Well, Marcus Miller worked as a session bassist for over 25 years, so according to him the go to bass that every studio had back in day was the Fender Jazz Bass. The Jazz best is the most versatile bass according to him.
Scott, there were so many ways to go with your music career. And this path of yours has created a space in which you just get to hang out with, and consume the knowledge of a who's who of fantastic bassists. Nice life, and I'm super stoked that it's working out for you! #notJealousAtAllReally
I think a jazz bass with a maple neck is the most versatile bass out there for the home musician composing in logic pro. I have owned several p basses and do not think they are all that great if you are after modern tone or just soloing and patterning out a tune. I like the range you can get from a good jazz.
That was my very first bass! A kind fellow sold it to me for very cheap to get me started, I later found out it was made in '94, and I liked everything about it except for the weight...but I was in highschool then, so it'd probably be fine now. :D
@@Deep42Thought Not at all, but I do have a lot of respect for people that eat off of their instruments. They have true soul in the game. I am strictly a garage musician and abide by the bb king creed, "Play what you like." For my limited skill, the jazz bass really suits me for what tones I can accomplish. I have also found that the gibson firebird is a great guitar to pick up if you already have or like jazz bass.
Choose the bass that has good playability, all of its strings in good shape irrespective of how many there are, (for me personally, it's five or six ) a charged battery if applicable, and no mechanical shorts, pops, or buzzes, when you start the groove. Then get down there with it man! Since I have never been a session or professional recording bassist, I've gotten by pretty well over the forty years or so that I have enjoyed playing the electric bass, by following these simple, rather unassuming guidelines. 😁
I love P Basses. But if I meet with new people, session whatever I choose my sadowsky 4 string with P/J Pickups. Active, passive P or J bass - that's all no problem and sounds authentic Has the cat become your friend? I do really like that... Thank you very, very much for your videos - gives us all an new approach or impuls for the bass ..
I've played mostly fender p's and j's,and i recently bought a fender precision 5string to get both the sound that fits into the mix and the extra low-end i need!!!! Best decision I've ever made!!!
I always had to pick something to correspomd to a certain job, until I bought my Dingwall! It has 3 P-style sounding humbuckers that make this bass so very versitile. When I record, I just need one bass and it works for everything 👍
I am old and have played a long time, and I used to play professionally. Plus, I went to a conservatory, for whatever all of that is worth (not a lot, probably, I am a computer engineer now lol) and here is my list for buying basses in a music shop: * Play the same shit on all of the basses, and make sure you play all over the neck [0]. * Play the bass with the volume off or no amp, see how it sounds and resonates acoustically * If the store is too loud for that (which is a bad scenario to buy gear), then feel the bass vibrating instead or put your ear against it * Make sure the amp is basically flat (eq in the middle, no effects, etc) * Don't try to compare dissimilar things like the feel of playing a bass with flats to one with roundwounds, etc. [0] Don't play to impress the store, if you are looking to buy a bass, see how low, long notes sound, see how high, short notes sound, muted notes, chords, slapping, tapping, etc... Open strings, etc. Listen and feel. Ask yourself: Does it feel good to play it? Does it sound good? Do you feel inspired to play things or write basslines, does it make you feel creative? Does it look cool and make you feel something? If it's old/vintage or used: Does the truss rod turn freely both ways? how much fret life is left? whats original and whats not? Did anyone modify the instrument or route into the wood?
If you have the time to experiment, on a session (which I know it might not always be the case) you can actually come up with some interesting stuff. I remember I once heavily detuned a regular 4-string even I had NO notes below the low E. I could have played everything in regular tuning. But the cavernous sound of floppy strings (struck with some heavy picking, too) was EXACTLY what the song needed. But I know that most of the times you have to be ready and FAST, so being able to toy around with tunings, setups and weird stuff is not gonna happen very often.
Looks like I need more basses!!! Also Scott, I've been practicing fast parts lately (Panic Attack by Dream Theater, also using working on 3 fingers for plucking) but I'm having issues with gaining speed in the pre-guitar solo/guitar solo bass line. I have noticed that playing softer with my right hand increases the accuracy and speed a ton. Any tips on working on light(er) finger picking for us dig-monsters out there?
