I’m not the greatest muscian, but my timing is pretty damn good. Even when I’m going through a nasty f/x chain (or none at all) the feedback from the group is good, they comment on missing my playing when I’m not there, add in the occasional appropriate twiddley bit, some sexy timing diddlys, nice f/x and they totally love it.
The first key role of a bass player (IME) is to provide a rhythmic foundation … 'A skilled bassist supports the group by providing a good-feeling, steady pulse. Most music that is well received has a steady rhythm, or beat, to it. ’ NO amount of sexy f/x will correct an underlying lack of this.
The second key role is to provide a harmonic foundation '‘The bass plays a powerful role in how we hear harmonies. When we hear several notes played at the same time, we hear them all relative to the lowest sounding pitch — the bass note.’ Tweaking EQ and f/x can help here. Even a simple root/fifth sounds great … but only if the timing is spot on.
This strikes me as an issues with the first key role …
If the band is aligned then I fear it is time for a “chat”.
Sam x (Quotes from The Role of the Bass | StudyBass)
Thank you for this. That’s exactly what I think and thank you for using the exact words.
I said exactly this in a rehearsal (I just wish I could have found the right words): bass as a part of the rhythm section and underlining/ supporting the harmony (or playing with it a little! It’s so cool how the bass can actually change the chords that everyone else is playing).
They looked at me like I was speaking Chinese. The drummer agrees but he doesn’t really know how to verbalize it? I mean he’s very uncomfortable with the bass rhythm but can’t really tell what it is.
Also I think that when I spoke about supporting the harmony they thought they want me for the bass player just to play the root of every chord and that’s it. Or something along those lines… I wanna scream lol.
I spoke once to the singer/rhythm guitar guy and tried to communicate this ‘in the pocket’ concept and how a band can sound really powerful even when doing something really simple but keeping the beat tight. This feeling when you’re listening that makes your foot stomp along or move your head a little as the band plays. The answer was ‘But we don’t make dance music!’. You know those anime cartoons when someone says something very WTF and everyone falls down to the floor on their heads? Yeah.
Again, I realize the bass can do so much more than just supporting the beat and harmony but I think these two aspects are fundamental. At least with the songs we make.
Thanks for the link. Also would you like to join an emerging Spanish band? Lol
These past days I had the phone in my hands several times about to call the singer and tell him about all this or just to tell him I’m quitting (as we’re in a break it would be a good time for them to find another guitar player). Again I feel like I’m venting here so thanks for bearing with it. Therapy session.
Hi @Techno,
You might want to ask yourself a few questions :
Are you serious about music ? Or is it just a way of sharing a good time with friends ?
What is your own level ? It doesn’t have to be about how fast you can shred. Rhythm is the most important part. Be honest with yourself and compare your skills to the ones of the other members. You don’t have to have the same level to be in the same band but if there’s too much difference, some will be bored. Being the only one to hear the bad timing of you bass player may be a sign.
What are the goals of the other members with this project ? Are they compatible with yours ?
Depending on the answers, you might have to make a tough decision. You can also have a honest chat with the members to see if something can change or accept to have an amateur project just for fun and try to find another band for more serious stuff. It’s sometimes hard to know what to do and asking yourself the good questions to know what you really want is probably the good way if you don’t want to be frustrated.
Personally, I couldn’t have a band with musicians who have a bad timing. I could spend a little time jamming with them but building a repertoire is hard work and I wouldn’t be motivated if I can’t expect a satisfying musical result.
Thanks for the analysis! I think it’s a really good approach.
I always took it as a way of having good time with friends but now we want to be able to gig more often.
My level is just amateur as they are. I screw it up sometimes too but I can hear it when I do (to a certain point) so it’s hard to hear us sounding badly in a consistent way when we rehearse. I just think I’m more aware of certain basics. The other band I play with has better musicians. It’s not so exciting because it’s covers but I’d never have this kind of problem there.
We all seem to have similar goals (having a good time making songs and some gigging) except for the singer/guitar player who still has hopes about having some kind of ‘success’.
I know I didn’t need to share the answers to the questions but you know, therapy.
I agree with the previous comments about the importance of timing for a bass player; if it doesn’t groove/swing/whatever_does_it_for_you then the band as a whole should be focusing on this as a priority.
The jazz quartet I play bass guitar in just recently started rehearsing through a mixer/recorder (Zoom LiveTrak L-8) and headphones, and recording (most of) what we play. Listening to the recordings at home afterwards each of the band members hears errors and imperfections in their own playing that they did not notice at the time. It can be a little disheartening but I find it a useful tool to focus in on aspects that need improvement. I have also been able to say to the other musicians things like “I really like what you did on track X at time T - can we do some more of that?”. If you are not already recording and listening back, maybe it’s worth a try, particularly if you are able to say “I really like X” before you get to “we need to improve Y”.
Regarding the use of amp/cabs and/or simulators, I normally want a very transparent sound, particularly for my semi-acoustic fretless bass. I have sometimes been disappointed with my sound when I had to play through someone else’s amp, so now if I know I have to use someone else’s amp, I normally take a different (possibly fretted) bass. So while I don’t want @Jandalf 's distorted bass sound for the jazz quartet, I agree that the amp (or lack thereof) can be an important part of a player’s sound. I still think it’s OK for you and your band mates to (gently) suggest that he change that sound if you don’t think it fits the music.
Yes! We do record ourselves now and then with that idea. The first times we were excited but lately I don’t think anyone else but the singer and myself bother to listen carefully.
Anyway I may try to record more often and use that communication strategy. If I don’t quit the band…
This is a fantastic tool - brutally honest and really the only way to improve - especially for timing-related issues. If improvisation is a part of your music, it is also a good way to catch (and analyze) phrases you played in the moment, but really like and want to work more on.
The drummer agrees but he doesn’t really know how to verbalize it? I mean he’s very uncomfortable with the bass rhythm but can’t really tell what it is.
You know those anime cartoons when someone says something very WTF and everyone falls down to the floor on their heads? Yeah.
