Time and sound. I know it's a bit different to what your usual book format would be but you talk about the concept so much and I'd love to understand it better, it's a big topic.
I've been playing bass for 5 years now and when I first started, the advice I got was nevermind about scales or theory. Just learn songs. So I did and it was very rewarding and got me right into the bass. But since then I'm now studying scales and modes and all the theory stuff and I find that interesting. I especially enjoy chords and harmony and going back over the songs I learned before and analyzing how those songs harness the harmony and theory. It reinvigorates my interest in music and I keep wanting to learn more. That said, I don't really want to learn other people's songs now and want to create my own. My creative challenge is that I while I do know a good amount of theory I have an extreme amount of difficulty soloing or improvising a bass line. I can play exercises such as those in your books and have a lot of fun practicing but stringing them together in a unique way or using the individual chordal themes in way that expresses my musical interest is a challenge. I feel like it's a barrier that I'm having a lot of trouble getting over. I'd love to hear what your thoughts are on those kinds of challenges that artists encounter. (The book War of Art by Steven Pressfield touches on this, but it's more general in nature and not specific to bass players or musicianship). Thanks.
I would love to see 6 string exercises, beautiful chord voicings that you can only do on 5 or 6 string basses , and anything in that realm. Any intriguing exercises you've come up with to explore and master the extended range, maybe some chord melody exercises, and concepts on exploring playing melody, groove, and chords simultaneously on extended range basses. I'm on my second 6 string as of yesterday and feeling immensely more comfortable with it since I know my 4 string so much more intimately this time around. But I want to get just as comfortable with 6 string as I am on my 4 string!
I think it would be very interesting to see you go through, discuss and maybe even publish a book of your thoughts on how you go through the process of composing, tracking, producing, mixing and mastering of your own music. I know you have access to world class studios, but the most interesting part is how you implement your ideas at home to make them sound as intended. This series could focus on what works for you to demo your ideas, soundtrack a vlog, add a track or homerecord a full song/album. What parts of the sound spectrum you use to make all instruments sit in the mix. Which space around the beat you use to make you sound like you (milisecs before or behind). You could call this series Time and Sound.
I remember changing my right hand technique from one of your videos many years ago and it completely changed my muting and attack etc and I see so many bassists with strings ringing out left right and centre so I think a lot of people could benefit from that!
A book about state of mind, relaxtion during making music, how to listen and your own guide lines for the behavior of the bass among the instruments in a band
I played high action since ever, like 30 years of bass playing, i started with a bass that has a broken truss rod and my action was like half a cm and i played it really really well, and had played it with a lot of bands and they always chosen me for one thing: clean and consistent sound. I also started learing the bass with no amp, the amp was in the studio way far from my house and i till now prefer to play at night sitting on my bed without an amp and with an action considered a bit high
I think string height is a purely personal choice. I tend to have mine medium /high action as I play with a plec, and I play really hard. A low action increases the fret buzz to levels that isn't acceptable to me. If you are confused by the theory of setting your action the way you want it, I suggest you get a pro set up done and request the action height you need. Thanks for the vids😊
Great points! Having action definitely increases the tonal, and dynamic range. On my main instruments I look to find a nice medium to where it's high enough to get the wider tonal/dynamic range which better sustain, but also low enough to where the more extra curricular techniques are not super hard to execute. That's where having a quality instrument comes into play, and also what preference you have for fingerboard radiuses. Flatter radiuses seem to have better response over all in my experience.
For the next book it would be cool if you examined jazz bass throughout the years from early stand up stuff to modern electric bass, and then possibly go into how to incorporate some of these techniques into our own bass lines. I know it’s a massive topic to write only a single book about so maybe you could right multiple books focusing on specific eras of jazz music and the bass lines that were commonly played during the different time periods.
I saw a couple of comments saying the same thing, but I think a book on time and sounds would be a great idea. There isn't that much material out there on the subject. I think it's probably a tough subject to translate to a book. But it would be a great thing to try and achieve. As always thanks for the great content!