Another great video, Scott. Nice interview. This is great insight if you are a pro session player... But I'd imagine most of us on here are not. So for someone who's going to play in bars for years, record albums that sell less than 1000 copies and have a day job... Then driving a car full of different basses around for every situation is not an option! And to be fair, pretty much no one other than the extreme of nerdy musicians are going to care if a great song has flat wound strings or is played on a jazz or precision. Unless you are a clinical, pro session player with a wardrobe full of black shirts and old backstage passes... What bass you play doesn't matter, as long as you play it. Just an alternative opinion, that's all.
Shaky, I think you have hit on a truth. If you enjoy what you play, and are having fun, then just keep smiling! From what I've seen, I think Scott agrees.
Scott, my mentor told me to sell eight of my ten basses and concentrate on the feel of my core instruments so that my hands and mind would learn to flow consistently with my tools. Advice for you?
Can someone explain what pickup looking thing off to the side of the strings near the base of the neck is? I've seen those on a bunch of basses, and I'm curious what they're used for.
If you mean on Sean's bass, I think you're spotting the black "tug bar" on the treble side near where the neck is bolted on. It looks like a mini Jazz pickup turned sideways next to the strings. It's just a block of black plastic screwed down to give an anchor point for the fingers of players when they play using a thumb-pluck style. Sting tended to use that style of plucking a lot. If that's not what you mean, then I guess I'm not sure what you're seeing.
I would say, if one could afford it, take a Wal. They are very versatile. I’ve heard Wals used in a plethora of genres. But, if you are a poor musician, forget it. 😂 For me, as a guitarist, I have multiple guitars all that produce different tones. (Jackson for metal, Gibson for that full, round sound, Telecaster for a twangy/glassy sound, Yamaha SA50 for that hollow-body sound). If I were going to audition, I would take the guitar that produces tones appropriate for the genre of a band/artist.
Would've been nice if y'all broke down exactly what each vibe is vs the equivalent bass. The 5-string on standby makes sense, though. I doubt I'll ever be a session musician, but still would like to add one and possibly a tenor tuned 5-string as well over a 6-string.
Hi Guys, If you are anything like me and prefer the low notes try tuning the 4 string bass like a 5 string and let go of the G string. No pun intended. I have two basses and have done exactly that. If the tune calls for the higher notes then I shoot for the 5 string. The tendency for the G string to get in the way when not needed is more enormous than the B string for my sloppy technique style of playing. Busted up left hand/fingers.
@@BlackRootsAcademyOfSoul No man, don't listen to these types of advice. Every bass can rock it, you don't need a specific type of bass unless you're a top tier professional who does music for OTHERS as a living. If you're learning or even if you have your own band, play whatever the hell you want, just make sure it's comfortable in your hands.
Guys, I remember Scott had a video several years ago, where he showed us how to play "The Way" by Meshell Ndegeocello. It was a video lesson for a slap bass. Now I can't find it anywhere on his channel and I just completely forgot how this video was called. Maybe there's someone who know what I am talking about and could provide a link? Would appreciate it very much!
I always thought playing a 4 string bass tuned BEAD should be the new standard bass for most situations. You can always use a low B but how often is playing the G string essential for a track ? BEAD tuning to me keeps you from leaving the low end spectrum that often is the most needed parts of a song. It keeps you in the sweet spot of bass tone and forces you to only work with the bass range and tone a bass guitars excels at tone sound wise. BEAD range is all of the best sounding notes on a bass. BEAD is limiting to a point but often limits like this inspire new and creative ideas you would have never tried before on a 5 string or standard 4 EADG bass. It can give life to new ideas being played only on the sweet spot of bass tone. To me playing a 5 string sounds much better and is way more useful but the fatter neck makes me play not as good and comfortable as I can play on a BEAD four string. That comfort and ability to play better outweighs the need to play higher up notes once in a blue moon. I'm afraid to have my main bass setup for BEAD tuning all the time out of fear EADG is somehow essential and I would have to re setup my bass to switch back to EADG on the spot if rejected by others. So many bands, producers etc hate any changes to what they expect. Even if that change is an improvement. But I always thought a 4 string BEAD tuned bass should be the cornerstone bass tuning players start with and make adjustments from there. I play the B way more than the G string and it sounds so much better. Some times the low B can totally make a song so much better... How often to a bass line on the G string you couldn't play higher up on the neck with thicker strings in BEAD tuning essential to making a song better. In my experience almost never. But a Low B often brings something extra to a song. I wish BEAD tuning becomes the new standard or at least common enough bands/producers/engineers don't pull back in reaction to a different tuning than normal and instead see the usefulness of this alternate tuning as a good thing. Because guitars are tuned EADG many people are hesitant of not having all four open strings a guitarist has. But how often is sound of an open G string essential ?
