|
First and foremost, what does your EQ look like?
|
#
?
Mar 27, 2011 20:28
|
|
|
|
| # ? May 10, 2024 02:21 |
|
|
I want to go from my line6 lowdown studio 110 amp to some kind of stack, and I feel lost in all the equipment and options available. In terms of power, I need to be heard with a drummer without problem, but I don't need tons of power. I want something versatile, I play mainly a fender j-bass, in jazz-context, with some reggae and misc stuff around as well. What I'm ready to spend is around $600-$800. So some questions that has arisen: Do I need a cabinet with a tweeter? It certainly seems desirable to me, but is it something that makes a difference? Talkbass seems to hate behringer and bugera, who are cheapo-brands that looks kinda good on paper, but has bad rep. Comments about them? Ashdown is another that makes both heads and cabs. They seem good for what I'm after (for example head MAG 300H EVO II + cab MAG410T), and they don't have the bad rep. I'm just generally confused in where to begin with a stack.
|
|
#
?
Mar 27, 2011 23:13
|
|
|
PerOlus posted:I want to go from my line6 lowdown studio 110 amp to some kind of stack, and I feel lost in all the equipment and options available. The rule-of-thumb for power requirements if you're going to be playing live with a drummer is typically about 300w. You need to see what the power output of the amp will at different impedance levels. An amp may claim to be 300w, but that may be at 4ohms, and your cabinet may be only 8ohms, thus roughly halving the available wattage from the amp. For example, the EVO II head says 307w with a minimum impedance of 4ohms. That likely means that 307w is at 4ohms. The MAG410T is an 8ohm cab... so with ONLY that cabinet hooked up, you'd be getting roughly in the range of 150-180w out of your amp head. You can get the full 307w by adding ANOTHER 8ohm cab, or by getting a single 4ohm cab. A tweeter? Nah, not really. Most 410s will come with a horn though. They're useful, my 410 has one, but I typically use the attenuator in the back to turn it off. It can get a bit shrill for my tastes. Edit: Well actually, thinking more about it... You might actually do fine with the setup you proposed. Properly EQ'd you'll likely be able to be heard above a drummer and sit decently in the mix. Just as long as he doesn't beat the poo poo out of the drums constantly and knows how to play at moderate volumes. And you'd also have the ability to expand to another cabinet. Scarf fucked around with this message at 02:34 on Mar 28, 2011 |
|
#
?
Mar 28, 2011 01:06
|
|
|
PerOlus posted:I'm just generally confused in where to begin with a stack. It's a lot of information. I recommend hitting up some guitar stores and playing whatever they have on hand to decide on a head. There are vastly different sounds between brands. I'd say the amp has more of an effect on your overall sound than any other piece of equipment. I wouldn't go any lower than 500 watts. Headroom is important. For cabs, there are usually a ton of decently priced ones on Craigslist. Most amps are rated at 4 ohms, but look each up. 2 second version of what Ohms mean. Ohms = resistance. Less resistance = more power. Thus, less ohms = more power. So, if you have a 500 watt amp head and want the full 500 watts at 4 ohms, you can do the following: One 4 ohm cabinet Two 8 ohm cabinet I like two 8 ohm cabs because then I can leave one at practice and bring another back and forth. You never need full power when practicing at home, right? Avatar makes some really nice sounding cabs for not a lot of money. I picked up a 2x12 and 2x10 off craigslist for $550. Both are 8 ohms and both are rated at 500 watts.
|
|
#
?