How about a licks/lines book? One book that has been very influencial for me is '1001 Jazz Licks' by Jack Shneidman. A similar book with chord sequence snippets (4-8 bars) and more modern example licks and/or basslines would be really cool - you could even team up with Tim Miller here (or collect guest licks from a more extended network to reach a wider audience!)
For the next book, i really think that a book about improvisation would be really cool. I think that phrasing is the thing that a lot of people are strugling with, me included. Love from Poland
An interesting video, as was the last, but we really need numbers to understand what your action is. Scale length affects string tension, so we need that. Then heights from the top of the fret to the bottom of the low E and high C strings at frets 5, 12 and 19 would be good. The easiest way to measure these clearances is with a cheap feeler gauge: a six-inch steel ruler, also very cheap, would be an alternative.
Im probably not going to change my string height to high anytime soon. I have a fretless jazz bass and lower action with roundeounds brings out a most beautiful mwah sound especially on the E and A strings. The only problem Ive encountered constantly on the fretless is that the lower range or lower 6 or 7 notes on the G string dont seem to swell and growl. They just thump. This does not seem to be a string height issue or neck adjustment issue but some sort of natural flaw across the board on just about every fretless Ive played over the last 30 yrs. Ive learned to live with it and adjusted my playing to avoid that part of the neck if I want to get that swell of the note or vibrato and play those notes elsewhere on the D string. But none the less as a player it still bugs me. Anyway thanks for the video and the most important thing is the musical journey and your obvious love and compassion for our instrument. Back in the day (late 60 to early 70s pre Jaco days) bass players were thought of as little more than frustrated guitar players. Guitar Player magazine devoted one page in the back to bassist as if the bass was an appendage to the 6 string guitar. Today bass players are very proud of their instrument and we get alot more notice. Even talk show host Stephen Colbert does an imitation not of the bands guitar player but the bassist which is kinda cool!! Thats again!
Filming a video of you playing some phrases on the same bass, with equal distance from pickups to the strings, but with low and relatively high action would be a nice idea. It would allow everyone to actually hear the difference and decide whether it really makes sense.
Would love a book about vocab. What are some, for lack of a better word, "licks" that can be played in a lot of different settings? What are some licks or patterns that are less melodic but more notey, that at high tempos fill a lot of space? What are some melodic licks? 😋 thanks
anything will be perfect! just would be nice if u could write out some fingering suggestions on excercises instead of tabs. everything written in all keys feels quite unimportant as well. the musical examples pdf from All The Good Stuff is a very good format.
dear Janek, I have a good idea for your book: finding the purpose of YOUR music, with the help of bass - not about the bass. you work a lot with other musicians and learn parts that you did not create, somewhere you must have an intangible force that makes you want to pursue music with such fervor. I played standard 4 string bass, recently switched to CGDA 5ths tuned bass and found that i rekindled by passion fo bass. I never had a practice regime, instead I think of playing bass mentally and since I never learnt by sight reading, I just rehashed my brain to think in 5ths rather that 4ths when moving up strings. the question to ponder is - how to find your own spirit in music? and realise that it is totally unique and yet is inspired by past music, and dealing with its evolution and figuring out what that spirit is not? peace.
Thank you for your interesting topic on string height I just recently bought an acoustic bass guitar only very cheap and the string height is high but there is much tone I love it so my question is did you initially raise the action because you felt there and better tone from your playing
Next book: an autobiographical account of how playing shaped your life, and how events in your life shaped your playing. Just a thought, love your hip pocket lessons and playing perspectives. Thank you!
Hey man,great video! I still got a question(or two),if i may: What about the increase of tension in the strings. I mean,by setting the brige high,with a flat neck. Don't you feel the strings under a"unhealty"tension? Don't they become very"stiff"to play,even more with the set of strings you use? Cheers
Janek, did you set up all your fretted electric bass guitars the same, (higher)? Or do you have different set ups for them, and if so, do you find difficulty going from high to low set ups?