@@ktown0173 I hear you I’m a big fan of Jameson and Jaco and Billy Sheehan etc... I have 5 and 6 and strings. I have an old p bass with flats. So I have different Basses for different situations. I was speaking in the sense if your a working musician showing up to hired gigs or jams blindly most of the time BEAD tuning on a four string would be much more useful than a standard tuned 4 string and much more comfortable for regular use than a 5 or 6 string etc.. this was an old post though. Nowadays I use these drop tuning pedals. They sound super close to a real down tuned bass. Or at least close enough for live gigs. I highly recommend them. Nowadays I use a standard tuned 4 string with a drop tuning pedal in case I need a low B for a gig. So far it’s worked quite well. I like the option of pickups a 4 string bass has. 5 and 6 strings have less options pickup and tone wise at least to me. I also love the feel of the neck on a 4 string. The drop tuning pedal has been a lifesaver. All the best
I wish my bass wasn't broken, I would have signed up a long time ago if it wasn't. These videos are fantastic either way and I'll keep torturing myself and watching them lol.
These lessons are getting so irrelevant, the sessions scene is almost non existent now for young/ new players, the guys that have these gigs have been doing them for 30 years and aren't giving them up any time soon. Lessons should be more geared towards the collaborative bass player, working in small home studios ect.
yeah i agree, i feel its more the fact that scott really enjoys being able to show some insight as to what its like to be a proffesional studio bass player tho but there are literally only a handful of people this is relevant for. but its still cool that he's sharing stuff u'd never see or hear otherwise
While I don't agree with your statement...I can understand why you'd feel that way. Becoming a "session player" is a very convoluted career path.and it seems weird to leave a band to play for multiple other bands but only for a few hours...if and when they need you.but you can AVOID a lot of the bullshit of being in a touring/ recording band.and getting a foot in the door can be intimidating to. Most studios don't want you just hanging out waiting for someone who needs a bassist...it can be tough but a new generation of session artists HAS to come around in some form, from somewhere. Hey your name out there. Join any band looking. Learn all you can. Eventually your name will get around.
I totally agree! And the whole fascination these guys have with using only passive P-Basses into direct boxes going to SSL or Neve consoles in a commercial studio is pure fantasy for most of us. So I'm going to address each of these things separately. 1) Why always a P-Bass? Sure, they're a classic bass with a classic sound, but with proper EQ and other dynamics (compression, etc.) I can make practically any bass sound like any sound you could ever desire. Now, of course, I can understand not wanting to use a bass with active pickups (or pups with too hot of a signal) but saying a P-bass is automatically better for recording than basses that have way better (and more modern) electronics, woods, and hardware is just plain stupid. 2) Using a direct box as the exclusive method to get the bass's signal into the recorder? (tape machine, computer interface for DAW, etc.) Why? A direct box is merely a giant coil. That's all it is! In my opinion, the main reason for it's mythical necessity is the fact that in a fancy commercial studio, that's just the most convenient way to get the bass's signal into their system. (generally a mixing console) And because they usually keep the artists/players in the tracking room, the only way to hook up anything to their console is to use a wall box with XLR's on it. So, they'll tell you to just plug your bass into that direct box (which is hooked up with an XLR to the console) and that's the end of it. But in a smaller private studio, you may very well have more (and often better) options to get your bass's signal into the system. For example, many DAW interfaces have 1/4" hi-z inputs (with preamps) right on the front of them. So, if you're songwriting/recording by yourself (or with just a few people) you can just plug right into those inputs and stay in the control room, which is super convenient. And even if you're recording a full band you could just have the bass player perform his parts in the control room. (This will work so long as he can see his band members through the glass, on CCTV, etc. (But of course, if the tracking room has 1/4" inputs on the wall/stage box, that won't be necessary.) Another thing you can do in a small/project studio that you usually can't in a fancy one is hook up your own preamp/effects unit directly into the DAW's interface. Most small studios are better equipped for this than big ones as they're less likely to use a huge console that's already hooked up to everything. (It's not likely the engineer in a commercial studio is going to crawl under his console and unhook something in order to allow you to plug in your own unit. And you certainly don't want to double-preamp your signal by running it into the console's preamps). This is actually what I love about my small studio. I don't have a physical mixer, and I have patch bays going to most of my inputs. So, if a bassist (or even a guitarist who records some signals direct-in) wants to hook up their own preamp, effects unit, etc., I can easily accommodate them with a direct analog (or even digital) input. No preamp is necessary as their unit is the preamp! This way, I won't color (i.e. alter) the hard work that they've put into achieving their own custom sounds. Because I don't care how good of a console you have (a million dollar SSL or Neve), if you run a pre or effect unit into that, it's going to change it's sound. Plus, no matter good it is, it's still not an instrument specific pre. For example, my old SWR SM-400 amp has an XLR with (post EQ) line out and it's EQ has 4 semi-parametric bands in addition to bass and treble. That's nearly as good of control for the EQ as the fanciest console have, but it's got two distinct advantages over those consoles as well. Unlike, them, it's EQ is tailored for bass, and it's preamp has a tube in it too! So, in my opinion, that actually gives me a better sound than a direct box running into the mic pre of a pricey console.
