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DM60
Well-known member
Yea, I thought it was straight forward, but I am seeing what I am thinking I am not describing very well.
This was what spawned the idea.
This was what spawned the idea.
rob aylestone
Moderator
I think we are more confused now than ever? I'm struggling to understand what you are doing? The actual notes you played were quite random and short, so any effect wouldn't really improve what was there - just make it weirder maybe? Effected bass, but still very unusual in style and composition? I don't get the connection with thunderstruck - which doesn't have any effects - just the two celli.
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DM60
Well-known member
Yea. the cellos were more about how they were using the cellos. Very unique and different. Which I was thinking might be a way to better use the bass. That was the connection, at least to me. Add to that point a way to use it closer to a source wave and treat it more as one would a synth.
The randomness was just jamming around for example purposes. But stabs and short notes aren't unusual for synths.
The randomness was just jamming around for example purposes. But stabs and short notes aren't unusual for synths.
Slouching Raymond
Well-known member
That was good. Regency Death Metal.
DrewPeterson7
Sage of the Order
Ok, this DOES help. As does that mp3, now that I have a chance to listen.
Basically, you DO want to use the bass as a melodic instrument. Couple thoughts.
1) This has to start in the arrangement, and one of the possible valid answers here is (aside from just getting virtuoso good and covering a huge intervalic range in your part) recording both a conventional and a melodic bass part to play at the same time. But, you need to think about, if the bass isn't holding down the low end of your mix, what IS?
2) Honestly, the closest thing to that cello tone I can think of is a distorted bass guitar. This sounds similar enough to the kind of tone you might hear in hard rock or metal. There's a few ways to do this but a very popular one is to basically bi-amp your bassline; either record both a DI and am amped sound, or just record a DI and copy it into a second track. Treat one as a low end track and one as a high end - low-pass your low end track at maybe 250-300hz, and absolutely laughably crush it with a compressor. Leave no semblance of dynamics. High pass your other around 650hz or so, and run it into some sort of fairly pronounced distortion effect - amp sim, maybe, or just a very, very aggressive saturation effect, and if necessary low pass it as well somewhere higher up (probably at least 1.8khz, but potentially higher, especially if you're using an amp sim with a modeled microphone on it, or a real distorted amp you've mic'd up). Then, blend to taste - you get a rock-solid low end, but with a distorted high end combining for a very solid, gritty, punchy bassline.
3) This might provide some inspiration - it's not technically bass, it's a chapman stick... but Sean Malone was a brilliant musician. The 9-minute unaccompanied Chapman Stick solo should be a mandatory skip on any prog album... but it's somehow one of the highlights of Gordian Knot's "Emergent."
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DM60
Well-known member
Bassline may or may not be a bass or a synth. I just purchased a UBX-a and it has some nice bass lines. But I am thinking I can control the texture on a bass much exact than on a digital keyboard. Plus, looking at different ways of being creative. I can go all in on EDM, but there are elements I like and trying various instruments.
Thanks for the input. Much appreciated.
DrewPeterson7
Sage of the Order
Well, for the sound you're after, that's absolutely something you can do with distorted bass guitar. 
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noah330
Active member
Years ago, I bought the Carol Kaye series. She used to sign all the books and discs to the person ordering, which was very cool. I also purchased the book Standing in the Shadows of Motown.
After that, practice.
After that, practice.
jimistone
long standing member
Listen to lynyrd skynyrd and learn Leon Wilkenson's bass parts. Leon was a master of composing bass guitar parts that were different, melodic, locked in with the drums, and awesome.
Ditto on paul McCartney and the fore mentioned Carol Kaye.
Learn those 3 players bass parts and you will have a far better foundation and understanding, to pull from and compose bass paets, than 80% of most bass players.
Ditto on paul McCartney and the fore mentioned Carol Kaye.
Learn those 3 players bass parts and you will have a far better foundation and understanding, to pull from and compose bass paets, than 80% of most bass players.
rob aylestone
Moderator
In all the years I have played bass - I have never followed any particular players - especially the famous session players, because they just play in every style known. What I do find useful is to really listen to songs that are well known, in as wide a genre range as I can - with the exception of those I detest, and that's quite a lot. The other thing I like to do is listen to live versions of the same songs with different players to hear what is different. Especially useful was Phil Collins over the years. Lee Sklar was the key - but Nathan East's versions we interestingly different. The differences in the same song, but different players gives you options you might not have though of. Herbie Flowers - a really nice guy - also showed me how you could play the same thing differently, and gave me some useful tips on double bass. Not so much 'do this', but DON'T do this.
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DM60
Well-known member
Great suggestions. One thing is clear, play more and experiment. I think adding guitar distortion is an area I will be experimenting with for sure.
Great tips to work on.
Great tips to work on.
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