Mar 28, 2011 05:38
|
|
|
Cumfartcocktails posted:Anybody have any thoughts about integrating guitar gear into a bass rig? I've been trying different things with my bass gear, which includes a Schecter Stiletto Studio 5 though a Line6 PodXT Live, Ampeg STV 350H with an 8x10 cab, and it can't really give the clarity I need. I like to hit the strings at the end of the fretboard so they get a lot of separation, kind of like Steve Harris does, and with a lot of mids, but when I'm riding on the low B it gives me a super harsh clacking sound but there's no actual note (death metal/hardcore/mathcore player). I'm going to be buying a Peavey Triple X guitar head soon, and am thinking maybe I could use separate guitar and bass heads into smaller cabs to give me a nicer sound. I like the way guitar distortion sounds with a top-heavy bass due to having more aggression than a bass distortion, but it of course cuts away all the lows, so I could try getting the best of both worlds. I know this isn't a new idea and believe Chris Squire did it, and his tone was god-tier. I was thinking if I were to do this I would get a 2x12 for the guitar and a 1x15 and 2x10 or 2x15 for the bass and sell the 8x10. It's an American made that I got super cheap so I bet I could break even. Thoughts? Any modifications I would need to make? Is it even possible for a bass to be audible when chugging on an open Bb at all? Am I an idiot bassist with too many hopes and dreams who should just give up and stick with a plain-looking J-bass and a Sansamp? Should the vocalist in my band stop trying to tell me how to dial in tones? So many questions......if you bother to read this you have my undying bro love. As stated before, its hard to give advice without knowing exactly how you're set up. But I will say that your gear isn't everything. In terms of your sound, there is a lot to be said about playing with good technique - its just as important as your gear. For instance, Chris Squire has great tone, and while he has a unique set-up (for the time at least) a large part of his sound is his picking technique. I believe that he after he hits the string with the pick, his thumb strikes the string on the followthrough. Kinda like a pinch harmonic on guitar but not exactly? I'm sure you could find out more details if you research it. Your bass also has a lot to do with your sound as well. Personally, I've never liked the sound of virtually all Schecter instruments. They look really pretty, but in my experience I would describe their sound as 'plastic-y' or 'empty.' So perhaps experiment with other basses as well - but that's up to you. Just by reading your post I would say that perhaps you're picking too close to the bridge on the B-string and you're not getting enough vibration on it to generate a nice clean tone. If you're still getting no sound / clack while playing over the pickups, then I would suggest just doing a basic setup on your instrument: Adjusting the action, bridge, and truss rod. If you're not comfortable doing it then find a friend that knows what they're doing or take it to a shop and have them do it. While you're add it, try out different sets of strings. If your B string is floppy, thicker strings will allow you to have more tension on the string, allowing for a tighter sound. Of course, by doing this you absolutely must adjust the action to compensate for the increased thickness. Btw, I currently split my bass' output to a GK 200RB and an Ampeg V-4B, going to a 4x10 and 2x15 respectively. It sounds pretty awesome. I like the overdrive tone of the GK and the Ampeg gives me a nice warm tone while filling out the bottom end. I considered going to a 4x10 and a 4x10+2x15 but its kinda overkill for most of the venues I play at. Huge Lady Pleaser fucked around with this message at 03:06 on Mar 29, 2011 |
|
#
?
Mar 29, 2011 02:50
|
|
|
Cumfartcocktails posted:Anybody have any thoughts about integrating guitar gear into a bass rig? I've been trying different things with my bass gear, which includes a Schecter Stiletto Studio 5 though a Line6 PodXT Live, Ampeg STV 350H with an 8x10 cab, and it can't really give the clarity I need. I like to hit the strings at the end of the fretboard so they get a lot of separation, kind of like Steve Harris does, and with a lot of mids, but when I'm riding on the low B it gives me a super harsh clacking sound but there's no actual note (death metal/hardcore/mathcore player). I'm going to be buying a Peavey Triple X guitar head soon, and am thinking maybe I could use separate guitar and bass heads into smaller cabs to give me a nicer sound. I like the way guitar distortion sounds with a top-heavy bass due to having more aggression than a bass distortion, but it of course cuts away all the lows, so I could try getting the best of both worlds. I know this isn't a new idea and believe Chris Squire did it, and his tone was god-tier. I was thinking if I were to do this I would get a 2x12 for the guitar and a 1x15 and 2x10 or 2x15 for the bass and sell the 8x10. It's an American made that I got super cheap so I bet I could break even. Thoughts? Any modifications I would need to make? Is it even possible for a bass to be audible when chugging on an open Bb at all? Am I an idiot bassist with too many hopes and dreams who should just give up and stick with a plain-looking J-bass and a Sansamp? Should the vocalist in my band stop trying to tell me how to dial in tones? So many questions......if you bother to read this you have my undying bro love. The downside of a lot of guitar distortions and amp models is that you WILL probably lose some low end; it's something to do with the way the distortion reacts to the longer wavelengths, but basically they seem to cancel out and just disappear with some heavy distortion. Also you tend to lose definition on your lower notes even if they do come through. A lot of bass distortion/OD pedals are designed to leave the low end drier so you still get a strong deep fundamental, but once you climb the scale the distortion gets bitier and thicker. Some also use a dry mix to accomplish this. Honestly I would try as many bass-specific dirt pedals as you can; Big Bass Muff, Bass Blogger and the Tech21 VT Bass are a few well-used ones. There's also a couple of bass-friendly guitar pedals, such as some of the regular big muffs, and the Boss HM2(out of production). Also one thing to remember is that an 8x10 moves more air than almost any other cab config so you're likely to lose some volume switching to a 2x15, unless you go for a really high end cab or build a fEARful 1515/66(which will probably end all life the first time you hit a low B).
|
|
#
?
