over two years with a metronome not for parts but to learn how to play with it AND against it. Start VERY slow and learn how to play ON the beats, BETWEEN the beats, at various tempos, on various subdivisions of the beat, etc. e.g. set a tempo of 60bpm 4/4 - play quarter notes, eights, sixteenths. Then make the click the 2 rather than the one, then make it the 3, then the 4. Play 3/4 against the metronome, 5/4, 7/4, then make the click the 2 in 7/4 then the 3 and so on. There's a whole world of space to study between the clicks with some imagination. Becoming obsessive about it helps. ;-) I still practice this on a regular basis.
Great Video! Most bassists don't realize the importance of the right-hand for total mood changes. Just as important I have found, is to get the guitarist to roll the bass tone off of his amp a bit. It's a huge plus if you want your bass to stand out and be heard. You can't be competing for the same tonal range with your guitarist. However... Good Luck with that one! 😁
"When the bass player play's a wrong note, everyone hears it" Not when you're buried in the mix under the over-loud guitars and no-one is listening to you anyway. The joys of playing bass in a blues band with shitty sound engineers at shitty venues.
In some styles of music the bass isn't very prominent - and if it was, those styles of music wouldn't be the same. This is a pointless comment IMO. If you couldn't hear Geddy in the mix it'd be a whole different story.
@@jollyvoqar195 But bass is extremely important to blues. Blues bass lines are what make the blues danceable. No bass, no blues! Perhaps that's Jon's point.
Not with a 300 watt amplifier, 2 bins with 2 x 15 inch cones and DI'd into the PA as well. I make sure everyone has an equal opportunity to hear the subtle tone of my Bass.
As an example of playing behind the beat, listen to any Led Zeppelin album. Bonham (and the rest of the band, especially JPJ, because you cannot play behind a beat without a strong implied beat by the rest of the band) often creates this amazing, heavy chugging sound like a rock n' roll locomotive. I love it. As an example of playing on top of the beat, try the Jailbreak album by Thin Lizzy. Brian Downey's drumming veers into pushing the beat; it is so tight and insistent it creates a sense of urgency that pervades the entire album. I love it. Both kinds of drumming can impart great energy, it is just a different kind of energy. As for playing literally on the beat, that works also--it just creates a different mood. Try Jaki Leibzeit on the great Can albums like Tago Mago or Ege Bamyasi. Jaki is like a human metronome, although that applies only to his sense of time--his playing much more than metronomic. I love it. And now that I have written this, it occurs to me that I should have focused on where bassists play rather than drummers--sorry--but the effect is probably easiest to discern by focusing on the drums.
@@jimmymack9440 Comes with experience. But when I started writing my own songs, it was purely amazing how touchy one can get when it was your own voice your own bassline is stepping on.
I greatly appreciate this video. I just bought the cheapest Chinese 5-string I could find because I was inspired to get back into it. I haven't touched a bass in over twenty years so I'm basically starting over.
When you talk about "air" in your bass playing, nowhere is a better example than "Reggae" bass lines!...Bob Marley, (Aston Barret/Family Man) Ziggy Marley and many others "lay out" in many classic Marley songs. One of my favorite things about Reggae in the first place! I started out on drums at 10 years old switched to piano, then guitar & Bass. I still really love being in "The Pocket" on Bass and drums both! As usual, great advice from Rick!
What works for me, when this happens, is looking at the guitarist with disdain. When you get to the same point in the chorus next time, play the same wrong note and give them another dirty look. Unless of course you made a timing error, then you have to look at the drummer.🤦♂️👍
After 43 years of playing bass (I'm 57) I learned one important thing about live mistakes: play them TWICE, so that the audience thinks it's part of the song. Works like a charm about every time. If not, blame the drummer, he deserves it anyway, even if he doesn't know it.
@@timmiddleton7493 This reminds me of when I saw Bob Dylan at the low point of his career, in 1991. I'm told he was so wasted he came out of the dressing room and headed for the exit. All night long he kept turning to the drummer to show him where the beat was.
On slower songs, that require more low end, I play behind the beat. On faster, more alert songs, I play ahead of the beat, for more attack. Knowing when to use those tricks while playing spot on the beat, gives the mix incredible dynamics.
c0d3 ... Agree 100%. I used to do that naturally..now I do it with intent... When you need to really punch the first beat of say a chorus, delay your last note slightly, then jump on that first note just sligjtly ahead. I can drive the groove. Sometimes, I outsmart myself...I play some triplets...drummer goes..wah? Fun times.
Would be great to have a video on pocket. Here's an idea -- start with kick, snare, and bass exactly together. Then show what happens when you move each one behind or ahead (leaving the other two exactly together). That would be an original (all instruments exactly together) and six variations.
These tips are great for any arranger, not just for bassists. Thanks. I use the effect of mirroring melody on bass for dramatic effect from time to time, but it has to be used very sparingly and intently for it to work :)
Interesting great point about not doubling the vocal note. On the same subject, I recently learned a Chuck Rainey bass line on Until you come back to me. (Aretha Franklin). On the second verse the bass line jumps up to a high register and rhythmically rather than melodically follows the vocal. It sounds f*cking great! It gives the groove massive momentum. I would never have thought of it..Chuck Rainey is a mighty bass player.
@@e1eve17great topic. my standard example for how far you can go is Pino palladino on Voodoo or other tracks like Jacob Collier's "Feel". Really pushing it and creating rhythmic tension but always sounding tight
Regarding how you play the pocket, whether or not to mute on the snare makes your playing in the rhythm section much stronger just by being aware that it's an option, and doing it when appropriate (usually during the verse when the rest of the band is fairly busy). It's also one of the things that distinguishes guitarists who are playing bass for that particular gig from pure bassists. James Jamerson knew when to mute on the snare. Paul McCartney didn't even consider it until he'd been a bassist for decades.
A suggestion: Show examples of bass lines that are leading the beat, on top, and behind the beat. I don't think many players understand that aspect at all.
Go listen to some good Reggae, it will have all of that. I played in a Sunday afternoon fun band for a while, in the drummer her attic, windows open, getting applause from the neighbours. The percussionist complained that I pulled him out of his rhythm. I told him to not listen to me but stay with the drummer. :D Clearly playing behind is confusing to some people. lol
A year late, but here's a suggestion: My mother was a classically trained pianist as was my grandfather and great grandfather - she taught me as a kid to count out beats and keep time to one of those old wooden metronomes. Try this: your foot is the kick and your finger is the bass. Tap your foot in rhythm to a beat. Keep it steady. Now, tap your finger ON the beat. It should feel and sound solid. Next, tap your finger _immediately_ before your foot - it'll feel a bit like a "boom bap" sort of thing... maybe 1/32 to 1/64 of a beat _ahead_ of your foot tap. Now, switch your finger and foot - tap your foot first and _immediately_ tap your finger. Again, you should _feel_ it. Now, practice it: if you need to, mic up your metronome so that it is loud. Or, lay out a four on the floor in your favorite DAW and just let it loop. Turn the volume up. Hit the note right on top of the beat (that's pretty much always the aim for beginners) and then try beating it slightly and trailing it slightly. If you do something like this, I think you'll see and hear what Rick was alluding to. Just a suggestion. YMMV. Cheers, mate!
man I'm just gonna take advantage of being one of the first to comment to tell you I absolutely love your content Rick, and I wish you were my cool uncle!
Rick - I've been playing bass as a pro for years BUT, there's always something to learn and that's arguably, as important as 'the pocket'. Thanks for your enlightening insights - keep 'em coming. Stay safe, Chris.
Great tips Rick, to add to that perhaps do a right hand video. I've developed a technique that I pass on to my beginner students. Not so much adults unless they want to work hard at changing a habit. I ask my students to place either the 3rd or 4th pink student down (or both as I do) on the guitar below the sound hole (or pick ups). Find a place that is comfortable where you can pick the high E and the Low (within reach). #1, This helps the brain discern the distance between the strings and it develops alternate picking much quicker. #2 While strumming chords it forces the player to use the wrists while keep in the fingers fanned out (important latter). This technique allows for quick chord muting and it also preps the student for being able to play with a pick and the fingers down the road. Hope this tip helps you create future video. Try it out :)
Q: How many bass players does it take to change a light bulb? A: Six. One to change it, five to fight off the lead guitarists who are hogging the light!
Tip 1: Learn how to use space Tip 2: learn how to use chord tones and inversions Tip 3: understand the effect on tone playing at different parts on the bass (closer to the bridge or closer to the neck) Tip 4: master muting the strings you're not playing Tip 5: understand EQ points and mixing your bass tone Tip 6: learn how to play with a drummer and your impact on the groove ... That was 6 tips
Rick, these are all A+ things that any bass player should know who truly wants to become a "working musician". The point about clean playing is something that has kept me in side player gigs with little effort. People who truly understand music want bass players who can cleanly play a part. Trained double-bassists, such as yourself, really understand this, but sometimes electric players don't. Throughout a performance, I am constantly muting with both hands, but it's something that is second nature to such a point I don't even think about it. It's like walking (no pun intended). When you take a step, there is a very specific movement of placing the ball of your foot on the ground first. But most people aren't thinking about that as they walk. Muting is the same idea. I'd also add to Tip 4: Know when the situation calls for flats and when the situation calls for rounds. By default, I'm a rounds player, but there are just musical situations where the timbre and the way the bass sits in the mix calls for flatwound strings, especially if the material calls for authenticity (i.e., early Motown). On the other hand, I know a lot of players who are diehard flat players and will try to shoehorn flatwound strings into situations where they frankly just don't belong, like modern metal.