Hi Janek, I know this may not warrant you making a video, but can you do a video or a least share your thoughts on the topic of Strings. Brands, guage, Round wound or Flat wound etc. Is this matter of personal preference or does the "right" string guage or type add or subtract from the sonic quality depending of the style of music you play. The right strings for the pick up configuration on your Bass example P Bass vs Jazz Bass. Thanks man
Something a bit more rhythm-based? I know there are rhythm exercises in 'All the Good Stuff' but a little more in-depth considering it is such an important part of playing.
Looking for a seller of the set Janek speaks of in this post , Sweetwater, my #1 dealer, does not seem to be aware of such a gauge of Dunlop bass strings. Any other retailers I can search them out?
4mm? I didn't think it looked that high! that's too high for me. 2.78 is about where I draw the line, but you and I play very differently. I do like your idea/advice to raise the action slowly over the course of an extended period. If you just jack the strings to the ceiling right away, you'll hate it and conclude that "high" action is no good.
I'm 26, I want to get into music seriously because I've been around it all my life and all my life I have rationally known that this is my calling. Should I? Should I finish a "real" career to have a financial cushion and do it in my "free" time?
Re: the book, building and developing one’s rhythm, timing, feel, groove, pocket... So much is out there on soloing and even chord-melody playing, but little instruction on developing rhythmic sophistication. All we hear is play with a metronome, but the metronome is a tool and not constructive instruction. For example, I want to feel confident coming in on the e’s and a’s of a given beat and mixing subdivisions within a bar. I love Funk and Latin music, but I still find myself clinging to the down beat too often. So, in my opinion, a book on improving one’s rhythmic playing would be a great aid - and might help fill a gap in the marketplace.
Two videos about your string height, and no measurements of same. It's kind of meaningless without some real numbers. I tend to run my action stupid low, and then I find myself having to think too much while I play, so I don't fret out, choke notes, etc. Stupid low for me is approximately 1.25mm at the last fret for the G string, gradually going to just under 2mm at the last fret on the B string. Maybe if we had your numbers, these videos would mean a bit more. I enjoyed them, just think I could apply the ideas more easily with more information.
The answer to you question is very easy, drop a mail to the manufacturer asking for the setup manual, they will give you the minimum height allowed. Build your setup from there, personally i have 2.8mm E string and 2mm G string and the others: A 2.5 mm and D 2.3 mm
what does it do? Greater vibrato, etc you still don't actually answer why its better explicitly. you sort of say it. Am I missing something? So Steve Harris is wrong. I guess. i know you don't mean every bass player. Great stuff as usual.
Hi Janek, the Action is an old topic in your channel. i remember in one of your daily Vlogs finally you said you are going to tell numbers about Action and I've been waiting and remind you sometimes in other Vlogs comment section and nothing...and now when i saw this is about Action and John Patitucci and whole story again.... i was glad finally you are going to give us Numbers and nothing again!!! please don't mention this topic again because i love you and I'm sure I'll watch whole story agian.
Time and sound. I know it's a bit different to what your usual book format would be but you talk about the concept so much and I'd love to understand it better, it's a big topic.
For the next book , how about soloing and the process of building one.
This and any tips on phrasing and adapting licks from other instruments to bass!
I've been playing bass for 5 years now and when I first started, the advice I got was nevermind about scales or theory. Just learn songs. So I did and it was very rewarding and got me right into the bass. But since then I'm now studying scales and modes and all the theory stuff and I find that interesting. I especially enjoy chords and harmony and going back over the songs I learned before and analyzing how those songs harness the harmony and theory. It reinvigorates my interest in music and I keep wanting to learn more. That said, I don't really want to learn other people's songs now and want to create my own. My creative challenge is that I while I do know a good amount of theory I have an extreme amount of difficulty soloing or improvising a bass line. I can play exercises such as those in your books and have a lot of fun practicing but stringing them together in a unique way or using the individual chordal themes in way that expresses my musical interest is a challenge. I feel like it's a barrier that I'm having a lot of trouble getting over. I'd love to hear what your thoughts are on those kinds of challenges that artists encounter. (The book War of Art by Steven Pressfield touches on this, but it's more general in nature and not specific to bass players or musicianship). Thanks.