Learn how to network. New opportunities come from meeting people and discussing subjects of common interest. Go out to events where you can meet other musicians, producers, writers & singers and talk with them, in person, in a positive social setting. Once you have created new opportunities through networking, the advice in this lesson will be VERY relevant and useful.
4:45 "Bring it up to master quality" just means "make it louder using compression". Any good mix should already be at "master quality". The mastering engineer isn't going to make a crappy mix better.
I wasn't the only one who thought this was gonna be about buying a bass, right?
DasPikachu lol same this is why i clicked
Naw, I didn't. Right what I was thinking!
Sean is my all time fav bass player. The chops he has is at the top and a great person to boot!
Well, Marcus Miller worked as a session bassist for over 25 years, so according to him the go to bass that every studio had back in day was the Fender Jazz Bass. The Jazz best is the most versatile bass according to him.
Correct but he plays a different style, mainly Jazz plus slapping. P bass not the best for that.
Yep. It all depends. Regardless of what anyone says. Things come, go, change, nothing absolute it seems.
Special guest was kitty! So cute!
“I don’t lie tuning down so I’ll bring a separate 5 string bass.” I totally respect that.
The song at the end is so cool.
PLEASE upload it in its entire length!!!
Or tell me where to buy the recorded version.
david ryan harris - yesterday shutting down
Scott, there were so many ways to go with your music career. And this path of yours has created a space in which you just get to hang out with, and consume the knowledge of a who's who of fantastic bassists. Nice life, and I'm super stoked that it's working out for you! #notJealousAtAllReally
Ahhh cheers Brian! Yeah, feels good to be able to nerd out about all things bass 24/7 :)
These tips are applicable to any professional setting not only bass playing
I think a jazz bass with a maple neck is the most versatile bass out there for the home musician composing in logic pro. I have owned several p basses and do not think they are all that great if you are after modern tone or just soloing and patterning out a tune. I like the range you can get from a good jazz.
That was my very first bass! A kind fellow sold it to me for very cheap to get me started, I later found out it was made in '94, and I liked everything about it except for the weight...but I was in highschool then, so it'd probably be fine now. :D
look he plays pop and country! do you play pop and country? ) in studio to earn money?
I agree my a) bass is a jb maple and b) a pbass with flats, c) 5 string bass.
@@Deep42Thought Not at all, but I do have a lot of respect for people that eat off of their instruments. They have true soul in the game. I am strictly a garage musician and abide by the bb king creed, "Play what you like." For my limited skill, the jazz bass really suits me for what tones I can accomplish. I have also found that the gibson firebird is a great guitar to pick up if you already have or like jazz bass.
Michael League!
You got it :)
hype
@@haha-ju3pj Funny I thought it was David Ryan Harris playing a Squier through an old solid-state Fender amp who had the sound that made it!
Choose the bass that has good playability, all of its strings in good shape irrespective of how many there are, (for me personally, it's five or six ) a charged battery if applicable, and no mechanical shorts, pops, or buzzes, when you start the groove. Then get down there with it man!
Since I have never been a session or professional recording bassist, I've gotten by pretty well over the forty years or so that I have enjoyed playing the electric bass, by following these simple, rather unassuming guidelines. 😁
I love P Basses. But if I meet with new people, session whatever I choose my sadowsky 4 string with P/J Pickups. Active, passive P or J bass - that's all no problem and sounds authentic
Has the cat become your friend? I do really like that... Thank you very, very much for your videos - gives us all an new approach or impuls for the bass ..