Rick could you do an episode on how Paul's bass was mixed into the track on different eras of Beatle recording? If the damn trolling publishers will let you. And thanks for all the hard work putting all this stuff out. Speaking as a guy that made a living playing for around 4 decades, on the same instruments you play,you are helping keep the beauty of real unquantized music alive for those that weren't exposed to it because they're too young to have grown up with it.Cause man there's nothing like a great part being played or sung on a track!Again thanks for it all.
As usual, Rick distills mountains of musical information into a 5 minute video. I'm just starting to really learn electric bass and I got more from this, in a different way, than most instructional bass stuff out there.
I just so happen to be working on a song trying to write the bass line with the vocal, so the advice on avoiding the 3rd at the same time is very timely and makes sense to my ears. I sure appreciate a good teacher like this, reminds me of some of the inspirational college music and engineering professors I had.
You really touched on some great key points and some I never considered (don’t play a third is it’s in the melody) and I love that. One thing I’d like to add is that in a groove that swings, it only takes one instrument to swing, even if it’s a vocal. Stevie Wonder playing Superstition on the synth bass was just quarter notes… The key parts he played with a simple groove on everything else made the whole pocket swing. Sometimes a vocal alone can make a grove swing when everything else is straight even pocket. Think Love In An Elevator from Aerosmith. Usually, the fewer instruments that play a swing pocket, the better. Let the bass play even eighth notes and let the guitar or vocals provide the swing. It’s amazing how many great songs have simple straight pockets with just one band member providing the swing. If everyone swings in a groove it gets sloppy or lost… I love your channel. Great stuff. Keep it up!
I recall two separate interviews with two very famous session bass players. One with Tony Levin and the other with Leland Sklar. Both were asked: "what is the most often request in a bass recording session?" and they both stated: "please don't OVERPLAY!"
Depends possibly plus what is considered overplaying example some people now might consider a lot of 60s bass players to be overplaying compared to say Dusty Hill from ZZ TOP or Ian Hill Judas Priest. I prefer a lot of the 60s stuff my preferred style.
I was just now practicing bass, wondering how to improve my playing and sound when this video comes along. Fantastic material, this is precisely what I needed. Thank you maestro!
Being a bassist I love when guitars try to get me to play a bunch of unnecessary notes and quickly realize the reason I wasn’t standing out was cause it felt so right in the pocket
The longer I play the more I learn where, with what, and how I play can bring out so much. On songs I've done recently with my CS 55 P I've ran everything from thumb plucked up by the neck with the bridge cover (and mute) for a dubby thump (like Leo intended), heavy celluloid picked up by the neck with the cover/mute very west coast, or picked with a medium cell between the bridge (mute)and pick cover for a super tight soun "tack" type sound, or fingers in between, or up by the neck with and without mute for classic tones, and no mute fingers right back by the bridge with the highs rolled in for an almost chorus effect. (all on 7 year old flats) Zero effects straight into a full tube head or DI. Simplest of basses with almost endless possibilities.
Awesome video Rick! I'd like to add something. After years of being primarily a metal bassist, I decided to take lessons from an A-List Nashville session bass player. (Steve Bryant.) The guy's been cutting records for decades, and the list of famous songs and albums he's on is literally endless. It was a real eye opener. The PRIMARY thing I learned from Steve was understanding and applying NOTE VALUE. Quite simply - how to hold a note for the proper amount of time until the next note. If it's a WHOLE NOTE - meaning a note that lasts 4 BEATS - you have to hold that note for 4 BEATS until the next note. Likewise if it's a half note, quarter note, etc. You have to be able to play ONE CLEAN NOTE TO ANOTHER CLEAN NOTE, perfectly, all the time, every time, as required. So what Steve would have me do is - very slowly - play exercises to a metronome where I would play one clean whole note into another clean whole note, say from the 1 to the minor 3 to the 7, etc as an example. It was really excruciating for a while lol!! Especially coming from the metal/rock world, where a bass player can get away with more sloppiness in this regard because there's so much sonic space being taken up by other things. When you get into styles of music where the bass has way more sonic room to live in and you can hear it much more clearly, cutting a whole note short even slightly is really audible. That s__t will get you fired as a session player. What real producers - especially the Nashville dudes - want is bass players who understand what a whole note, half note, 8th note, etc, is. As a metal dude, I was just used to playing fast and hard. Half note, quarter note? Eh, not a huge difference in the metal world with walls of guitars and kick drums. In country or in pop music (as examples) - it's CRUCIAL. I would literally sit there in lessons trying this over and over, and Steve would be like 'nope, that's not it, nope, that's not it, nope, that's not it' over and over again lol!! God bless that guy. After practicing this stuff for a long time - which wasn't fun - I became overall a much better and much more well-rounded player. And I understood MUSIC better. I became more of a craftsman, and less of a paint-by-numbers bassist. Anyway, long comment, but there it is. That's the primary thing I was taught by a real pro.
Good comment and I applaud you putting in the work that I have yet to attempt. One quibble - the list of famous songs and albums he's on is not "literally" endless. The list is long but finite.
According to my former double bass teacher from the conservatory, the first thing every bass player should learn is the cello suites from Bach, in all keys, start to finish and finish to start
Restrictive elitist prat in my view - there's plenty of other things you could be looking. IF reggae is where you're heart is at, soak up everything recorded by Aston 'Familyman' Barrett. Having said that, the Bach suites are beautiful timeless music and certainly worth spending some time with. And if you're thinking why would I waste precious time with ancient pieces that were even written for or on electric ( which IS a very fair question to raise), I'd answer by saying because it's exceptionally good ear training. Which it is! Then go back with your new elephant ears and see if you can playing more musically when you're doing your versions of Macca, Jamerson, the Ox, Simonen, Wooten or Paul Harris whatever style of music makes you shout for joy.
On tip #3, Entwhistle was known for playing with a chord, even when playing 1 string, so that if the other strings rang, it would at least be in the right cord.
After 34 years of playing bass, I've found how to tweak my tone to cut through any mix on any listening device. You are 100% correct. It took years of being berried in live mixes and studio mixes for me to get the right frequencies tweaked. A little overdrive does help tremendously. Especially if it fits the style of music. I like a bright, punchy tone so new strings are a must. I also tend to dial back the low end frequencies a bit. I find that those low lows muddy up my tone especially if they are in the bass drum frequencies.
6:00 onwards talking about specific areas of bass tone speaking/ being audible through phone speakers etc is absolute gold!!! 1500/ 1600 - 2000hz speaking top end brightness 800hz speaking mid range 300hz makes bass hearable on phone speaker 50/ 60hz big low end foundation Also distort bass for more mids!!
Rick, I wish you could read my comment just to thank you for this valuable information, your channel is the HOLY GRAIL of musicians, listeners and music wannabes like me, seriously I can't come up with a better music channel than "Rick Beato"
I'm proud of myself how much of this stuff I figured out on my own, but at the same time it would have saved me so much time having a video like this around
I have to confess - in my years of playing music, "pocket" seems to be about the most elusive concept. Would love to see a well-done video breaking down that concept.
The thing is, it's not a concept. It's a feeling, of being "in" the groove, of being in control, that you're pushing the groove, the groove isn't pushing you. It requires you to play a ton and be super comfortable, but also requires you to play with great musicians around you.
Ben Feddersen Not really. When you break it down, feel is about tone, note length, space between the notes, dynamics and articulation. It’s not so mysterious.
Eli E I think, you BOTH are right: You can't make a groove happen, if your other musicians have no understanding of this concept. Then whole bands start to drag or rush!
@@slash196 The song has a certain feel to it and you are one with the feel of the song. You are not fighting the timing, feel, groove of the song but it's almost like your being carried along by it as well as adding too it. Yes, you are right in the Pocket and it sounds sweet.
Bass is such a beautiful instrument, and you never have to use a pick. Geddy lee uses his finger nails to emulate picking tone and plays Roundabout perfectly.
@@PaperbackWriter102 I think he was referring to when Yes got inducted to the Rock and Roll hall of Fame. Chris Squire had passed away so Geddy filled in.
Rick, I put a set of flat wounds on my Fender about 10 years ago. Never changed them. Love the way they are quiet on a slide note and very easy on the fingers. Tone seems warmer & certainly not as much punch unless you boost the high end. 😎
R/ S have you ever tried thomastik infield flats? There is nothing else like them. I’ve had the same set on my Pbass for over 10 years and everyone who hears or plays that bass tells me it’s their favorite ever. Worth every penny of $75!