Yes, John gave the right idea for the next book. Soloing and what can i play over some chord changes. Thank you janek.
I would love to see 6 string exercises, beautiful chord voicings that you can only do on 5 or 6 string basses , and anything in that realm. Any intriguing exercises you've come up with to explore and master the extended range, maybe some chord melody exercises, and concepts on exploring playing melody, groove, and chords simultaneously on extended range basses. I'm on my second 6 string as of yesterday and feeling immensely more comfortable with it since I know my 4 string so much more intimately this time around. But I want to get just as comfortable with 6 string as I am on my 4 string!
I think it would be very interesting to see you go through, discuss and maybe even publish a book of your thoughts on how you go through the process of composing, tracking, producing, mixing and mastering of your own music. I know you have access to world class studios, but the most interesting part is how you implement your ideas at home to make them sound as intended. This series could focus on what works for you to demo your ideas, soundtrack a vlog, add a track or homerecord a full song/album. What parts of the sound spectrum you use to make all instruments sit in the mix. Which space around the beat you use to make you sound like you (milisecs before or behind).
You could call this series Time and Sound.
Magic word: imagination! Add enthusiasm and hard work and something cool and creative often happens...Great vlog👍
I remember changing my right hand technique from one of your videos many years ago and it completely changed my muting and attack etc and I see so many bassists with strings ringing out left right and centre so I think a lot of people could benefit from that!
A book about state of mind, relaxtion during making music, how to listen and your own guide lines for the behavior of the bass among the instruments in a band
I played high action since ever, like 30 years of bass playing, i started with a bass that has a broken truss rod and my action was like half a cm and i played it really really well, and had played it with a lot of bands and they always chosen me for one thing: clean and consistent sound. I also started learing the bass with no amp, the amp was in the studio way far from my house and i till now prefer to play at night sitting on my bed without an amp and with an action considered a bit high
Love this lesson....can't thank you enough...for sharing. It has helped me a lot
I think string height is a purely personal choice. I tend to have mine medium /high action as I play with a plec, and I play really hard. A low action increases the fret buzz to levels that isn't acceptable to me. If you are confused by the theory of setting your action the way you want it, I suggest you get a pro set up done and request the action height you need. Thanks for the vids😊
Great points! Having action definitely increases the tonal, and dynamic range. On my main instruments I look to find a nice medium to where it's high enough to get the wider tonal/dynamic range which better sustain, but also low enough to where the more extra curricular techniques are not super hard to execute. That's where having a quality instrument comes into play, and also what preference you have for fingerboard radiuses. Flatter radiuses seem to have better response over all in my experience.
For the next book it would be cool if you examined jazz bass throughout the years from early stand up stuff to modern electric bass, and then possibly go into how to incorporate some of these techniques into our own bass lines. I know it’s a massive topic to write only a single book about so maybe you could right multiple books focusing on specific eras of jazz music and the bass lines that were commonly played during the different time periods.
I saw a couple of comments saying the same thing, but I think a book on time and sounds would be a great idea. There isn't that much material out there on the subject. I think it's probably a tough subject to translate to a book. But it would be a great thing to try and achieve. As always thanks for the great content!
How about a licks/lines book? One book that has been very influencial for me is '1001 Jazz Licks' by Jack Shneidman. A similar book with chord sequence snippets (4-8 bars) and more modern example licks and/or basslines would be really cool - you could even team up with Tim Miller here (or collect guest licks from a more extended network to reach a wider audience!)
I'd like a book that focused the rhythmic question maybe applied to another topic, arpeggio ,solos ,etc. thanks.
For the next book, i really think that a book about improvisation would be really cool. I think that phrasing is the thing that a lot of people are strugling with, me included.
Love from Poland
Would love your next book about groove and obtaining a good feel for current modern grooves that are beyond all the classic styles.
An interesting video, as was the last, but we really need numbers to understand what your action is. Scale length affects string tension, so we need that. Then heights from the top of the fret to the bottom of the low E and high C strings at frets 5, 12 and 19 would be good. The easiest way to measure these clearances is with a cheap feeler gauge: a six-inch steel ruler, also very cheap, would be an alternative.
