I don't seek out basses like that. If I have to fight it, it gets sold, or never purchased in the first place.
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Do you seek resistance with your basses?
- Thread starter Low_NF
- Start date
I've also had some hand and finger issues, which pushed me to prioritize easy playability too, and I've sold some excellent basses that didn't play as effortlessly as I prefer. I've found that a flatter fretboard (at least 12" radius) reduces effort for me, so that's a critical spec.
A finger joint problem on my right index finger has forced me to play with a pick most of the time, and with the Plek-levelled frets on my G&L basses I can play pretty hard without fret buzz, even with fairly low action. I try to pick so the string vibrates as parallel to the frets as possible, which might help. I use a light touch when I can--but my last band featured an insanely loud drummer so that wasn't possible.
I usually try to set up the bass as low and flat as I can, and then add relief and action little by little until it sounds and feels best. As a DB guy, I used to have my BG set up with crazy too much relief and action, and played way, way too hard - I'm trying to reign that in and play the instrument properly now.
I can't think of any bass player I know - or have ever known - who ever complained that their bass was "too playable". I certainly never have... And, to be honest, I can't recall any guitar players who complained about it, either. But, I'm sure there are people out there who think that...
IME, the goal of the bass players I'm acquainted with, is to have a bass/basses that (yeah, here it comes) plays "like Buttah"... And, I'm one of them. I play bass - and guitar - for fun; I don't play the stupid things to work up a sweat. If I want a workout, I'll ride my bicycle - or go to the gym...
Yep, absolutely. From a setup point of view I only took a bass to a shop once for a setup (well ok, technically twice because I took it back to be redone) - the ‘correct/professional’ set up was terrible for me. I instead just gave up and learned to do it myself. Most would play mine and say it needs setting up but I’m very happy with it.
I absolutely prefer a bass/guitar that takes a bit of force to handle and play. I can’t stand light setups, light strings or light instruments in general…. But yep you guessed it, I’m a rock/punk/metal kinda guy
I absolutely prefer a bass/guitar that takes a bit of force to handle and play. I can’t stand light setups, light strings or light instruments in general…. But yep you guessed it, I’m a rock/punk/metal kinda guy
If my bass gives me any guff I make it stand in the corner.
I've heard this too, Kirk hammet has said he likes to fight a little with his guitars! I never understood why I eagerly strive to make my instruments play easier! Low Action, ergonomics & balance. a bandmate has mentioned how easy my #1 is to Play! And annoyingly has started to covet my Bass to the point of creepiness!
Fascinating point! I think many people prefer Precisions to Jazz basses for that reason. It's like the P has a higher drag coefficient that forces you to be more accurate. I do find my fingers tend to run away from me on the Jazz after some time playing the P. That said, the action on my Spector is so low you could almost breath on the string and change the pitch but the fingers stay more under control than on the Jazz. I wouldn't call it a "fight". More like trying to walk on the sea bed - if you have enough weights you'll stay on the bottom. If you don't you'll start to float away.
I try to set up my basses as well as I can, so I don't even have to think about them while playing. If I'm constantly distracted by a bass's setup (i.e high action, bowed neck), then my technique suffers, meaning I don't play as well as I can or want to.
In my case I like having some room to pluck harder, like "having enough weights to stay at the bottom" as trevorG says. In a live situation when adrenaline comes into play, too low of an action bottoms out a note in a quite nasty way when plucked with any force.
In my case I like having some room to pluck harder, like "having enough weights to stay at the bottom" as trevorG says. In a live situation when adrenaline comes into play, too low of an action bottoms out a note in a quite nasty way when plucked with any force.
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I have a JP90 that's gotta high action, twice as high at least than any other bass I have.
I love it, love fighting it, often playing it first for 15-20 minutes and then moving to a butter-player.
It's like a athletic warm-up, like the guy on the side-line jumping up 3' before going in.
I love it, love fighting it, often playing it first for 15-20 minutes and then moving to a butter-player.