For me as an experienced bass player nothing really new. But it's always good to be reminded of what really matters. For everyone who doesn't have 20 years + of experience: There's one thing I can tell: Rick really knows what he's talking about. These five tips are actually the key to successfully recording bass in the studio. Thanx for sharing years of experience, Rick!
Drop outs are Killer IF you have a Drummer and I mean The Drummer who knows the notes and the drums cover the missing Notes ie Drop Outs.When we discovered this, it took hours to tunes the drums just chased the frequencies and it was so worth it. and I never knew it to be the Pocket and that is where you and the drummer Make Magic and inseparable. WTG Beato,, Mad respects on this.
This took my bass playing and production abilities to a new level. Love old strings too. I got a 78 fender musicmaster bass. The strings on it are atleast 10 years old, they sound so nice and round. A real keeper
Great video. Getting back into music in my “dad life” and I love finding good, straightforward, videos with an engaging communicator. Killer job dudes. 🤙🎸
Yep, the side of my right thumb is always muting (unless I'm plucking the E string of course). I've not rested it on a pickup or on a string in decades.
Yeah, how is he gonna mute with the left hand if he is fretting on the G string with his index finger... left hand muting is almost automatic. Right hand muting requires practice.
@@iqi616 me too. I find that's by far the most comfortable way to mute (just letting your thumb drift). Some people mute with their third finger, which I just find weird.
@@rome8180 I mute with thumb, third and forth finger (pinky on e string while playing g string, 4th finger on a string while playing on d). It's complicated but ensures that every string not being played is totally muted.
@@VideoGameAtlas hey, whatever works for you. If I'm playing on the G string, I just rest my thumb sideways on the E and A and trust the follow through of my picking fingers to mute the D.
It would be cool if you went more in depth about "the pocket" and what it means to play behind/on/or in front of the beat, also how to get better at doing this and use it properly to get a different feel.
That is a top suggestion. Most everyone who mentions doing this thing with the pocket assumes you already know exactly 'how to'. IF ya did, ya'd likely be doin' it, yes?
Great advice! A couple examples occurred to me for points 1 & 2. Sitting out: "All Right Now" by Free. The bass doesn't come in at all until the chorus. Then there's that great multi-octave bass riff leading into the solo. Playing non-root tones: James Jamerson on "Reach Out (I'll Be There)"
The last tip is so true... I played bass for a college jazz ensemble last year and they would get on me for always being in front of the beat even though I am perceiving its right on. The only way I can be right on the beat if I play behind it. Crazy how that works!
good points about accompaniment with the singer... avoiding parallel notes ... one good way to solve that is to keep the bass line moving instead of pedaling. for playing position with the right hand I like the bright tone from the bridge but I also like a little dirt when the strings slap the frets so I tend to play very percussiveley over the neck pickup and even sometimes over the highest fret on the neck to get more string movement but if you play with attack in that position, you got a good punch that overrides the warmer tones you expect in that playing position - of course this means I also run about 80/20 with the bride pickup being my main.
I learned that growing up from an amazing bass player, especially at these gigs.. playing just very slightly behind the kick. Especially when there’s sparse notes mainly following the kick like in country or better yet reggae. And after playing certain styles of music like that you begin to feel a very nice full pocket between the kick and the bass, it creates a less is more huge sound
As a singing bassist, I like to have an idea of what the snare, hihats, and especially the kick-drum is/are doing all the time, throughout the song. Knowing that, I can drop the bassnote on the kick-drum, or use the kick-drum placement as a reference point if the groove requires me to play around it. Some of my influences are, of course the singing bassists, Peter Cetera, Jason Scheff, Sting, Paul McCartney, Mark King, and the the Toto bassists, David Hungate, and Mike Porcaro, John McVie (Fleetwood Mac), John Taylor (Duran Duran), Tom Scholz/Fran Sheehan (Boston), Dave Hope/Billy Greer (Kansas), Rutgar Gunnarson (ABBA), Chris Squire (Yes), Lee Sklar, Nathan East, Bill Wyman, Verdine White, and almost everyone who played bass guitar on the hits of the Disco era. I'd also mention the great drummers who helped those bassists to turn good songs into great hitsongs. Guys like Jeff Porcaro, Bernard Purdie, Charlie Watts, Phil Collins, Ringo Starr, Danny Seraphine, Tris Imboden (Chicago), Alan White (Yes), Phil Ehart (Kansas), Ola Brunkett (ABBA), and other great drummers who worked with great bassists to make legendary music we love.
Tip #1 - always good to drop out and build dynamic and focus on the lyrics, #3 knew that, do that and recently showed a gtr player the same trick. #4 - knew that, do that, but not with the distortion, with you on compression, but I prefer a limiter for live
I'm originally a drummer who switched to bass 30 odd years ago because we couldn't find a bass player. It's true, you're not noticed until you make a mistake or are absent. I played in a rock band in the nineties and never missed a rehearsal until I got injured. At the next rehearsal the band leader said to me "I'll never take you for granted again". Yep.
Im a guitar player but i also play some bass, keyboard and drums too, especially when i record demos or something. Ive learned through the years and after spending time with them that every musical instrument is equally important, all of them have their own spot or place into a song and a especific function
@@7guitarras326 But I would say that the other instruments are obviously important while the bass is working its magic in the shadows (to simplify).
@@axelbauron155 i get your point man, but i am so used to the perspective of a musician/producer, that there is no "in the shadows" for me. Maybe for a listener/no musician perspective is like you said.
Because while we are missing only 1/4 or 1/5 of the band, the frequencies that the bass resonate at make it feel like we are missing 1/2 of the band or more
Im a bass player in a 80s metal band and i think bass is always noticed. Dont understand why it shouldn’t be noticed
“Nobody notice what i do until I don’t.” - the bass player-
Yep, I was even let go and then a few weeks later.. "Oh it was a misunderstanding!"
Sadly it seems that even when I mess up my band doesn't notice
they aren’t skilled enough to hear your mistakes buddy trust me
@@avielp The important thing is knowing what you missed in the song... if you missed the break then you know it, and you'll have to work on the song more on your own. Also there's your sound, sometimes referred to as your tone. This is on you though, perhaps the guys didn't notice because you don't have a bright enough tone. You might need to try a bass flanger, it's a pedal you can get and it'll boost your signal and if you play a riff on the higher notes it'll help that riff cut through. IF you're in a band then you're fortunate to have a jam / practice space. You have to make the most of it and try not to turn up too loud. In my situation our guitarist would start turning up more as we went on. Then I can't hear myself so I git a 4 x10 acoustic bass cabinet, better sound. For a head I have a Hartke 1000LH, but I changed it to a Rumble 150 head. Then we turned down anyway and they hooked up a mixing board with ear monitors so in the room we'll turn down. That way he doesn't get complaints from the neighbors, but it's tough playing and keeping the earplug / monitor in but We get used to it. I only use one, not both ears because I still want to hear the room. Good luck in whatever your goals are.
@Vincent James Voice Sure it depends on the band, some bassists like Geezer Butler was always off to the side. Gene Simmons you're gonna notice!! Of course he sings some of their songs. Then someone might tell you oh I saw you, what you do is easy. So you have to say oh you think it's easy, let's see you do it then. One time a chick told me that so I had to figure out what to say - then I heard again - it was Gene Simmons and Paul Stanley that I got it from!! Just from reading or hearing them on the internet.
I’ve played bass for 25 years. LAYING OUT: I learned “space” from Miles. NOT PLAYING ROOT/NOTE CHOICE: I learned that from Sting. RIGHT HAND POSITION: I learned that from Jaco and Marcus Miller. MUTING STRINGS: that just comes naturally with time. All the masters are the best at this-most notably: Nathan East. ELECTRONICS: your hands are more important than any piece of equipment. Your gear/EQ/compression is important, but don’t overthink it. Play in time and choose the best notes. POCKET: feel is everything on every instrument. Pino Palladino is my favorite example of “feel”. Rick this is a great video, as always. God bless. 🙏
Polythene Pam you’re so good looking but you look like man
Polythene Pam wait what
amen..fingers. are the effects.....all the above...
As a drummer, I learned leaving space from the great Bill Bruford. He said "rhythm is the empty space between the notes". You can hear in his playing how masterfully he manipulates the rhythm and music by restraining and NOT playing, focusing on the really essential notes. He also talks about "the beat", which is a another thing, playing simple and complex at the same time.
I can do Tip #1 REALLY well. I can't play bass though.
One thing I notice about ace bass players is the timing control over when a note ends...it's a conscious decision how long to hold a note, and the attenuation of a note clears the air to hear the attack of the next note -- all to better support the groove.
very good point. I teach that all the time. When to stop?! People need to teach this more because it's a feel thing
For the first tip, “Airbag” by Radiohead would’ve also been a great example. I’ve always loved the way the bass spaces in and out. It adds so much.