Mar 30, 2011 01:28
|
|
|
You really don't need much distortion to get a gnarly, aggressive bass sound. Even if you use a bass-oriented overdrive pedal, it's very easy to dial in too much fuzz and disappear entirely from a mix, especially if it's a dense multi-instrument one. I wouldn't want to use anything more than a light overdrive for bass unless I was in a sludge doom band where fuzz is the desired result. In fact, I play in a loud two-guitar rock band running straight into a Genz Benz Shuttle 9 with just a slight bit of tube grit from the preamp, and I have no problems cutting through. As BBW Fever said, the most important thing is always technique. I've been developing my fingerstyle lately since it's always nice to have that option, and it's also a good backup to have in case I drop a pick and don't have a spare. Been trying out some Billy Sheehan three-finger stuff just for the hell of it and it's pretty fun. Getting my ring finger up to speed with the other two is pretty tricky, though, specially since I never used it when I was a guitar player.
|
|
#
?
Mar 30, 2011 08:38
|
|
|
The idea of doing this though would be to have distortion on the high end of the sound while preserving the low end. I'm beginning to think my bass is at fault after hearing what I sound like on other peoples' basses. As for my technique I'd say it's pretty good. I'm mainly finger style and pick at the end of the fretboard to get a lot of clarity. I normally leave all three tone knobs cranked on the bass with the pickups about 60% bridge 40% neck. I like my EQ to be cupped so I get a lot of mids because it's impossible to be audible in metal without mids. I suppose Chris Squier was a bad example since my technique and style of music are totally different. The other day I checked out the new album by Born of Osiris and their bass tone was exactly what I'm going for. I asked their bassist and he gave me the most standard answer; his bass, a Sansamp, and the amp. He plays Musicman Bongos so I'm thinking yeah the bass is the problem.
|
|
#
?
Mar 30, 2011 15:23
|
|
|
I've had a pair of Thomastik Infeld flatwounds on my bass for a few months now, will they continue to age if I take them off? They sound good and feel awesome but I need to switch back to roundwounds for awhile to jam with some friends. They never really did mellow out too much, I was hoping to get a super warm tone with that set but I guess it takes quite awhile for that to happen.
|
|
#
?
Mar 30, 2011 21:17
|
|
|
Probably will stick around where they are now. They age more due to finger funk than anything else.
|
|
#
?
Mar 30, 2011 21:18
|
|
|
Well then I'm glad I didn't clean my fretboard before I put them on 
|
|
#
?
Mar 31, 2011 00:09
|
|
|
Cumfartcocktails posted:I normally leave all three tone knobs cranked on the bass with the pickups about 60% bridge 40% neck. Wait, you have a bass with a 3-band EQ and you're diming all three controls? I'd say that's your problem right there.
|
|
#
?
Mar 31, 2011 00:26
|
|
|
Bought a brand new Geddy Lee sunburst jazz. What a beauty! I've always heard about the series/parallel mod as being pretty awesome. I have found lots of information on how to do it, but - what does it DO? I can't seem to find anything that doesn't assume you already know the point of the mod! Also, I have read a bit about having stereo output jacks, a la a Rickenbacker. Does anyone know about that?
|
|
#
?
Mar 31, 2011 00:28
|
|
|
It changes the sound of the jazz bass from that both pickups on sound to something more along the lines of a P bass or other humbucker type pickup bass. The switch between parallel and series changes what frequencies are attenuated and amplified, so that you go from a slightly mid scooped sound of the parallel jazz to a more heavy low-mid sound. Really easy to do if you can solder, totally worth it.
|
|
#
?
Mar 31, 2011 00:54
|
|
|
Anybody else see an issue with this? e: Even reading the page has me all 
Manky fucked around with this message at 01:48 on Mar 31, 2011 |
|
#
?
Mar 31, 2011 01:44
|
|
|
Manky posted:Anybody else see an issue with this? I'm guessing that, like most horrible musicians who happen to be famous, he wanted a signature instrument, didn't know enough about bass guitars, and thought it would be INNOVATIVE to put a P-pickup into a jazz body.
|
|
#
?