For next book, what about "takadimi" approach and implementing it to bass playing, groove making, polyrhythmic creation and sight reading?
Suggestion for the new book: Composition & Arranging 🙌🏽
Im probably not going to change my string height to high anytime soon. I have a fretless jazz bass and lower action with roundeounds brings out a most beautiful mwah sound especially on the E and A strings. The only problem Ive encountered constantly on the fretless is that the lower range or lower 6 or 7 notes on the G string dont seem to swell and growl. They just thump. This does not seem to be a string height issue or neck adjustment issue but some sort of natural flaw across the board on just about every fretless Ive played over the last 30 yrs. Ive learned to live with it and adjusted my playing to avoid that part of the neck if I want to get that swell of the note or vibrato and play those notes elsewhere on the D string. But none the less as a player it still bugs me. Anyway thanks for the video and the most important thing is the musical journey and your obvious love and compassion for our instrument. Back in the day (late 60 to early 70s pre Jaco days) bass players were thought of as little more than frustrated guitar players. Guitar Player magazine devoted one page in the back to bassist as if the bass was an appendage to the 6 string guitar. Today bass players are very proud of their instrument and we get alot more notice. Even talk show host Stephen Colbert does an imitation not of the bands guitar player but the bassist which is kinda cool!! Thats again!
Dunlop super brights are probably the softest strings I ever tried. I also had to raise the action to make them work.
Filming a video of you playing some phrases on the same bass, with equal distance from pickups to the strings, but with low and relatively high action would be a nice idea. It would allow everyone to actually hear the difference and decide whether it really makes sense.
I'd love to see your lead sheets and charts as a physical book.
A book about your favorite licks and arpeggios would be amazing
Would love a book about vocab. What are some, for lack of a better word, "licks" that can be played in a lot of different settings? What are some licks or patterns that are less melodic but more notey, that at high tempos fill a lot of space? What are some melodic licks? 😋 thanks
My vote for your next book would be on “How to develop as a solo bassist, using your instrument, pedals and looping to build a unique sound”
About the next book, maybe something about rythm and all the influences that different cultures brought to it.
Yeah I'd love to see a rhythm/groove/odd time book
anything will be perfect! just would be nice if u could write out some fingering suggestions on excercises instead of tabs. everything written in all keys feels quite unimportant as well. the musical examples pdf from All The Good Stuff is a very good format.
Please write a book about concepts and technique on Hi-C string on electric bass.
dear Janek, I have a good idea for your book: finding the purpose of YOUR music, with the help of bass - not about the bass. you work a lot with other musicians and learn parts that you did not create, somewhere you must have an intangible force that makes you want to pursue music with such fervor. I played standard 4 string bass, recently switched to CGDA 5ths tuned bass and found that i rekindled by passion fo bass. I never had a practice regime, instead I think of playing bass mentally and since I never learnt by sight reading, I just rehashed my brain to think in 5ths rather that 4ths when moving up strings. the question to ponder is - how to find your own spirit in music? and realise that it is totally unique and yet is inspired by past music, and dealing with its evolution and figuring out what that spirit is not? peace.
Thank you for your interesting topic on string height I just recently bought an acoustic bass guitar only very cheap and the string height is high but there is much tone I love it so my question is did you initially raise the action because you felt there and better tone from your playing
Flatwounds: 2 mm at the 12th fret is optimal for me I don't like to work too hard...if I'm looking for more tone I use my amplifier..
Next book: an autobiographical account of how playing shaped your life, and how events in your life shaped your playing. Just a thought, love your hip pocket lessons and playing perspectives. Thank you!
Hey man,great video! I still got a question(or two),if i may: What about the increase of tension in the strings. I mean,by setting the brige high,with a flat neck. Don't you feel the strings under a"unhealty"tension? Don't they become very"stiff"to play,even more with the set of strings you use? Cheers
Janek, did you set up all your fretted electric bass guitars the same, (higher)? Or do you have different set ups for them, and if so, do you find difficulty going from high to low set ups?
