Pet Peeves

Z

Zyquix

Member
Jan 30, 2006
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I've stated this before, I'm not a bassist, but a guitarist, but since I dont have any other component of a band yet, I'm forced to write the bass and drums for the songs that I write (though 'forced' is a horrible word of choice, I rather like writing them out). I'm happy with my basswriting, but just to further my knowledge of the instrument and it's players, what are some bassist pet peeves when it comes to writing that people should avoid?

All I know is:

1.Don't follow the guitar lines (or at least keep it to a minimum)
2.Don't just play the root of the chords

I know someone will say 'just write what sounds good'-I do do that, but any tips?
 
Personally I make the guitarists follow my basslines. [yucka yucka]

I think maybe if you are trying to not write lines that are just unison or root position parts, then you have to think in terms of figured bass and think contrapunctually. Just think of the bass as another voice not so much as filler for the low frequencies. Remember though that the bass note of any chord will imply that inversion. I think though, when you are writing for any instrument that you aren't necessarily going to be playing, to keep the overall context of the piece in mind. If you are satisfied with the parts you write as a whole, then you as the composer should have the final say. Beyond that if you think there is room for improvement then consult whoever you get to perform the parts in what ever situation they are performed in.

The only other thing I can think of is to just listen to a lot of different types of music and pay attention to what bassplayers do in different situations.
 
Hey, hey, now. I agree with the tapping, but slapping can be used whenever the hell you want without sounding flashy, bro.

To give some serious advice, I think the best way to learn a bit about bass playing is to simply go out and do it. Find a local band that needs a bass player and try it. Even something less serious, like a couple guys doing a casual jam session would be good. If you can't do that for whatever reasons, try what Frank the Tank suggested in learning the basslines to songs. The best way to learn is from experiance, and belive me, you'll learn a lot and you'll find your pet peeves without any trouble. ...But something Nothinggod said that really caught my attention - I could not have said this better if I tried:

Nothinggod said:
...Just think of the bass as another voice not so much as filler for the low frequencies.
Click to expand...
 
Travis said:
Personally one of my biggest pet peeves is when the guitar player tries to write my bassline
Click to expand...

I guess we're fortunate to not be in the same band then.

Avoid the disco bass.
Click to expand...

Whys that?

Just think of the bass as another voice not so much as filler for the low frequencies.
Click to expand...

Yeah, I try to do that. There are some parts where the bass ends up being in the foreground and the guitar is more in the background supporting.

Maybe I'll post a Midi of some of the stuff I have so people have an idea of how I write.

EDIT- and I like throwing popping/slapping in here and there-I'm very into the concept of p/s because that's one thing that bassists can use when arguing against 'bass is just like the guitar, only easier'. I've only seen one guy p/s on a guitar, and that was on YouTube by some random guy. Plus it sounds awesome.
 
http://www.myspace.com/continuorenacer

Listen to "Tap That Angel" -the whole song is tapped on guitar on bass, seriously incredibly beautiful. excellent bassist and guitarist. I highly advise everyone to check them out.

Anyways I'm getting off track. I said before I'd post something, but now I'm just thinking that if anyone says they want to hear it, I'll post it, but if none, then I'll leave it alone.
 
I just want to clarify that when I said to treat the bass as another voice that it wasn't a call for equal bass rights or "basser's lib" or anything like that. I was specifically talking about in the context where someone wanted to write parts where the bass was doing more than a unison to the the guitar or other melody line. Personally I believe that there are times when a given instrument should be just playing a unison to another instrument. I think that is the bottom line really.
It's all about whether you are thinking as a composer or as an instrumentalist. I personally wouldn't go out of my way to include any given technique just because a given member of my band wanted to show their chops. On the other hand I tend to write music that gives them plenty of opportunity anyway and I will consult them on certain aspects where I think they might have a particular technical perspective. I think when it comes to techniques there is no technique that is too flashy or really should be necessarily used in moderation. I feel more that a technique should be used in context where it is a structural part of a piece of music...
 
I just had a listen to "Tap That Angel". I think the bass was a little bit inconsitent at times, just a matter of improving technique for them though I think. By the sound of it too, the bass player could probably benefit from having a lower action. Structurally, in terms of the counterpoint, it remined me a lot of Cynic. At times almost like 'Textures' or 'I'm But A Wave to'. I just recently wrote a piece with a similar concept in mind. I haven't really approached the guitars yet, just bass, drums and keys so far. It was interesting to hear how they counterpointed guitars against the bass. Anyway Zyquix, post a link of your stuff.
 
You can tell the action just from listening to it? I thought action only affected the playing, not the sound...?

And a quick question, if I burn the MIDIs to a cd, and copy it back using WMP, would it stay a MIDI, or would it turn into a .wma?
 
What I can hear in that particular recording is that at times the notes are a little bit muted or are being played 'weakly' and causing 'buzzing' on the frets. Usually this is caused by the action being too high. Otherwise it could be that the bassplayer is fumbling a few of the notes and just needs to practice a little bit more to get it more precise. It's a pretty complex piece though, performance wise.

On the midi thing, I don't know what programme you are using but see if you have a function that will let you mix down to an audio file, .wav for example.
 
I was just thinking, if the action is too high, would a fretted note sound a bit higher than what's supposed to be compared to the open note on the same string- being that since it's higher, you have to push down the string further, causing more tension, raising the pitch? or would it not be significant?
 
Actually yeah, I suppose it would screw with the intonation a bit. That kinda thing is pretty much what you get neck adjustments for, when you play a string open then play the 12th fret and it sounds a little sharp.
 
It depends on the setup. Usually a luthier will take those kinds of things into consideration when adjusting bridge saddles, truss etc. But usually, unless you have a badly setup instument, or an instrument that needs a setup, the pitch variation will only be a couple of cents.
 
I tried the cd thing and it didn't work. The reason I asked is because I don't like posting MIDI files of my stuff in fear of it being stolen and used. (The reason I don't post me playing is because, well, I haven't learned them yet. :D) The next best way is just recording the midi and uploading it as a wav (while losing some audio quality) Any better way than this? Or somehow converting MIDI into some other audio file..

EDIT- I just realized there maybe some free MIDI converters on the net, silly me.
 
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