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way cool! what are some of the tunes? instrumentation?
anyway: you've already got what you need. any EB will do --- it's not about what bass instrument you play, but rather how you play the bass instrument --- and a little 'attitude' wouldn't hurt... and it's free!
good luck with your standards!
Use your fingers and pluck close to the neck.
Thanks I appreciate the advice.way cool! what are some of the tunes? instrumentation?
anyway: you've already got what you need. any EB will do --- it's not about what bass instrument you play, but rather how you play the bass instrument --- and a little 'attitude' wouldn't hurt... and it's free!
good luck with your standards!
Some of the tunes are Autumn Leaves, Oleo, Blue Monk, Black Orpheus, Take the A train, and Misty along with a few others.
Lots of Tude. Noted.
Roll back that tone knob. Get rid of any clank. You won't sound exactly like an upright, but you imitate it. You're looking for a more mellow sound and a softer attack. Also, left hand muting will help. Don't let your notes ring out. Hit the note and within a beat or two, mute it by lifting your finger off the fret just enough to make note stop sounding. Super sustain is not your friend.
As @JRA writes, it's all about your skills. If you can swing, you're more than halfway there.
On ballads, don't overplay. A busy bass line in a ballad can be downright annoying. Be happy with those half notes (make each one count) and the occasional ghost stroke.
I have to disagree with @bwildt at least partially. Double bass is not all about a "mellow" tone - it encompasses a full spectrum of tonality. A nice round middle-of-the-road tone will let you be heard at reasonable volume. And if you want to swing high and freely, left-hand muting is generally not your friend. If you want to cut down on sustain, stick a little foam under your strings at the bridge - that way, notes will die more happily.
On ballads, don't overplay. A busy bass line in a ballad can be downright annoying. Be happy with those half notes (make each one count) and the occasional ghost stroke.
I have to disagree with @bwildt at least partially. Double bass is not all about a "mellow" tone - it encompasses a full spectrum of tonality. A nice round middle-of-the-road tone will let you be heard at reasonable volume. And if you want to swing high and freely, left-hand muting is generally not your friend. If you want to cut down on sustain, stick a little foam under your strings at the bridge - that way, notes will die more happily.
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lol very wise words. The gig was fine, we only played a few of the pieces so I ended up being over prepared. I played to my strengths, focusing on movement and build of release of tension, instead of thinking about a jazzier sound.
For those still visiting this thread, I would suggest putting on a set of GHS Precision Flats or equivalent and putting a foam mute under the strings near the bridge. My best advice for all bassists is to have a dedicated P bass strung with warm flatwounds and a foam mute for not only a jazzy sound, but a motown sound, an old school funky sound, and a lot of older 60's and 70's sounds. You know, that Jamerson sound.
I don't understand why so many people think that flatwound strings and mutes are needed to emulate the double bass. The double bass can produce plenty of overtones and, with the right technique and strings, sustain. For "that Jamerson sound," yes, I'll agree with you.
If you want it to sound like a Jazz bass play back towards the bridge for D bass I have NO Idea , I cant play those things LOL
Or... just turn down the tone knob, finger the notes appropriately and save a few bucks.