Colin is such a great player.
see also: Shiner "The Egg" and Church & Puppets "Puzzles"
Yup, to this day when my students ask me what a bassists main job is, I show them that song.
Yes! I was literally thinking of Airbag as he was playing!
I thought this *was* "Airbag." 🧐
1. Timing
2. Timing
3. Timing
4. Timing
5. Timing
Samuel Feinstein honorable mention: timing
Totally agree
Wait....ok. There. THAT was timing. But #5 seems best.
I like what you said but you left out timing
Absolutely, Samuel. The groove is paramount, even above talent and tone. As for playing slightly behind the beat, listen to Joe Osborn (and Hal Blaine on drums) in One Less Bell To Answer by the 5th Dimension. They BOTH play impeccably behind the beat in this song. Totally dreamy. You know where the (implied) beat is, but the those two guys are several zip codes away from it.
Very interesting as a bass-player going from channels like Scott's Bass Lessons, to this video, cause Rick is not talking about techniques to elevate playing, but instead he talks about what works in the production.
Really good info, that is often left out in the more general RUclips bass channels.
I wish Rick would do a video on the first 20 cool and easier bass lines that a total novice bass player should first learn.
Scott Bass RUclips channel has been degrading with the time. I found that there are much better bass channel around now.
@@fonkamex I totally agree. SBL is more of a podcast or social channel now. Especially since he started pushing his website for subscribers. But I get it, ya know. We all gotta make a profit, right?? Peace!!
@@fonkamex Would be keen to know what they are.. cheers mate
@@fonkamex agreed. He's all about his bass mates, name dropping and selling merchandise now. A bit of a sell out.
0:28 Tip #1 - Lay out for dramatic effect/use space in your bass lines
1:27 Tip #2 - Play more than the root (but sth. different from the singer)
2:43 Tip #3 - Where you play determines tone
4:24 Tip #4 - Mute the unused strings
5:20 Tip #4 - Learn the tone tools
8:40 Tip #4 - Pocket!
Free tip - impress your band peers, learn to count properly above 4! (Kidding, but very nice how you sneaked in 6 tips here ;-)
Yeah, most of us noticed there were 2 number 4s! (Pocket is number 5.)
I almost went back on sec tip 4. But I knew Rick was just being cool as always. 😊
@@yuyiya As a 5 string bassist, this is normal.
Bass players didn't even notice.
I’ll also studied “classical” bass as an undergrad but my instructor was a Latin jazz bassist named Carlos Castillo. He played with a band called Machito, as well as stints with Tito Puente and other Latin jazz bands in the 60s and 70s. What a fabulous experience and introduction to Latin jazz.
I'm jealous!
Playing live vs recording are two quite different things for a player. Rick is aiming mostly at recording.
I submit one other bassic rule for playing live in a small combo. Get a wireless, walk around the venue and listen. Every room has a different low frequency response and resonant points.
In large rooms, I find I have to play slightly ahead..speed of sound varies with frequency.
I also cut notes shorter in large rooms with high ceilings. Knowing when to stop notes is really important too.
I'll get off my soapbox now..
Thanks Rick.
Your absolutely right. The size of the venue makes all the difference. To your point also, there is nearly always one point in low frequency range that rings, or resonates louder than the rest. This also changes with acoustic characteristics of any given venue. A good sound man (FOH) will catch this, if he doesn't already know it. Either way, I like to run a "midrange sweep" before giving my line out to the PA.
What wireless would you recommend?
@@michaelhawkins6149 ...sorry...I'm out of date. The one I used was a borrowed old one!
The other big one is dynamics live as well. What sounds great on a recording or in the bedroom will often sound completely different on a stage and require you to be able to adjust your dynamics and playing style on the fly. Percussive sounds seem much louder so you have to dial down hits and pops to compensate.
@@isogash Absolutely true, and worth stating. On that point, resisting the urge to "dig" into the strings when we can't quite hear, or feel, the bass well enough. This can certainly put one on the sound engineer's/front of house's "poop" list, not only because it sounds sloppy, but also makes others wonder why you can't pay attention during sound check. An experienced sound man will know what you are trying to do, and why, simply because he has dealt with lowered monitor levels due to mic' bleed and overzealous, hard of hearing bass players. Just glad I'm not the only one!! 🎸🎶 👍👍
I wish Rick would expand a bit more on the pocket thing with example showing the effect playing behind, ahead or on top the beat and how to choose which is appropriate in different situation. I hope he makes a full video on this
Co-signed. A tutorial on this would be great.
Absolutely agree. I'd love to see brief examples showing pros playing around the pocket.
Totally agree. Great video (as always) but this would have benefited from examples of songs where the bass player is ahead of and behind the beat.
Yes please!
Hear, hear. Something I learned the hard way later in my playing history than I should have...
Steve Martin, the comedian/banjo player, said that when he makes a mistake on a note, since what he plays is Bluegrass, there are people in the audience that know every note. He'll see several people look around like, "he missed a note." So he said, when that part comes around, he'll deliberately mess it up again. The same people look around again. When he comes around again he will mess up, and the same folks get a look on their face like, he must have done it on purpose. Steve will come back a last time and mess it up. Those same folks will go, yeah baby that sounds good. I heard Steve tell this story on the "Dennis Miller Show." Vaughn
yes! My first bass teacher used to tell that If you repeat a wrong note, after some repetitions it looks like a right note! It's almost the same effect of playing "outside" scale notes in purpose
@@acprado67 I told that to a bass player that I know a few years ago. When he heard that, he laughed and said that he was going to try it. It works. When you listen to a lot of these classic rock bands they never play their hits exactly the same every time. My opinion is that when they play a concert they make mistakes and just roll with it. Take care. Vaughn
"Repetition legitimizes." -- Adam Neely
"Repetition legitimizes." -- Adam Neely
The problem is that in the bass it is easier to notice the errors, because we use to play slower scales and not to use as many effects as in the guitar
I played bass for 3 years helping out in my singers classic rock cover band. Man, these years made a much better guitar player. Suddenly something clicks. You start to understand. And you start to listen better to the rest of the band.
Bass Tip: It's far more efficient to do the string muting with the plucking hand, since it allows the fretting hand to move freely and quickly. Gary Willis has an incredible technique for it. Floating thumb also gets the job done.
Palm muting by bass god Francis Rocco Prestia
I played bass 5 to 7 nights a week in the 60s. I moved on to keys and guitar after that a total of 30 years. I am 78 years old now. Although I had good chops knowing what not to play was as important as knowing what to play. My role as a bass player was to set up the rest of the band to play better. If the focus was on me then the rest of the band suffered. The bass is not a guitar. It is part of the percussion section as well as the bottom. Fortunately I'm not very opinionated about this.
I played bass in my youth and got back into it a few years back, but I've also held the same opinion that the Bass is part of the percussion group. It's not a solo instrument. Those that I've seen pull it off have done it as an expression of the INSTRUMENT, but not as that of the MUSIC.
@dennis casey: Opinion is cheap, but when it is based on experience, the wise will pay to listen.
As my jazz band teacher told me when I was learning: the bass is meant to be felt and not heard. Your job is to keep the drummer on time.
And then there was Jack Bruce, Paul McCartney, Chris Squire, Stanley Clarke....etc etc etc Wow! .... I Wanna take you higher.
Every guitarist thinks they can play bass but it's really a totally different instrument. I was fortunate to start off playing both from the very beginning so I learned the difference early on.
Rick, it's so great to see you give some instrument-specific tips. I hope you'll do more. If you revisit the bass (please do!), I'd love to see & hear a video where you dive more deeply into EQ and compression, with examples, and also some examples of playing ahead, on, and behind the beat. Thanks!
This ☝🏻 couldn’t agree more!
I would like to hear more bass specifics as a part-time bassist whose primary instrument is guitar. Especially re: mixing bass for all kinds of music!
Rick is right as ever: avoid doubling thirds, and he's right on everything else here, as usual. A lifetime's experience and study, all for free. But avoid doubled thirds.
Be an organ and marrow donor ASAP and adopt and donate to bed nets
@@maximus3010 And if you're playing a Hammond B3 Organ, leave the bass pedals alone. Leave the bass to the bass player!
Bentley Charles I’m not 100% sure what he means. Gonna rewind and watch that part a few times. If you care to elaborate, I’m all ears. 😊
@@cbpeddie1 A lot of times the bassist is playing notes that outline the chord the melody is sitting over. These chord tones are quite commonly used as melody notes, as one might suppose. For instance, if it's C major that's C E G. If the lead singer is singing an E (the third), you really need to stay away from E. Maybe it's OK as a passing note on a weak beat, but don't hang around there.
In general, the bass should avoid doubling the melody as much as possible because the bass has so much more energy in it than the melody will and thus it'll make the melody feel really weak/overshadowed, but a third is particularly important because it's the note that tells the listener whether the chord is major or minor. A lot of melodies will use notes like the third as a consequence.