Mar 31, 2011 02:17
|
|
|
So is it a j-bass body with a precision neck and reversed pick-ups? Maybe that's how he built his first bass out of a bunch of scrap parts.
|
|
#
?
Mar 31, 2011 02:28
|
|
|
Apparently the thing even has its own wikipedia page. That's exactly what it is. Reversed p-bass pickup, p-bass neck, and a j-bass body. The reversed pick-up is only for the new edition.
|
|
#
?
Mar 31, 2011 02:35
|
|
|
After more research the music I'd like to play seems to be pretty much perfectly split between P and J basses. Any extra info that could toss some extra weight to one side or the other? Edit: My total budget is like 170ish max (including amp) so any PJ basses I've run across are out of my reach.
|
|
#
?
Mar 31, 2011 02:35
|
|
|
that Mark Hoppus bass has been around for years.
|
|
#
?
Mar 31, 2011 03:25
|
|
|
Fuzzy Pipe Wrench posted:After more research the music I'd like to play seems to be pretty much perfectly split between P and J basses. Any extra info that could toss some extra weight to one side or the other? I would go with a J. You can cop a halfway decent P-ish tone with a J (along with all the versatility that comes with a J), but with a P-bass you're a little more limited. If what you want is P-bass tone, though, there really are no substitutes. For background I've owned a J for five years but I'm currently looking to buy a P. The most important thing, however, is which one you think feels better. P-basses have a wider neck and slightly different body style, so go in to a music store and try out as many different ones as you can.
|
|
#
?
Mar 31, 2011 04:28
|
|
|
You can always get a P/J.
|
|
#
?
Mar 31, 2011 05:04
|
|
|
The same Mark Hoppus bass has been at my local Guitar Center forever now. Easily the worst Fender/Squire bass I have played, I hope no one is ever stupid enough to buy it.
|
|
#
?
Mar 31, 2011 07:34
|
|
|
Whats the advantage of a J body on what otherwise a P? Is there any? The reason why I play a P is just because it's massive.
Dyna Soar fucked around with this message at 09:26 on Mar 31, 2011 |
|
#
?
Mar 31, 2011 09:22
|
|
|
Dyna Soar posted:Whats the advantage of a J body on what otherwise a P? Is there any? The reason why I play a P is just because it's massive. Aesthetics and/or ergonomics. Some people feel like it's a bit more comfortable and sleek-looking.
|
|
#
?
Mar 31, 2011 14:04
|
|
|
Scarf posted:I'm guessing that, like most horrible musicians who happen to be famous, he wanted a signature instrument, didn't know enough about bass guitars, and thought it would be INNOVATIVE to put a P-pickup into a jazz body. BetterWeirdthanDead posted:So is it a j-bass body with a precision neck and reversed pick-ups? I remember when these models first came out. He had an interview where he mentioned that he liked the look and feel of the Jazz body. Otherwise, he's pretty much a Precision player who never used the tone knob. If it makes Fender money, I can't blame the company for milking it. At least Hoppus' bass has some slight physical differences from a normal, non-premium p-bass, such as string-through-body and a reverse P pickup. I find the idea of Pete Wentz's signature bass more offensive, actually. EDIT: Is Hoppus actually a "bad" musician? His bass playing isn't amazing, but I wouldn't call him a bad bass player. Given the kind of music he writes, what he plays is perfectly adequate. Eric Cantonese fucked around with this message at 17:21 on Mar 31, 2011 |
|
#
?
Mar 31, 2011 17:12
|
|
|
Cumfartcocktails posted:The idea of doing this though would be to have distortion on the high end of the sound while preserving the low end. If you want mild overdrive, I would get some kind of Sansamp product (Bass Driver, VT Bass, etc). If you want a lot of OD/distortion, I would get the Sansamp plus the OD/Distortion pedal. The reason for this is that the Sansamps usually have a speaker sim which cuts out the shrill, higher frequencies (not too apparent when playing clean, but very noticeable with distortion) while fattening up the rest of the signal.
|
|
#
?
Apr 1, 2011 00:17
|
|
|
golden posted:Bought a brand new Geddy Lee sunburst jazz. What a beauty! I've always heard about the series/parallel mod as being pretty awesome. I have found lots of information on how to do it, but - what does it DO? I can't seem to find anything that doesn't assume you already know the point of the mod! Like Doomy said, it turns the pickups into a pseudo-humbucker and gives it a louder, mid-heavy tone (that I find kinda muddy and sounds nothing like a Precision bass). If you're going for a Geddy Lee type sound, this is not the mod for you.
|
|
#
?