The special guest was the cat, man. What a star!
I've played mostly fender p's and j's,and i recently bought a fender precision 5string to get both the sound that fits into the mix and the extra low-end i need!!!! Best decision I've ever made!!!
4 minutes in and I already love this guy!
I always had to pick something to correspomd to a certain job, until I bought my Dingwall! It has 3 P-style sounding humbuckers that make this bass so very versitile. When I record, I just need one bass and it works for everything 👍
Mike just came out of nowhere! Mind = Blown
What is the white relic-ed bass you're holding at the end of the video? I can't quite read the headstock
I am old and have played a long time, and I used to play professionally. Plus, I went to a conservatory, for whatever all of that is worth (not a lot, probably, I am a computer engineer now lol) and here is my list for buying basses in a music shop:
* Play the same shit on all of the basses, and make sure you play all over the neck [0].
* Play the bass with the volume off or no amp, see how it sounds and resonates acoustically
* If the store is too loud for that (which is a bad scenario to buy gear), then feel the bass vibrating instead or put your ear against it
* Make sure the amp is basically flat (eq in the middle, no effects, etc)
* Don't try to compare dissimilar things like the feel of playing a bass with flats to one with roundwounds, etc.
[0] Don't play to impress the store, if you are looking to buy a bass, see how low, long notes sound, see how high, short notes sound, muted notes, chords, slapping, tapping, etc... Open strings, etc. Listen and feel.
Ask yourself:
Does it feel good to play it?
Does it sound good?
Do you feel inspired to play things or write basslines, does it make you feel creative?
Does it look cool and make you feel something?
If it's old/vintage or used:
Does the truss rod turn freely both ways?
how much fret life is left?
whats original and whats not?
Did anyone modify the instrument or route into the wood?
Suppa cool vid! Thanx a lot Scott and cheers from Brazil 🇧🇷
already know this is gonna be a great video !!!
Great tips! Thanks Scott
Hey Scott, glad to see that you could exchange the necks of your pBasses... No trouble ajusting?
Cheers
If you have the time to experiment, on a session (which I know it might not always be the case) you can actually come up with some interesting stuff. I remember I once heavily detuned a regular 4-string even I had NO notes below the low E. I could have played everything in regular tuning. But the cavernous sound of floppy strings (struck with some heavy picking, too) was EXACTLY what the song needed. But I know that most of the times you have to be ready and FAST, so being able to toy around with tunings, setups and weird stuff is not gonna happen very often.
mike's "yes" killed me at the end XD
WHEN IN PINO COMING TO THE SBL STUDIO!?!?
IKR?
Michael is a beast...snarky puppy rocks!!..
Looks like I need more basses!!! Also Scott, I've been practicing fast parts lately (Panic Attack by Dream Theater, also using working on 3 fingers for plucking) but I'm having issues with gaining speed in the pre-guitar solo/guitar solo bass line. I have noticed that playing softer with my right hand increases the accuracy and speed a ton. Any tips on working on light(er) finger picking for us dig-monsters out there?
neck H, bridge H, 3way coil split switch x2.
This combination can use all variations.
Another great video, Scott. Nice interview. This is great insight if you are a pro session player... But I'd imagine most of us on here are not. So for someone who's going to play in bars for years, record albums that sell less than 1000 copies and have a day job... Then driving a car full of different basses around for every situation is not an option! And to be fair, pretty much no one other than the extreme of nerdy musicians are going to care if a great song has flat wound strings or is played on a jazz or precision. Unless you are a clinical, pro session player with a wardrobe full of black shirts and old backstage passes... What bass you play doesn't matter, as long as you play it. Just an alternative opinion, that's all.
Shaky, I think you have hit on a truth. If you enjoy what you play, and are having fun, then just keep smiling! From what I've seen, I think Scott agrees.
In other words, just get a bloody P Bass and be done with it. For me anyway.
Scott, my mentor told me to sell eight of my ten basses and concentrate on the feel of my core instruments so that my hands and mind would learn to flow consistently with my tools.
Advice for you?
I heard Marcus Miller saying the same while on stage with Michael League. Look the video up here on TH-cam
it's Michael League from Snarky Puppy. Anybody going to the Ground Up festival in Miami?
Loves me some snarky puppy, did not know, thanks for the post.
how is the p-bass of doom now a molloon?