Bentley Charles unless the singing is a bass on same not note, Crash Test Dummies rock
As a bass player with chops, the time an instructor put in my place for being to busy was really eye opening. Knowing what not to play will make you a better player. A bass player is a sacrifice, the Limelight for the quality of the song.
Tried out for a blues band, couldn't bring myself to plod through the regular blues riff without deviating from 4/4 on the beat. Didn't get the gig. But then, I probably wouldn't have been happy doing that song after song after song anyways.
Yeah when I first became any decent at the instrument (in my late teens I guess) I had the feeling I had to let everyone know 100% of the time. Nowadays I'll often just play root-rest-fifth-rest in quarter notes with an occasional linear fill leading to the next chord because in a lot of songs that works infinitely better than running up and down multi-octave arpeggios all the damn time. I suppose age can be a factor in itself, I think of this development in my playing as a result of the transition from teenage exhibitionism to a more humble (or having-been-put-in-your-place as you put it) approach to life in general.
Oh yes, I sat in a few times on some blues night open mic jams and OMG I was having a hard time playing blues because it was boring 🤣🤣🤣🤣
Leland Sklar is an excellent example of this. On most of the thousands of albums he's played on, he plays what's needed, no more - very minimalist. But when he was out touring with Phil Collins, he got quite busy on "Sussudio" - he has the technical skills to hang with anyone, but he's probably the best in the business for knowing when to get freaky, and when to stay with those whole notes. He also knows when to give a gig up for the best result - he once was asked to play a tune like Jaco would, and his response was, "if you want a Jaco sound, then you need to call Jaco. Here's his number."
@@stevepreskitt283 Great post, Steve - I really liked that one!
As a bassist from 15 years my best recommendations are this:
1. Change your strings regularly.
2. Keep practicing and don't fall into thinking that your struggles with the instrument are caused by your equipment, brand of bass or anything else like that. Just keep practicing.
Everything else will come naturally.
I agree buuuttt.... I've been playing bass on and off since my teens but never really progressed and quit a million times. I got a short scale for my 40th birthday this year, and can immediately play so many things I struggled with for many years. I'm still not a great bass player or anything but I've progressed more in 5 months than I did in 2 previous decades lol
A lot of people will disagree with no. 1 😂
@@lyndabyrne6080 Same boat here! I just started up again for the umpteenth time and I really want to progress this time.
Hopefully somevody will give me bass amp... i am a blind bass guitarist...
@@gary999t flats for sure
Rick is a bass player. Explains why he is such a good producer. Bass should always serve the song.
I tried watching this on my phone and can barely hear the bass. It's so sad that most people never experience music with full range speakers or a subwoofer these days. Laptop speakers don't cut it either
I started watching a lot of music on You Tube ...realised I couldn't hear the bass so got a relatively cheap set of computer speakers that included a bass speaker and opened up a whole new world of music.
I use a Sennheiser headset with my phone to hear deep bass.
Any bluetooth speaker^^
It pisses you off doesn’t it :(
Yep. I cannot stand listening to music on a cell phone. Pierces my ears and cannot hear all of the "music"
Bang on. I was 19, playing in a restaurant in a quartet. The owner was losing money so he wanted a three piece. I was fired. They played one night without me, then rehired me. They hated the missing bottom end.
It was a high for a young player.
When I give advice I always say...knowing when to stop a note is just as important as knowing when to start it.
I'd have asked for a raise...after letting them know I dont play for cheap f**ks.
Jeez, i hope you didn’t eat anything in there.
Good point about note length.
Fred Herfst That’s something my dad and brother (both bassists) taught me about playing bass long ago: When it comes to bass, people don’t know you’re there... until you’re not there!
Cool story, bro
Guitarist: "since I'm good at guitar bass will be easy."
Beato: "here's everything you had no idea that the bassist should be thinking about."
Same with keyboardists. Nothing worse than a piano player pounding away with their left hand to "tell" the bassist what to play and obviously having no idea of the role of the bass in a band.
The bass has a dual role: rhythm and harmony. You have to groove with the drummer, and you dictate the harmonic context of everything else on top. So you have to be precise. Guitar can be quite sloppy, in fact, sometimes, it's part of the thing that the guitar is sloppy - over a tight rhythm section...Luckily I have not had to deal with a keyboard player 'telling' me what notes to play with his left hand....
@@anguskerr1872 exactly. It's really frustrating to have a keyboardist who won't stay in lane. Thankfully I've only had to deal with a few over the years.
@@iqi616 exacly... it's hard to make them stay in bottom for long.. :P
I started with a guitar, then singing and the bass. Bass can be a lot more difficult than the guitar. In a band I listen mostly the singer while playing bass. No other instrument can replace the groove of a good bass player
I would add 1 very important rule for any bassist. Victor Wooten tip: Don’t lose the groove! The bass is also the rhythm section so if you miss a note don’t go fishing for it. At least keep the rhythm and get the note right next time through. The band will appreciate it.
The ability to play behind, on, or ahead of the beat is also useful for parts of the song - ie., drop behind the beat you have big pocket and niche groove - move to the front of the beat during the chorus to help create the elusion the song is speeding up and gaining emotional energy. A problem with that can be if you are playing with a drummer who doesn’t understand that you are moving intentionally and reacts to your playing by also moving rather than holding the groove.
Metallica needed to see this before mixing And Justice
Warren smith You mean Jason needed to see this before he joined Metallica. He would almost always play the root.
Look for live justice tour pieces, you won't believe what jason was shredding
Also Jas Nwst did a huge solo intro for misery live, biggest sounding bass ever heard
Metallica did exactly what they wanted to do (or Lars did) and cut Jason essentially out of the mix.
0h snap
Jason didn't come in to the studio that day...or week...or month? I miss Cliff Burton like he was my own blood...brothers and sisters please check out 'Murder in the front row', a verbal and visual history of one of the last greatest musical movements and happenings of the 20th century that really mattered...SF Bay Area Trash Metal scene, 81-86, it was something special me and my friends lived it every weekend and it was fkn glorious🤘
Great video, but actual tip #1....
Learn your damn parts to a metronome....plz for the love of God.
Oh hi Mike. didnt expect you to be here.
Not according to Jeff Berlin.
Walking the fine line between Pagan and Christian
Instead of learning parts to a metronome, much better to learn how to become a metronome. Years ago I woodshedded daily for hours over two years with a metronome not for parts but to learn how to play with it AND against it. Start VERY slow and learn how to play ON the beats, BETWEEN the beats, at various tempos, on various subdivisions of the beat, etc. e.g. set a tempo of 60bpm 4/4 - play quarter notes, eights, sixteenths. Then make the click the 2 rather than the one, then make it the 3, then the 4. Play 3/4 against the metronome, 5/4, 7/4, then make the click the 2 in 7/4 then the 3 and so on. There's a whole world of space to study between the clicks with some imagination. Becoming obsessive about it helps. ;-) I still practice this on a regular basis.
Q
As primarily a Bass Player, I absolutely salute you! The Bass is such an important and fundamental instrument to any band structure! Awesome work!
Great Video! Most bassists don't realize the importance of the right-hand for total mood changes. Just as important I have found, is to get the guitarist to roll the bass tone off of his amp a bit. It's a huge plus if you want your bass to stand out and be heard. You can't be competing for the same tonal range with your guitarist. However... Good Luck with that one! 😁
Never played with a guitarist who cared what the band sounded like, as long as they had "their tone".
For tip 3, i would add the location on your LEFT hand as well. The same note will sound fatter if you play it on a lower string (but higher fret)
Tip #1: Airbag by Radiohead.
Baba baba... ba
Yeah right. That line was very reminiscent of the line from Airbag.
Style: Glitch Bass?
I was looking for this comment lol
@@italoferrana9538 me too, inmediatly
"When the bass player play's a wrong note, everyone hears it"
Not when you're buried in the mix under the over-loud guitars and no-one is listening to you anyway.
The joys of playing bass in a blues band with shitty sound engineers at shitty venues.
crank up, bass in blues is the thing people wanna dance to
In some styles of music the bass isn't very prominent - and if it was, those styles of music wouldn't be the same. This is a pointless comment IMO. If you couldn't hear Geddy in the mix it'd be a whole different story.
@@jollyvoqar195 But bass is extremely important to blues. Blues bass lines are what make the blues danceable. No bass, no blues! Perhaps that's Jon's point.
Not with a 300 watt amplifier, 2 bins with 2 x 15 inch cones and DI'd into the PA as well. I make sure everyone has an equal opportunity to hear the subtle tone of my Bass.
If the question is 'Hows the mix guys?', the answer is always 'Needs more bass...'
I would love for you to talk more about being in the pocket. The effects and examples of being behind/ahead/locked in
+1 Yes, please!
As an example of playing behind the beat, listen to any Led Zeppelin album. Bonham (and the rest of the band, especially JPJ, because you cannot play behind a beat without a strong implied beat by the rest of the band) often creates this amazing, heavy chugging sound like a rock n' roll locomotive. I love it.
As an example of playing on top of the beat, try the Jailbreak album by Thin Lizzy. Brian Downey's drumming veers into pushing the beat; it is so tight and insistent it creates a sense of urgency that pervades the entire album. I love it.