Apr 1, 2011 00:20
|
|
|
Well guys, in an effort to finally move to upright, I've decided to have my own little liquidation sale. Basses: - 2004 Lakland 44-02 Deluxe. 3-tone Sunburst ash body w/ quilt maple top, flat-sawn maple neck and fingerboard. Bartolini J/MM pickups, 3-band bartolini preamp, push-pull on master volume for passive mode, coil tap for the MM pickup. $700 - 2008 Lakland Hollowbody. 3-tone sunburst, carved mahogany back and sides, carved maple top, Flat-sawn maple neck, rosewood fingerboard. Chi-sonic humbuckers, Gibson-style 3-way selector, vol/vol/tone/tone controls, push-pull tone pot for single-coil mode. $1000 - Frankenfretless p-bass made from various parts. Johnson p-bass body, SX fretless maple neck, mexican p-bass pickup. $100 Amp: - Late 90s USA Ampeg B2R, 350w @ 4ohms. 9-band graphic EQ, built-in defeatable limiter. Tuner-out, Power-amp in, Pre-amp out, Balanced XLR out, effects loop. $300 - Late 90s USA Ampeg B410H. 4x10 w/ a horn. 8 ohms, 200w RMS. $200 - Late 90s USA Ampeg B115. 1x15. 8 ohms, 200w RMS. $200 - Sabine RT-7100 Rackmount Tuner. A/B Switching to two instruments, or two amps, or both. Flat tune, 435hz - 445hz calibration capable, strobe mode. Takes up 1U of rack space. $100 - SKB Roto-series 4U rack case. $50 Effects: - Tech 21 VT Bass preamp/overdrive, 1st gen, no cab-simulation defeat switch. $100 - MXR M288 Bass Octave Deluxe. Analog bass octave w/ mid-freq select and boost. $100 - EHX Q-balls Enigma envelope filter. $125 - Boss LMB-3 limiter. $50, or $25 if you also buy the Enigma - EHX Wiggler tube-driven vibrato/tremolo $80 - Custom pedalboard + Odyssey road-case I converted to hold the pedalboard and a DI box. $100 Obviously I'll be a little flexible on some of the prices, especially if you want to buy multiple items. Oh, and April Fools 
Scarf fucked around with this message at 15:01 on Apr 1, 2011 |
|
#
?
Apr 1, 2011 14:51
|
|
|
Scarf posted:Oh, and April Fools I didn't realize it was a joke until I got to the end, but I still didn't see anything I needed. Thanks for helping me realize I'm completely satisfied with my rig at the moment
|
|
#
?
Apr 1, 2011 15:00
|
|
|
Narwhale posted:I didn't realize it was a joke until I got to the end, but I still didn't see anything I needed. Thanks for helping me realize I'm completely satisfied with my rig at the moment Haha quite welcome. It was actually a fun little exercise to price out my rig, and figure out what I would want to pull if I actually did sell everything. EDIT: And actually, I would probably ask for $1200 on the hollowbody... That thing is mint. Scarf fucked around with this message at 15:05 on Apr 1, 2011 |
|
#
?
Apr 1, 2011 15:01
|
|
|
DrChu posted:IMO this is not the way to go about getting good overdrive on a bass. Doing this will just give you a muddy low end with a layer of fizz on top and you'll have trouble cutting through. You mention Chris Squire's tone, on his Ric he would overdrive the neck pickup, while keeping the bridge pickup clean. This would give him the distorted bottom end, but keep the midrange clank Rics are good at and keep him present in the mix. Yeah I've been told to try a Sansamp. I've never played through one and I've heard mostly good things. Maybe I'll check it out. I'm starting to think the main problem is my bass. Whenever I have distortion coming from my PodXT and I'm not beating the poo poo out of the strings it sounds very squishy and synth-like. Even my $150 Squier J-bass sounds better. I blame those accursed EMGs.  I just want something with a super-edgy overdrive that won't make me sound muddy. I've never played through any kind of bass distortion that doesn't make my low b sound like garbage.
|
|
#
?