Hi Janek, I know this may not warrant you making a video, but can you do a video or a least share your thoughts on the topic of Strings. Brands, guage, Round wound or Flat wound etc. Is this matter of personal preference or does the "right" string guage or type add or subtract from the sonic quality depending of the style of music you play. The right strings for the pick up configuration on your Bass example P Bass vs Jazz Bass. Thanks man
I think you should do a book about life on the road and gigs. Not too many people get to experience it and everyone’s experiences are different
Hi.great vids. Thank you. A life coach book for artistic people. Because the human factor is always the biggest challenge.
Something a bit more rhythm-based? I know there are rhythm exercises in 'All the Good Stuff' but a little more in-depth considering it is such an important part of playing.
How about a book about on how to learn the bass as a guitar player?
Looking for a seller of the set Janek speaks of in this post , Sweetwater, my #1 dealer, does not seem to be aware of such a gauge of Dunlop bass strings. Any other retailers I can search them out?
4mm? I didn't think it looked that high! that's too high for me. 2.78 is about where I draw the line, but you and I play very differently. I do like your idea/advice to raise the action slowly over the course of an extended period. If you just jack the strings to the ceiling right away, you'll hate it and conclude that "high" action is no good.
I would love a book about soloing.
I'm 26, I want to get into music seriously because I've been around it all my life and all my life I have rationally known that this is my calling.
Should I? Should I finish a "real" career to have a financial cushion and do it in my "free" time?
Hi, I plan to get a 5 string in the near future. Would you recommend a low B or a high C, and why?
Re: the book, building and developing one’s rhythm, timing, feel, groove, pocket... So much is out there on soloing and even chord-melody playing, but little instruction on developing rhythmic sophistication. All we hear is play with a metronome, but the metronome is a tool and not constructive instruction. For example, I want to feel confident coming in on the e’s and a’s of a given beat and mixing subdivisions within a bar. I love Funk and Latin music, but I still find myself clinging to the down beat too often. So, in my opinion, a book on improving one’s rhythmic playing would be a great aid - and might help fill a gap in the marketplace.
Joshua Parsons I agree this should be the next book!
How high is your action? Could you please measure it and let us know?
Modern jazz comping!
Definitely add backing tracks.
What size Allen key do I need to adjust the bridge height on my squire jazz bass?
Two videos about your string height, and no measurements of same. It's kind of meaningless without some real numbers. I tend to run my action stupid low, and then I find myself having to think too much while I play, so I don't fret out, choke notes, etc. Stupid low for me is approximately 1.25mm at the last fret for the G string, gradually going to just under 2mm at the last fret on the B string. Maybe if we had your numbers, these videos would mean a bit more. I enjoyed them, just think I could apply the ideas more easily with more information.
The answer to you question is very easy, drop a mail to the manufacturer asking for the setup manual, they will give you the minimum height allowed. Build your setup from there, personally i have 2.8mm E string and 2mm G string and the others: A 2.5 mm and D 2.3 mm
toufic zaarour, I wasn't asking about the set-ups allowed by any manufacturers. This was a video about his set-up, and he gave zero information.
Yeah true, no metrics
As a guitarist, I would like to see something that is not bass centered, like your chops book, maybe on the subject of soloing or time
ythm :)
Right and left hand technique
Your music arrangment perhap?
Soloing would be great! Daily vlogging!
Practice on the road(trip) with instrument or without
New Book - Concepts for modal soloing
what does it do? Greater vibrato, etc you still don't actually answer why its better explicitly. you sort of say it. Am I missing something?
So Steve Harris is wrong. I guess.
i know you don't mean every bass player. Great stuff as usual.
Hi Janek, the Action is an old topic in your channel. i remember in one of your daily Vlogs finally you said you are going to tell numbers about Action and I've been waiting and remind you sometimes in other Vlogs comment section and nothing...and now when i saw this is about Action and John Patitucci and whole story again.... i was glad finally you are going to give us Numbers and nothing again!!! please don't mention this topic again because i love you and I'm sure I'll watch whole story agian.
New book: Beginning Improvisation