We’re celebrating 400 issues of Bass Player in this issue, but that doesn’t mean we’re just congratulating ourselves on how great we are – we want you to benefit from the distilled wisdom we’ve learned along the way. Apply these nuggets of knowledge from the world’s greatest bass players to your playing, and you’ll be well on the way to bass nirvana...
Research: Mike Brooks
GEDDY LEE, RUSH November/December, 1988
The freedom of the trio is that you’re allowed to be as busy as the thing can take. Obviously you have to use taste and discretion where and when you’re being busy. You really have to serve the song the best way possible. If it serves the song to be busy, that’s fine, but if it best serves the song to be a bit more fundamental and groove-oriented, then you have to do that.
NATHAN EAST May 1997
I quickly realised if I stayed on the same note when the chord changed, it made a difference – and if the chord stayed the same and I changed my note, that made a difference as well. That’s how I discovered the common tone and the substitution, and learned how I could control the complexion of the music.
STU HAMM July/August 1991
The sound you get is in your fingers and the bass. I try to use gear that gives me a true reproduction of that sound, without having to mess with a rack full of parametric EQs that are always going down.
JASON NEWSTED, METALLICA September/October 1991
I’ve learned that there’s nothing easy about laying down a line with exact consistency – being right there in the pocket. I’m pretty much an orthodox player. I’m not against special techniques – if I took some time to figure out something, I’d be pretty proud of myself.
TINA WEYMOUTH, TALKING HEADS/ TOM TOM CLUB November/December, 1988
I don’t consciously look for particular licks to use. If anything, I try not to repeat myself. If I’ve done something before, I try to avoid using it again.
PAUL MCCARTNEY July/August 1995
I started to realise the power the bass player had within the band. Not vengeful power – it was just that you could actually control it, so even though the whole band is going along in A, you could stick in E.
WILL LEE Fall 1990
My basic approach can be summed up in two words: the pocket. The most important function of the instrument is creating and holding down the groove.
FLEA, RED HOT CHILI PEPPERS January/February 1992
I’m into the punk ethic: play every note like it’s your last! You could be dead tomorrow.