It's like a athletic warm-up, like the guy on the side-line jumping up 3' before going in.
I'll try to elaborate by giving an example. In Snarky Puppy's rig rundown at around the 3 minute mark, Michael League mentioned that he could only played "1/10th of the note on his friend's P Bass compared to his Ken Smith", to me this implies that the Ken Smith is more playable to him, but somehow he plays mostly P basses now.
Yes. I once played a second hand Marleaux in a shop. It came from a pro player, who had used it on a tour.
The action was so low, it was ridiculous. When I played it, I occasionally fretted a note by resting my fingers on the strings to mute them.
This is not a problem - you can simply raise the action some and you're golden, but I never thought this was even possible.
The action was so low, it was ridiculous. When I played it, I occasionally fretted a note by resting my fingers on the strings to mute them.
This is not a problem - you can simply raise the action some and you're golden, but I never thought this was even possible.
Oh God, no. I want an instrument that allows me to play at my best. Fighting against it physically detracts from that. I like a light action and flexible strings. The technology available today allows you to mimic a stout setup like on the Funk Machine without having to wrestle with a bass all night. If I want a work out I'll go to the gym. For those of us who grew up in the '60's and '70's, the inexpensive instruments we started with were firewood. As we could afford better instruments, we understood what our personal preferences were. The student models available today are almost as good as the lower end or medium tier pro instruments of that era. A typical Squier is on par with a Fender Mustang from the '60's.
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I like to dig in some. Probably from all the unplugged practicing I did. (I now consider that to be a mistake and don't recommend doing it - but that's another thread...)
Also from playing upright.
There is what I call "acoustic headroom", which is the ability to hit harder before buzz rears its ugly head. In theory one should have more dynamic range. It also gives the note a different character after compensating for a stronger attack by lowering the amp gain. More decay, which is cool sometimes, but not always. When you turn the amp up & play softer, it's a whole different vibe IME. (Still trying to acclimate to that approach after 33 years.)
Not just a thing with guitars & basses, BTW - my saxophone buddy talks about high & low setups with similar tradeoffs. (Beefier tone vs dexterity.)
Also from playing upright.
There is what I call "acoustic headroom", which is the ability to hit harder before buzz rears its ugly head. In theory one should have more dynamic range. It also gives the note a different character after compensating for a stronger attack by lowering the amp gain. More decay, which is cool sometimes, but not always. When you turn the amp up & play softer, it's a whole different vibe IME. (Still trying to acclimate to that approach after 33 years.)
Not just a thing with guitars & basses, BTW - my saxophone buddy talks about high & low setups with similar tradeoffs. (Beefier tone vs dexterity.)
I have never heard of this (intentionally chosen that is). I don't know why you would ever choose to do that.
I don't exactly understand what you refer to, but my instruments (basses, and then guitars) have to be:
- good sounding (and that's subjective as far as "beautiful" goes, but certain qualities are a must, such as presence in the mix, absence of dead notes, touch responsive, not flat sounding without harmonics, etc)
- RELIABLE (my time has to be divided that way: 98% playing the instrument, 1,5% carrying it to rehearsals/gigs, 0,5% setting it up for the job. I don't want to take the bass out of the case and being obligated to check the intonation, or the neck relief every single time)
And they must be comfortable, because uncomfortable instruments end up being sold or on a stand (at least). Like clothes, if you're not comfortable with a shirt or with a pair of trousers, you don't wear them.
my guitarist "over thinks" everything to achieve more "sustain" I try telling him what may or may not work, but he tends to go down a rabbit-hole of techno-dribble about guitars.
..IMO if it's a "chore" to play it......it's gone.
I had an Ibby SR series 5er. Great player but too easy of a player. Narrow neck, close string spacing , I didn't get tangled up in it but I need more pushback, feedback, whatever. Digging my 2 Wicks. My 62 year old hands haven't tanked yet(I'm an arborist and they take a beating), then I might reconsider an Ibby type or short scale.