Both kinds of drumming can impart great energy, it is just a different kind of energy. As for playing literally on the beat, that works also--it just creates a different mood. Try Jaki Leibzeit on the great Can albums like Tago Mago or Ege Bamyasi. Jaki is like a human metronome, although that applies only to his sense of time--his playing much more than metronomic. I love it.
And now that I have written this, it occurs to me that I should have focused on where bassists play rather than drummers--sorry--but the effect is probably easiest to discern by focusing on the drums.
Serve the song
@@jimmymack9440 Comes with experience. But when I started writing my own songs, it was purely amazing how touchy one can get when it was your own voice your own bassline is stepping on.
I greatly appreciate this video. I just bought the cheapest Chinese 5-string I could find because I was inspired to get back into it. I haven't touched a bass in over twenty years so I'm basically starting over.
When you talk about "air" in your bass playing, nowhere is a better example than "Reggae" bass lines!...Bob Marley, (Aston Barret/Family Man) Ziggy Marley and many others "lay out" in many classic Marley songs. One of my favorite things about Reggae in the first place! I started out on drums at 10 years old switched to piano, then guitar & Bass. I still really love being in "The Pocket" on Bass and drums both! As usual, great advice from Rick!
When the bass player makes a mistake it sounds like everyone ELSE made a mistake.
lmrecorders ha ha that’s hilarious !
What works for me, when this happens, is looking at the guitarist with disdain. When you get to the same point in the chorus next time, play the same wrong note and give them another dirty look. Unless of course you made a timing error, then you have to look at the drummer.🤦♂️👍
@@timmiddleton7493 🤣🤣🤣
After 43 years of playing bass (I'm 57) I learned one important thing about live mistakes: play them TWICE, so that the audience thinks it's part of the song. Works like a charm about every time. If not, blame the drummer, he deserves it anyway, even if he doesn't know it.
@@timmiddleton7493 This reminds me of when I saw Bob Dylan at the low point of his career, in 1991. I'm told he was so wasted he came out of the dressing room and headed for the exit. All night long he kept turning to the drummer to show him where the beat was.
Tip #1 - 0:27
Tip #2 - 1:26
Tip #3 - 2:42
Tip #4 - 4:24
Tip #5 - 8:48
You missed the second Tip #4 at 5:19
This should of been 6 Tips, we got a bonus Tip #4 at 5:20.....
Thank you!
On slower songs, that require more low end, I play behind the beat. On faster, more alert songs, I play ahead of the beat, for more attack. Knowing when to use those tricks while playing spot on the beat, gives the mix incredible dynamics.
c0d3 ... Agree 100%. I used to do that naturally..now I do it with intent...
When you need to really punch the first beat of say a chorus, delay your last note slightly, then jump on that first note just sligjtly ahead. I can drive the groove. Sometimes, I outsmart myself...I play some triplets...drummer goes..wah? Fun times.
Would be great to have a video on pocket. Here's an idea -- start with kick, snare, and bass exactly together. Then show what happens when you move each one behind or ahead (leaving the other two exactly together). That would be an original (all instruments exactly together) and six variations.
These tips are great for any arranger, not just for bassists. Thanks.
I use the effect of mirroring melody on bass for dramatic effect from time to time, but it has to be used very sparingly and intently for it to work :)
Interesting great point about not doubling the vocal note. On the same subject, I recently learned a Chuck Rainey bass line on Until you come back to me. (Aretha Franklin). On the second verse the bass line jumps up to a high register and rhythmically rather than melodically follows the vocal. It sounds f*cking great! It gives the groove massive momentum. I would never have thought of it..Chuck Rainey is a mighty bass player.
"The Pocket" would be a good subject for another video.
that would be a GREAT video.. playing around the pocket.. is something all rythym players should aknowledge
Yeah, I could really stand to hear some examples of how far off the kick drum you can go with that.
The ad before it could be sponsored by Hot Pockets
Just take pants with lots of pockets... then you can hold a groove in every one!
@@e1eve17great topic. my standard example for how far you can go is Pino palladino on Voodoo or other tracks like Jacob Collier's "Feel". Really pushing it and creating rhythmic tension but always sounding tight
Regarding how you play the pocket, whether or not to mute on the snare makes your playing in the rhythm section much stronger just by being aware that it's an option, and doing it when appropriate (usually during the verse when the rest of the band is fairly busy). It's also one of the things that distinguishes guitarists who are playing bass for that particular gig from pure bassists. James Jamerson knew when to mute on the snare. Paul McCartney didn't even consider it until he'd been a bassist for decades.
This guy doesn't know bass. He didn't even tell me to Slap the like button when the vid just started and every couple minutes after
Davie is proud of you, young slapper.
Yeah, no slepp, no bass LOL
LMAO
Davie made bass kinda cringe ngl
69th like. Épico!
You're a legend Rick. True gentleman and a scholar. Appreciate your knowledge and generosity. Your videos are fantastic. Cheers.
A suggestion: Show examples of bass lines that are leading the beat, on top, and behind the beat. I don't think many players understand that aspect at all.
If you listen to a lot of old Soul Music you will find that concept is pretty much state of the art.
Go listen to some good Reggae, it will have all of that.
I played in a Sunday afternoon fun band for a while, in the drummer her attic, windows open, getting applause from the neighbours.
The percussionist complained that I pulled him out of his rhythm.
I told him to not listen to me but stay with the drummer. :D
Clearly playing behind is confusing to some people. lol
Listen to "Lets Get it On" by Marvin Gaye...way behind the beat. That's what makes it sleazy (sleazy is a good thing)
It’s one one of those things every musician talks about but rarely has one been able to sit down and show it to me in real time.
A year late, but here's a suggestion:
My mother was a classically trained pianist as was my grandfather and great grandfather - she taught me as a kid to count out beats and keep time to one of those old wooden metronomes.
Try this: your foot is the kick and your finger is the bass. Tap your foot in rhythm to a beat. Keep it steady. Now, tap your finger ON the beat. It should feel and sound solid. Next, tap your finger _immediately_ before your foot - it'll feel a bit like a "boom bap" sort of thing... maybe 1/32 to 1/64 of a beat _ahead_ of your foot tap. Now, switch your finger and foot - tap your foot first and _immediately_ tap your finger. Again, you should _feel_ it.
Now, practice it: if you need to, mic up your metronome so that it is loud. Or, lay out a four on the floor in your favorite DAW and just let it loop. Turn the volume up. Hit the note right on top of the beat (that's pretty much always the aim for beginners) and then try beating it slightly and trailing it slightly.
If you do something like this, I think you'll see and hear what Rick was alluding to.
Just a suggestion.
YMMV.
Cheers, mate!
man I'm just gonna take advantage of being one of the first to comment to tell you I absolutely love your content Rick, and I wish you were my cool uncle!
I wish rick was my cool uncle but I suspect I am older than he is
But Franscisco, he *is* your cool uncle. He is everybody's cool uncle.
But Franscisco, he *is* your cool uncle. He is everybody's cool uncle.
Rick - I've been playing bass as a pro for years BUT, there's always something to learn and that's arguably, as important as 'the pocket'. Thanks for your enlightening insights - keep 'em coming. Stay safe, Chris.
Great tips Rick, to add to that perhaps do a right hand video. I've developed a technique that I pass on to my beginner students. Not so much adults unless they want to work hard at changing a habit. I ask my students to place either the 3rd or 4th pink student down (or both as I do) on the guitar below the sound hole (or pick ups). Find a place that is comfortable where you can pick the high E and the Low (within reach). #1, This helps the brain discern the distance between the strings and it develops alternate picking much quicker. #2 While strumming chords it forces the player to use the wrists while keep in the fingers fanned out (important latter). This technique allows for quick chord muting and it also preps the student for being able to play with a pick and the fingers down the road. Hope this tip helps you create future video. Try it out :)
I don’t play bass but maybe I should now
everyone should tbh
No
You shouldnt
You'd learn a lot
It's a lovely instrument
..you should. Bassists got tired of being bullied,...we got good. Really good.
Q: How many bass players does it take to change a light bulb?
A: Six. One to change it, five to fight off the lead guitarists who are hogging the light!
Or.....A.: None because the keyboard player can do it with his left hand. lol
@@4Stix4 Q: What do you call a bass player without a girlfriend?
A: Homeless.
@bill nalder Nah, it takes only one bass player. As long as the guitarist shows him how to do it.
I would have to say none. Bass players are secure enough within themselves that they don't need the light.
@@martinmccomb5462 that's a slam dunk right there brother.
You're like a superhero that comes when most needed. Today I was looking up some tips for EQing bass guitar! Thanks for your work Rick!