Apr 3, 2011 23:08
|
|
|
Cumfartcocktails posted:Yeah I've been told to try a Sansamp. I've never played through one and I've heard mostly good things. Maybe I'll check it out. I'm starting to think the main problem is my bass. Whenever I have distortion coming from my PodXT and I'm not beating the poo poo out of the strings it sounds very squishy and synth-like. Even my $150 Squier J-bass sounds better. I blame those accursed EMGs. Its not the amps, but its just that a B-string sounds like garbage on a lot of basses because of their design or they just don't have the instrument set up properly. I play with a lot of distortion and still have a pretty punchy sound overall on my B-string because I have 1) a 35" neck 2) appropriate gauge strings and 3)adjusted the string length properly. All of this has to do with creating the amount of tension needed for a tighter B-string. If your clean tone sounds muddy or uneven, then the distortion will sound even more so. With that in mind, you should also take care with how much distortion you apply to your sound. I often hear players with so much distortion on their bass that it just gets lost instead of defining it. A little on top can go a long way in giving you an edgy sound. Don't underestimate how important your setup is. Its really easy to do and worth experimenting with. Of course, some instruments just aren't as good. But you can make them sound a lot better with the proper care.
|
|
#
?
Apr 4, 2011 05:10
|
|
|
Cumfartcocktails posted:Yeah I've been told to try a Sansamp. I've never played through one and I've heard mostly good things. Maybe I'll check it out. I'm starting to think the main problem is my bass. Whenever I have distortion coming from my PodXT and I'm not beating the poo poo out of the strings it sounds very squishy and synth-like. Even my $150 Squier J-bass sounds better. I blame those accursed EMGs. You said you were boosting all the controls on your active bass. Don't. With the amount of extra gain you're putting in doing that I'm not surprised it's sounding squishy. Have you tried playing with the controls set to the middle notch and adjusting from there?
|
|
#
?
Apr 4, 2011 11:30
|
|
|
So my first bass just arrived (SX Ursa 2) and I just realized. I don't have any picks, so I'll have to learn how to play with my fingers first instead. When I do go for a pick though what should I look for? Is it just personal preference or are there different types for doing different things?
|
|
#
?
Apr 6, 2011 16:53
|
|
|
Fuzzy Pipe Wrench posted:So my first bass just arrived (SX Ursa 2) and I just realized. I don't have any picks, so I'll have to learn how to play with my fingers first instead. When I do go for a pick though what should I look for? Is it just personal preference or are there different types for doing different things? You want it THICK. A standard guitar pick is practically unusable on bass in my experience. Most of my picks are in a gig bag on campus, and the only pick I found in my room is a Dunlop 1.0 mm. I think my main collection is a set of Tortex 1.14 mm. You can probably get away with something a little under 1.0 mm if you like your picks flaccid. Note: I mainly play fingerstyle, so feel free to override my ramblings.
|
|
#
?
Apr 6, 2011 19:51
|
|
|
Fuzzy Pipe Wrench posted:So my first bass just arrived (SX Ursa 2) and I just realized. I don't have any picks, so I'll have to learn how to play with my fingers first instead. When I do go for a pick though what should I look for? Is it just personal preference or are there different types for doing different things? It's pretty much a matter of preference, I personally use .96mm picks most of the time but I'll go as low as .73mm. You can get a little different sound from a thicker pick but it's really all about what you like the most.
|
|
#
?
Apr 6, 2011 20:05
|
|
|
I use these: http://www.amazon.com/Dunlop-Standard-Tortex-Purple-1-14mm/dp/B0002GX7ZM It depends greatly on the person, but you shouldn't care whether you learn fingerstyle or picking first. Some people (like me) find playing with fingers much easier. I don't know if I would have stuck with bass if people had told me I "had" to learn with a pick first. I only started learning with a pick last year or so. I still find it odd and don't sound that good with one.
|
|
#
?
Apr 6, 2011 20:39
|
|
|
I've been wanting to start with a pick mostly because the bass players I want to sound like most use picks. With a few notable exceptions. I'm not inflexible on starting with one or the other.
|
|
#
?
Apr 6, 2011 20:56
|
|
|
|
| # ? May 10, 2024 02:21 |
|
|
Fuzzy Pipe Wrench posted:I've been wanting to start with a pick mostly because the bass players I want to sound like most use picks. With a few notable exceptions. I'm not inflexible on starting with one or the other. I play with my fingers mainly (picked up a bass a year ago) but I try to keep my hand in with the pick too. They're different techniques and you can make use of both, so it's a good idea not to just focus on one. Actually I really should practice with the pick more, I played guitar with one for over 10 years (badly) but it doesn't feel as natural as using my fingers. Sometimes it's the better choice though!
|
|
#
?
Apr 6, 2011 23:23
|
|