Ha - didn't think anyone would notice... just trying some stuff out. I'll make a vid about it soon ;)
@@devinebass hi dear.. Can i have any link where do you buy your gloves please? Kimd regards and thanks
@@devinebass But, but, the painted headstock?!?!?
lol, i was staring at the head stock the whole time, i new something wasn't rite, didn't click till i read your comment
Thanks Scott.
Shawn on Hofner!!! 😊 gotta see him use it. Totally awesome!
What do you guys think about PJ basses? Im really starting to dig them and it has all the benefits of the normal pbasses
Can someone explain what pickup looking thing off to the side of the strings near the base of the neck is? I've seen those on a bunch of basses, and I'm curious what they're used for.
If you mean on Sean's bass, I think you're spotting the black "tug bar" on the treble side near where the neck is bolted on. It looks like a mini Jazz pickup turned sideways next to the strings. It's just a block of black plastic screwed down to give an anchor point for the fingers of players when they play using a thumb-pluck style. Sting tended to use that style of plucking a lot. If that's not what you mean, then I guess I'm not sure what you're seeing.
@@rodshop5897 that's exactly what I was asking about. Thank you!
I would say, if one could afford it, take a Wal. They are very versatile. I’ve heard Wals used in a plethora of genres.
But, if you are a poor musician, forget it.
😂
For me, as a guitarist, I have multiple guitars all that produce different tones. (Jackson for metal, Gibson for that full, round sound, Telecaster for a twangy/glassy sound, Yamaha SA50 for that hollow-body sound).
If I were going to audition, I would take the guitar that produces tones appropriate for the genre of a band/artist.
Would've been nice if y'all broke down exactly what each vibe is vs the equivalent bass.
The 5-string on standby makes sense, though. I doubt I'll ever be a session musician, but still would like to add one and possibly a tenor tuned 5-string as well over a 6-string.
Loved this very helpful
Great Video , thanks Scott!
I would love to by that same mute kit for my Fender bass!
Hi Guys, If you are anything like me and prefer the low notes try tuning the 4 string bass like a 5 string and let go of the G string. No pun intended. I have two basses and have done exactly that. If the tune calls for the higher notes then I shoot for the 5 string. The tendency for the G string to get in the way when not needed is more enormous than the B string for my sloppy technique style of playing. Busted up left hand/fingers.
And you don't have to buy another bass. With its more expensive strings. And its own set of tuning problems.
Micheal League?? Please tell me that you are going to do a lesson with him pleeeease! by the way very interesting video, I've got some useful tips.
what kind of bridge is on Sean's P bass?
muting system included ℹ kind regards from berlin 👋
Thx for this
About damn time you got the League on!
Loved it!
I want to know what that MUTE is that Sean Hurley has installed on that P bass. I could use one of those!...
My mouth literally went like :-O at the end
I would love to see Stefan Lessard from the Dave Matthews Band on here.
Yeah it suck. experienced it too, when i tune down the E string.
Where could i get that bridge muter? Cant find it on amazon
awesome
The best bass for a session is the bass that you feel that’s the best for it
What if you own only one Bass guitar? 🤔
Make sure it is a pbass
SanDanV Basically
@@SanNjig so no work for we who have no P Bass 😅
Let me try make my Status Graphite sound like one 😉😉
@@BlackRootsAcademyOfSoul No man, don't listen to these types of advice. Every bass can rock it, you don't need a specific type of bass unless you're a top tier professional who does music for OTHERS as a living.
If you're learning or even if you have your own band, play whatever the hell you want, just make sure it's comfortable in your hands.
@@NamikazeKyuuga Word! ✊🏿
Mmmm that killer groovy line in a little jam with friends. What's better than that?
Jazz basses are versatile sure, but a good P-bass will just effortlessly sit well in most mixes.
Michael league is in the house 🤘
Ha - he certainly is ;)
That kitty needs some love.
Edward Norton plays very well
What bass is that 5 string one?
Guys, I remember Scott had a video several years ago, where he showed us how to play "The Way" by Meshell Ndegeocello. It was a video lesson for a slap bass. Now I can't find it anywhere on his channel and I just completely forgot how this video was called. Maybe there's someone who know what I am talking about and could provide a link? Would appreciate it very much!
7:05 I did, but I would also super enjoy it if you would pet that cat
can someone please tell me what those little black things on p-basses below the first string is??
Finger/Thumb rest
Great video Scott
I commented before i watch the vid hahahahah
Are those P basses passive
What tune are they playing?