Tip 1: Learn how to use space
Tip 2: learn how to use chord tones and inversions
Tip 3: understand the effect on tone playing at different parts on the bass (closer to the bridge or closer to the neck)
Tip 4: master muting the strings you're not playing
Tip 5: understand EQ points and mixing your bass tone
Tip 6: learn how to play with a drummer and your impact on the groove
... That was 6 tips
Rick, these are all A+ things that any bass player should know who truly wants to become a "working musician". The point about clean playing is something that has kept me in side player gigs with little effort. People who truly understand music want bass players who can cleanly play a part. Trained double-bassists, such as yourself, really understand this, but sometimes electric players don't. Throughout a performance, I am constantly muting with both hands, but it's something that is second nature to such a point I don't even think about it. It's like walking (no pun intended). When you take a step, there is a very specific movement of placing the ball of your foot on the ground first. But most people aren't thinking about that as they walk. Muting is the same idea.
I'd also add to Tip 4: Know when the situation calls for flats and when the situation calls for rounds. By default, I'm a rounds player, but there are just musical situations where the timbre and the way the bass sits in the mix calls for flatwound strings, especially if the material calls for authenticity (i.e., early Motown). On the other hand, I know a lot of players who are diehard flat players and will try to shoehorn flatwound strings into situations where they frankly just don't belong, like modern metal.
Rick could you do an episode on how Paul's bass was mixed into the track on different eras of Beatle recording? If the damn trolling publishers will let you. And thanks for all the hard work putting all this stuff out. Speaking as a guy that made a living playing for around 4 decades, on the same instruments you play,you are helping keep the beauty of real unquantized music alive for those that weren't exposed to it because they're too young to have grown up with it.Cause man there's nothing like a great part being played or sung on a track!Again thanks for it all.
As usual, Rick distills mountains of musical information into a 5 minute video. I'm just starting to really learn electric bass and I got more from this, in a different way, than most instructional bass stuff out there.
I just so happen to be working on a song trying to write the bass line with the vocal, so the advice on avoiding the 3rd at the same time is very timely and makes sense to my ears. I sure appreciate a good teacher like this, reminds me of some of the inspirational college music and engineering professors I had.
You really touched on some great key points and some I never considered (don’t play a third is it’s in the melody) and I love that. One thing I’d like to add is that in a groove that swings, it only takes one instrument to swing, even if it’s a vocal. Stevie Wonder playing Superstition on the synth bass was just quarter notes… The key parts he played with a simple groove on everything else made the whole pocket swing. Sometimes a vocal alone can make a grove swing when everything else is straight even pocket. Think Love In An Elevator from Aerosmith. Usually, the fewer instruments that play a swing pocket, the better. Let the bass play even eighth notes and let the guitar or vocals provide the swing. It’s amazing how many great songs have simple straight pockets with just one band member providing the swing. If everyone swings in a groove it gets sloppy or lost… I love your channel. Great stuff. Keep it up!
I recall two separate interviews with two very famous session bass players. One with Tony Levin and the other with Leland Sklar. Both were asked: "what is the most often request in a bass recording session?" and they both stated: "please don't OVERPLAY!"
craigdamage should be for drummers too!
@@drummerwarrior1 For everyone in fact :P
True. There are many great bands where the bassist or drummer plays a starring role, but that is not usually what they hire a session musician for.
CyberChrist definitely!
Depends possibly plus what is considered overplaying example some people now might consider a lot of 60s bass players to be overplaying compared to say Dusty Hill from ZZ TOP or Ian Hill Judas Priest. I prefer a lot of the 60s stuff my preferred style.
I was just now practicing bass, wondering how to improve my playing and sound when this video comes along. Fantastic material, this is precisely what I needed. Thank you maestro!
it's definitely about the pocket and knowing that silence is just as important as the notes you choose.
Pete Townsend once said about David Gilmour something like "he doesn't play a lot of notes, but he plays the right notes".
Being a bassist I love when guitars try to get me to play a bunch of unnecessary notes and quickly realize the reason I wasn’t standing out was cause it felt so right in the pocket
Good point. Victor used to say that a good musician, especially a bassist, knows when NOT to play.
The longer I play the more I learn where, with what, and how I play can bring out so much. On songs I've done recently with my CS 55 P I've ran everything from thumb plucked up by the neck with the bridge cover (and mute) for a dubby thump (like Leo intended), heavy celluloid picked up by the neck with the cover/mute very west coast, or picked with a medium cell between the bridge (mute)and pick cover for a super tight soun "tack" type sound, or fingers in between, or up by the neck with and without mute for classic tones, and no mute fingers right back by the bridge with the highs rolled in for an almost chorus effect. (all on 7 year old flats) Zero effects straight into a full tube head or DI. Simplest of basses with almost endless possibilities.
Awesome video Rick! I'd like to add something.
After years of being primarily a metal bassist, I decided to take lessons from an A-List Nashville session bass player. (Steve Bryant.) The guy's been cutting records for decades, and the list of famous songs and albums he's on is literally endless.
It was a real eye opener.
The PRIMARY thing I learned from Steve was understanding and applying NOTE VALUE. Quite simply - how to hold a note for the proper amount of time until the next note. If it's a WHOLE NOTE - meaning a note that lasts 4 BEATS - you have to hold that note for 4 BEATS until the next note. Likewise if it's a half note, quarter note, etc.
You have to be able to play ONE CLEAN NOTE TO ANOTHER CLEAN NOTE, perfectly, all the time, every time, as required. So what Steve would have me do is - very slowly - play exercises to a metronome where I would play one clean whole note into another clean whole note, say from the 1 to the minor 3 to the 7, etc as an example. It was really excruciating for a while lol!! Especially coming from the metal/rock world, where a bass player can get away with more sloppiness in this regard because there's so much sonic space being taken up by other things. When you get into styles of music where the bass has way more sonic room to live in and you can hear it much more clearly, cutting a whole note short even slightly is really audible. That s__t will get you fired as a session player. What real producers - especially the Nashville dudes - want is bass players who understand what a whole note, half note, 8th note, etc, is.
As a metal dude, I was just used to playing fast and hard. Half note, quarter note? Eh, not a huge difference in the metal world with walls of guitars and kick drums. In country or in pop music (as examples) - it's CRUCIAL. I would literally sit there in lessons trying this over and over, and Steve would be like 'nope, that's not it, nope, that's not it, nope, that's not it' over and over again lol!! God bless that guy.
After practicing this stuff for a long time - which wasn't fun - I became overall a much better and much more well-rounded player. And I understood MUSIC better. I became more of a craftsman, and less of a paint-by-numbers bassist.
Anyway, long comment, but there it is. That's the primary thing I was taught by a real pro.
Good comment and I applaud you putting in the work that I have yet to attempt. One quibble - the list of famous songs and albums he's on is not "literally" endless. The list is long but finite.
@@sloopcamotop502 I meant it as a figure of speech, but ok.
A very important bass lesson learnt and practiced here.
Rick: “Oh yeah, I also have a degree in classical bass.” Me: “Damn Rick, what can’t you do?”
He's also a teacher, a doctor, a firefighter, a police officer, and an astrona... wait, wrong guy.
He can't do the 10 best guitar intros of the Eagles
Drums..... except for a 4/4 beat (I hope)!
He can’t get Pat Metheny on his show apparently. I don’t think Pat likes him.
@@leroyjenkins4811 8-23-2021 WRONG. See last week's interview.
According to my former double bass teacher from the conservatory, the first thing every bass player should learn is the cello suites from Bach, in all keys, start to finish and finish to start
Restrictive elitist prat in my view - there's plenty of other things you could be looking. IF reggae is where you're heart is at, soak up everything recorded by Aston 'Familyman' Barrett. Having said that, the Bach suites are beautiful timeless music and certainly worth spending some time with. And if you're thinking why would I waste precious time with ancient pieces that were even written for or on electric ( which IS a very fair question to raise), I'd answer by saying because it's exceptionally good ear training. Which it is! Then go back with your new elephant ears and see if you can playing more musically when you're doing your versions of Macca, Jamerson, the Ox, Simonen, Wooten or Paul Harris whatever style of music makes you shout for joy.
On tip #3, Entwhistle was known for playing with a chord, even when playing 1 string, so that if the other strings rang, it would at least be in the right cord.
The Ox also used distortion effectively. Those added harmonics filled the arena with sublime beauty and power. Goosebumps of sheer joy and awe.
After 34 years of playing bass, I've found how to tweak my tone to cut through any mix on any listening device. You are 100% correct.
It took years of being berried in live mixes and studio mixes for me to get the right frequencies tweaked. A little overdrive does help tremendously. Especially if it fits the style of music. I like a bright, punchy tone so new strings are a must. I also tend to dial back the low end frequencies a bit. I find that those low lows muddy up my tone especially if they are in the bass drum frequencies.
I love berries.
6:00 onwards talking about specific areas of bass tone speaking/ being audible through phone speakers etc is absolute gold!!!
1500/ 1600 - 2000hz speaking top end brightness
800hz speaking mid range
300hz makes bass hearable on phone speaker
50/ 60hz big low end foundation
Also distort bass for more mids!!