I always thought playing a 4 string bass tuned BEAD should be the new standard bass for most situations. You can always use a low B but how often is playing the G string essential for a track ? BEAD tuning to me keeps you from leaving the low end spectrum that often is the most needed parts of a song. It keeps you in the sweet spot of bass tone and forces you to only work with the bass range and tone a bass guitars excels at tone sound wise. BEAD range is all of the best sounding notes on a bass. BEAD is limiting to a point but often limits like this inspire new and creative ideas you would have never tried before on a 5 string or standard 4 EADG bass. It can give life to new ideas being played only on the sweet spot of bass tone. To me playing a 5 string sounds much better and is way more useful but the fatter neck makes me play not as good and comfortable as I can play on a BEAD four string. That comfort and ability to play better outweighs the need to play higher up notes once in a blue moon. I'm afraid to have my main bass setup for BEAD tuning all the time out of fear EADG is somehow essential and I would have to re setup my bass to switch back to EADG on the spot if rejected by others. So many bands, producers etc hate any changes to what they expect. Even if that change is an improvement. But I always thought a 4 string BEAD tuned bass should be the cornerstone bass tuning players start with and make adjustments from there. I play the B way more than the G string and it sounds so much better. Some times the low B can totally make a song so much better... How often to a bass line on the G string you couldn't play higher up on the neck with thicker strings in BEAD tuning essential to making a song better. In my experience almost never. But a Low B often brings something extra to a song. I wish BEAD tuning becomes the new standard or at least common enough bands/producers/engineers don't pull back in reaction to a different tuning than normal and instead see the usefulness of this alternate tuning as a good thing. Because guitars are tuned EADG many people are hesitant of not having all four open strings a guitarist has. But how often is sound of an open G string essential ?
Listen to Jamerson he uses the G a lot.
@@ktown0173 I hear you I’m a big fan of Jameson and Jaco and Billy Sheehan etc... I have 5 and 6 and strings. I have an old p bass with flats. So I have different Basses for different situations. I was speaking in the sense if your a working musician showing up to hired gigs or jams blindly most of the time BEAD tuning on a four string would be much more useful than a standard tuned 4 string and much more comfortable for regular use than a 5 or 6 string etc.. this was an old post though. Nowadays I use these drop tuning pedals. They sound super close to a real down tuned bass. Or at least close enough for live gigs. I highly recommend them. Nowadays I use a standard tuned 4 string with a drop tuning pedal in case I need a low B for a gig. So far it’s worked quite well. I like the option of pickups a 4 string bass has. 5 and 6 strings have less options pickup and tone wise at least to me. I also love the feel of the neck on a 4 string. The drop tuning pedal has been a lifesaver. All the best
@@baroqueguitarist5673 I really like downtuning in general, my p bass with .110s usually is downtuned to D standard
The calico cat 🐱!!
Ssnarkp puppy session will be awesome
Michael League from Snarky Puppy......... OMG!!!
So a 5 string PJ 24 fret with round wounds is a safe bet...
What bridge is that on his bass?
I love the cat tail...... :)
Need a video with League ASAP
I wish my bass wasn't broken, I would have signed up a long time ago if it wasn't. These videos are fantastic either way and I'll keep torturing myself and watching them lol.
cat - most appreciated
Is Michael going to join u in a video soon?
1:39 is that the special guest by your door?
A mollon neck on Fender P bass of doom?
Nice to have 5 bass ready in a car, but if you have to take subway I take a small Ukulele bass..
I put a Like for the cat at the end of the video. She likes you...
At 748 the cat also showed up
Paul mccartney + chandler bing
Tabby cat guest star!
These lessons are getting so irrelevant, the sessions scene is almost non existent now for young/ new players, the guys that have these gigs have been doing them for 30 years and aren't giving them up any time soon. Lessons should be more geared towards the collaborative bass player, working in small home studios ect.
yeah i agree, i feel its more the fact that scott really enjoys being able to show some insight as to what its like to be a proffesional studio bass player tho but there are literally only a handful of people this is relevant for. but its still cool that he's sharing stuff u'd never see or hear otherwise
While I don't agree with your statement...I can understand why you'd feel that way. Becoming a "session player" is a very convoluted career path.and it seems weird to leave a band to play for multiple other bands but only for a few hours...if and when they need you.but you can AVOID a lot of the bullshit of being in a touring/ recording band.and getting a foot in the door can be intimidating to. Most studios don't want you just hanging out waiting for someone who needs a bassist...it can be tough but a new generation of session artists HAS to come around in some form, from somewhere. Hey your name out there. Join any band looking. Learn all you can. Eventually your name will get around.