Rick, I wish you could read my comment just to thank you for this valuable information, your channel is the HOLY GRAIL of musicians, listeners and music wannabes like me, seriously I can't come up with a better music channel than "Rick Beato"
Thank you!!!
@@RickBeato This is almost verbatim what Carol Kaye told me over a Skype lesson. And then she got mad at me for being too analytical.
I'm proud of myself how much of this stuff I figured out on my own, but at the same time it would have saved me so much time having a video like this around
I have to confess - in my years of playing music, "pocket" seems to be about the most elusive concept. Would love to see a well-done video breaking down that concept.
The thing is, it's not a concept. It's a feeling, of being "in" the groove, of being in control, that you're pushing the groove, the groove isn't pushing you. It requires you to play a ton and be super comfortable, but also requires you to play with great musicians around you.
Ben Feddersen Not really. When you break it down, feel is about tone, note length, space between the notes, dynamics and articulation. It’s not so mysterious.
Eli E I think, you BOTH are right: You can't make a groove happen, if your other musicians have no understanding of this concept. Then whole bands start to drag or rush!
@@slash196 The song has a certain feel to it and you are one with the feel of the song. You are not fighting the timing, feel, groove of the song but it's almost like your being carried along by it as well as adding too it. Yes, you are right in the Pocket and it sounds sweet.
We need more bass tips! This was great advice for someone like me interested in learning and developing a style for bass
Been playing 20 years. The inversions part really helped me understand why something can sound good with 3rd vs 5th vs root. Many thanks!
It was Steve Harris from Iron Maiden who said "It's not what you put in, it's what you leave out that makes a great bass player."
That's when his machine gun right hand was getting tired!
Yeah, he just left out the pinky on the right hand.
@@thumbthump Actually I think he played everything with two fingers! Absolutely mental
he does, even the famous gallop style, nuts
Very interesting idea. I'm a bass player and i haven't figured out what that is supposed to mean but hopefully one day i will figure it out
Bass is such a beautiful instrument, and you never have to use a pick. Geddy lee uses his finger nails to emulate picking tone and plays Roundabout perfectly.
That would be Chris Squire and the band Yes who you hear on Roundabout. Great technique.
@@PaperbackWriter102 I think he was referring to when Yes got inducted to the Rock and Roll hall of Fame. Chris Squire had passed away so Geddy filled in.
Rick, I put a set of flat wounds on my Fender about 10 years ago. Never changed them. Love the way they are quiet on a slide note and very easy on the fingers. Tone seems warmer & certainly not as much punch unless you boost the high end. 😎
R/ S have you ever tried thomastik infield flats? There is nothing else like them. I’ve had the same set on my Pbass for over 10 years and everyone who hears or plays that bass tells me it’s their favorite ever. Worth every penny of $75!
Circle Of Tone recently made a very interesting video about playing with a pick on flatwounds.
I like Ernie Ball Cobalt flats. I have them on my P-Bass with a Seymour Duncan quarter-pound pickup. Hot output with great punch for rock.
For me as an experienced bass player nothing really new.
But it's always good to be reminded of what really matters.
For everyone who doesn't have 20 years + of experience: There's one thing I can tell: Rick really knows what he's talking about. These five tips are actually the key to successfully recording bass in the studio.
Thanx for sharing years of experience, Rick!
Drop outs are Killer IF you have a Drummer and I mean The Drummer who knows the notes and the drums cover the missing Notes ie Drop Outs.When we discovered this, it took hours to tunes the drums just chased the frequencies and it was so worth it. and I never knew it to be the Pocket and that is where you and the drummer Make Magic and inseparable. WTG Beato,, Mad respects on this.
From one bassist to another- 100% on point! Great Advice!
I learn something from you every day. Big Brain Beato!! Thank you! I had no idea you were a bass player from childhood!
I’m a simple man. I see Beato, I watch, I like, I learn.
Can you please show examples of pocket: in front, on top, and behind the kick?????
This took my bass playing and production abilities to a new level. Love old strings too. I got a 78 fender musicmaster bass. The strings on it are atleast 10 years old, they sound so nice and round. A real keeper
Great video. Getting back into music in my “dad life” and I love finding good, straightforward, videos with an engaging communicator. Killer job dudes. 🤙🎸
I feel like right-hand muting should be discussed as well. That's equally important.
Yep, the side of my right thumb is always muting (unless I'm plucking the E string of course). I've not rested it on a pickup or on a string in decades.
Yeah, how is he gonna mute with the left hand if he is fretting on the G string with his index finger... left hand muting is almost automatic. Right hand muting requires practice.
@@iqi616 me too. I find that's by far the most comfortable way to mute (just letting your thumb drift). Some people mute with their third finger, which I just find weird.
@@rome8180 I mute with thumb, third and forth finger (pinky on e string while playing g string, 4th finger on a string while playing on d). It's complicated but ensures that every string not being played is totally muted.
@@VideoGameAtlas hey, whatever works for you. If I'm playing on the G string, I just rest my thumb sideways on the E and A and trust the follow through of my picking fingers to mute the D.
It would be cool if you went more in depth about "the pocket" and what it means to play behind/on/or in front of the beat, also how to get better at doing this and use it properly to get a different feel.
That is a top suggestion. Most everyone who mentions doing this thing with the pocket assumes you already know exactly 'how to'.
IF ya did, ya'd likely be doin' it, yes?
Great advice!
A couple examples occurred to me for points 1 & 2.
Sitting out: "All Right Now" by Free. The bass doesn't come in at all until the chorus. Then there's that great multi-octave bass riff leading into the solo.
Playing non-root tones: James Jamerson on "Reach Out (I'll Be There)"
The last tip is so true... I played bass for a college jazz ensemble last year and they would get on me for always being in front of the beat even though I am perceiving its right on. The only way I can be right on the beat if I play behind it. Crazy how that works!
I'm just now getting serious about bass, having been a guitar player forever. This really helped, particularly the recording tips.
Bass is fun. I recommend focusing on the kick drum.
Rick is the kinda guy who can make guitar players wanna play THE B A S S
As a bassist I can attest that nothing more fun than playing one with a great drummer and locking into a groove.
I love how Beato gives just enough info to keep musicians learning. Good stuff here...
good points about accompaniment with the singer... avoiding parallel notes ... one good way to solve that is to keep the bass line moving instead of pedaling. for playing position with the right hand I like the bright tone from the bridge but I also like a little dirt when the strings slap the frets so I tend to play very percussiveley over the neck pickup and even sometimes over the highest fret on the neck to get more string movement but if you play with attack in that position, you got a good punch that overrides the warmer tones you expect in that playing position - of course this means I also run about 80/20 with the bride pickup being my main.
I learned that growing up from an amazing bass player, especially at these gigs.. playing just very slightly behind the kick. Especially when there’s sparse notes mainly following the kick like in country or better yet reggae. And after playing certain styles of music like that you begin to feel a very nice full pocket between the kick and the bass, it creates a less is more huge sound
This guy always posts valuable information for aspiring musicians. I'm glad he's around.
Tips number 1-99: MUTE THE STRINGS YOUR'RE NOT PLAYING.
It's hard! But it's so necessary.
Just bought a bass yesterday, so this is pretty convenient
Woohoo! Have fun, and sing what you play \m/,
Have fun!
Find a good drummer and life will be beautiful.
@@arnoldcaines9012 luckily I am a drummer first
Dave Muso Dummer&Bassist myself. And try to play what you just sung. Best exercise!!
As a singing bassist, I like to have an idea of what the snare, hihats, and especially the kick-drum is/are doing all the time, throughout the song. Knowing that, I can drop the bassnote on the kick-drum, or use the kick-drum placement as a reference point if the groove requires me to play around it. Some of my influences are, of course the singing bassists, Peter Cetera, Jason Scheff, Sting, Paul McCartney, Mark King, and the the Toto bassists, David Hungate, and Mike Porcaro, John McVie (Fleetwood Mac), John Taylor (Duran Duran), Tom Scholz/Fran Sheehan (Boston), Dave Hope/Billy Greer (Kansas), Rutgar Gunnarson (ABBA), Chris Squire (Yes), Lee Sklar, Nathan East, Bill Wyman, Verdine White, and almost everyone who played bass guitar on the hits of the Disco era.
I'd also mention the great drummers who helped those bassists to turn good songs into great hitsongs. Guys like Jeff Porcaro, Bernard Purdie, Charlie Watts, Phil Collins, Ringo Starr, Danny Seraphine, Tris Imboden (Chicago), Alan White (Yes), Phil Ehart (Kansas), Ola Brunkett (ABBA), and other great drummers who worked with great bassists to make legendary music we love.
Tip #1 - always good to drop out and build dynamic and focus on the lyrics, #3 knew that, do that and recently showed a gtr player the same trick. #4 - knew that, do that, but not with the distortion, with you on compression, but I prefer a limiter for live
As Adam would say, "Bass!"
Phil from gorgeous Young Harris, Georgia, USA
Rick Beato: "I produced this track and and mixed it, oh geez, seventeen years ago."
RUclips: "You better believe that's a copyright strike."