I totally agree! And the whole fascination these guys have with using only passive P-Basses into direct boxes going to SSL or Neve consoles in a commercial studio is pure fantasy for most of us. So I'm going to address each of these things separately. 1) Why always a P-Bass? Sure, they're a classic bass with a classic sound, but with proper EQ and other dynamics (compression, etc.) I can make practically any bass sound like any sound you could ever desire. Now, of course, I can understand not wanting to use a bass with active pickups (or pups with too hot of a signal) but saying a P-bass is automatically better for recording than basses that have way better (and more modern) electronics, woods, and hardware is just plain stupid. 2) Using a direct box as the exclusive method to get the bass's signal into the recorder? (tape machine, computer interface for DAW, etc.) Why? A direct box is merely a giant coil. That's all it is! In my opinion, the main reason for it's mythical necessity is the fact that in a fancy commercial studio, that's just the most convenient way to get the bass's signal into their system. (generally a mixing console) And because they usually keep the artists/players in the tracking room, the only way to hook up anything to their console is to use a wall box with XLR's on it. So, they'll tell you to just plug your bass into that direct box (which is hooked up with an XLR to the console) and that's the end of it. But in a smaller private studio, you may very well have more (and often better) options to get your bass's signal into the system. For example, many DAW interfaces have 1/4" hi-z inputs (with preamps) right on the front of them. So, if you're songwriting/recording by yourself (or with just a few people) you can just plug right into those inputs and stay in the control room, which is super convenient. And even if you're recording a full band you could just have the bass player perform his parts in the control room. (This will work so long as he can see his band members through the glass, on CCTV, etc. (But of course, if the tracking room has 1/4" inputs on the wall/stage box, that won't be necessary.) Another thing you can do in a small/project studio that you usually can't in a fancy one is hook up your own preamp/effects unit directly into the DAW's interface. Most small studios are better equipped for this than big ones as they're less likely to use a huge console that's already hooked up to everything. (It's not likely the engineer in a commercial studio is going to crawl under his console and unhook something in order to allow you to plug in your own unit. And you certainly don't want to double-preamp your signal by running it into the console's preamps). This is actually what I love about my small studio. I don't have a physical mixer, and I have patch bays going to most of my inputs. So, if a bassist (or even a guitarist who records some signals direct-in) wants to hook up their own preamp, effects unit, etc., I can easily accommodate them with a direct analog (or even digital) input. No preamp is necessary as their unit is the preamp! This way, I won't color (i.e. alter) the hard work that they've put into achieving their own custom sounds. Because I don't care how good of a console you have (a million dollar SSL or Neve), if you run a pre or effect unit into that, it's going to change it's sound. Plus, no matter good it is, it's still not an instrument specific pre. For example, my old SWR SM-400 amp has an XLR with (post EQ) line out and it's EQ has 4 semi-parametric bands in addition to bass and treble. That's nearly as good of control for the EQ as the fanciest console have, but it's got two distinct advantages over those consoles as well. Unlike, them, it's EQ is tailored for bass, and it's preamp has a tube in it too! So, in my opinion, that actually gives me a better sound than a direct box running into the mic pre of a pricey console.
@@dec0neg427 I concur. And he's got to fill up time with something. I imagine that it's hard to come up with new topics all the time.
Learn how to network. New opportunities come from meeting people and discussing subjects of common interest. Go out to events where you can meet other musicians, producers, writers & singers and talk with them, in person, in a positive social setting. Once you have created new opportunities through networking, the advice in this lesson will be VERY relevant and useful.
Yamaha BB 234
Omfg Mike!
Mike!!!!!!!!
I thought it was going to be George, but it was a different Puppy.
Holy Shnikeez!!!
P Bass for the Win again.
🧡🧡🧡
Michael Leage!
4:45 "Bring it up to master quality" just means "make it louder using compression". Any good mix should already be at "master quality". The mastering engineer isn't going to make a crappy mix better.
Special Guest spotted 1:44, Tyson Fury pretending to be Scott
That cat though....
Is the special guest The Gnome outside your front door
The best bass is the p bass with flat.
Ask Herbie Flowers!