Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Stompboxtober continues! Enter below for your chance to WIN today's featured pedal from LR Baggs: The Align Series Reverb! Come back each day during the month of October for more chances to win!
LR Baggs Align Reverb Acoustic Reverb Pedal
The Align Series Reverb was built from the ground up to complement the natural body dynamics and warmth of acoustic instruments that we love so much. The circuit seamlessly integrates the wet and dry signals with the effect in side chain so that it never overwhelms the original signal. We shaped the reverb with analog EQ to reflect the natural voice inherent in acoustic instruments. Additionally, the tone control adds versatility by sweeping from warm and muted to open and present. The result is an organic reverb that maintains the audiophile purity of the original signal with the controls set in any position.
Paul Reed Smith believes “that it’s not about the country that an instrument is made in. It’s always been about the skill level of the guitar makers.” Here’s why.
For us, import guitars started when Carlos Santana asked, “Paul, can we make a PRS that’s much more affordable for all the students that talk to me about owning one of my guitars?” I said, “Sure. I’ll get you a prototype for your approval.” When we brought him the prototype, he was impressed, and his comment was, “This was made in America, right?” And I said, “No. This was made overseas.” The contract for his approval was on the table, and he leaned over and signed it as fast as he could. It was a good moment for him and my company because our integrities were on the line, and we had a product we thought was a real instrument.
I’ve always believed that it’s not about the country that an instrument is made in. It’s always been about the skill level of the guitar makers. When we first started traveling to overseas guitar-manufacturing facilities, we found that almost all their training over the decades had been to go fast, while our teaching about how to make instruments was about how to go well. Once they knew how to go well, they didn’t know how to slow down. And the guitars they produce are of the same caliber as what we make here.
Years ago, I visited Fujigen Gakki, which was one of the original manufacturers for Ibanez and overseas-built Fender instruments. They also made George Benson’s archtops. I was impressed. When I was a child, Japanese manufacturing was known for making cheap transistor radios. Now, instruments made in Japan have real cache. Not because the country they were made in changed, but because the guitar-making skill level has gotten so much higher. Fujigen at the time when I visited was an extraordinary guitar-making facility. PRS models could easily have been made there, and I knew it when I visited.
What I’ve been deeply concerned about is that we teach our overseas partners how we want instruments to be, using our techniques. So, as a definitive statement, the country a guitar is made in does not matter much. The skill and care of the instrument makers does matter. Let me give you a few historical examples. Stradivari, Guadagnini, and Guarneri violins are the most-valued, and were made in Italy. Some of the early overseas-built Stratocasters were made in the mountains in Japan near the Seiko watch factory, and they are now highly desirable. A huge percentage of high-end classical and flamenco guitars were made in Spain.
“Believe me, if I got fired and moved to Mexico, within eight months, I’d be making high-end guitars there.”
Jack Higginbotham, who is one of my partners at PRS, is teaching our Indonesian guitar-making partner, Cor-Tek Musical Instrument Company, how to make guitars our way, every day. I’ve never seen anything quite like it, and I trust it. Over and over again, we’ve been told by Cor-Tek that our constant request is that we want them to do it right in terms of instrument making, while most of the other manufacturers’ requests are centered around how they can get finished instruments for less money. That just doesn’t make sense to me. These foreign instrument-makers take great pride in their work and their products, and, in my experience, want to do a great job. We were the first company to put our overseas manufacturer’s name on the back of our headstocks. We did it so the company would take pride in its work. Believe me, if I got fired and moved to Mexico, within eight months, I’d be making high-end guitars there.
So, if you’re looking for an instrument, you should evaluate it the same way, regardless of country of manufacture: How does it look, how does it feel in your hands, how does it sound acoustically, how does it sound electrically, and, most important, will it do the job you want it to do? A guitar is a tool to make music and should be evaluated as such no matter its country of origin. Very often, a country will have a reputation for being better at making some kinds of products than others, but that changes over time. As an example, the Swiss are better at making watches than the U.S. has ever been, but not grandfather clocks.
I hope this was helpful. By the way, I’ve seen some unplayable instruments made in this country. We call such products, regardless of origin, “guitar-shaped objects.” I’ve also played some real gems not made in the U.S. I guess this will start a few threads.
Guest picker Carmen Vandenberg of Bones UK joins reader Samuel Cosmo Schiff and PG staff in divulging their favorite ways to learn music.
Question: What is your favorite method of teaching or learning how to play the guitar?
Guest Picker - Carmen Vandenberg, Bones UK
The cover of Soft, Bones UK’s new album, due in mid-September.
A: My favorite method these days (and to be honest, from when I started playing) is to put on my favorite blues records, listen with my eyes closed, and, at the end, see what my brain compartmentalizes and keeps stored away. Then, I try and play back what I heard and what my fingers or brain decided they liked!
Bone UK’s labelmade, Des Rocks.
Obsession: Right now, I am into anyone trying to create sounds that haven’t been made before—bands like Queens of the Stone Age, Jack White, and our labelmate, Des Rocs! There’s a Colombian band called Diamanté Electrico who I’ve been really into recently. Really anyone who’s trying to create innovative and inspiring sounds.
Reader of the Month - Sam C. Schiff.
Sam spent endless hours trying to learn the solo Leslie West played on “Long Red,” off of The Road Goes Ever On.
A: The best way to learn guitar is to listen to some good guitar playing! Put on a record, hear something tasty, and play on repeat until it comes out of your fingers. For me, it was Leslie West playing “Long Red” on the Mountain album, The Road Goes Ever On. I stayed up all night listening to that track until I could match Leslie’s phrasing. I still can’t, no one can, but I learned a lot!
Smith’s own low-wattage amp build.
Obsession: My latest musical obsession is low-wattage tube amps like the 5-watt Fender Champ heard on the Laylaalbum. Crank it up all the way for great tube distortion and sustain, and it’s still not loud enough to wake up the neighbors!
Gear Editor - Charles Saufley
Charles Saufley takes to gear like a duck to water!
A: Learning by ear and feel is most fun for me. I write and free-form jam more than I learn other people’s licks. When I do want to learn something specific, I’ll poke around on YouTube for a demo or a lesson or watch films of a player I like, and then typically mangle that in my own “special” way that yields something else. But I rarely have patience for tabs or notation.
The Grateful Dead’s 1967 debut album.
Obsession: Distorted and overdriven sounds with very little sustain—Keith Richards’ Between the Buttons tones, for example. Jerry Garcia’s plonky tones on the first Grateful Dead LP are another cool, less-fuzzy version of that texture.
Publisher - Jon Levy
A: I’m a primitive beast: The only way I can learn new music is by ear, so it’s a good thing I find that method enjoyable. I’m entirely illiterate with staff notation. Put sheet music in front of me and I’ll stare at it with twitchy, fearful incomprehension like an ape gaping at the monolith in 2001: A Space Odyssey. I’m almost as clueless with tab, but I can follow along with chord charts if I’m under duress.
The two-hit wonders behind the early ’70s soft-rock hits, “Fallin’ in Love” and “Don't Pull Your Love.”
Obsession: Revisiting and learning AM-radio pop hits circa 1966–1972. The Grass Roots, Edison Lighthouse, the Association, the Archies, and Hamilton, Joe Frank & Reynolds—nothing is too cheesy for me to dissect and savor. Yes, I admit I have a serious problem.
Whether you’re tired of slinging combos and bigger into your car’s trunk or looking for reliable backup and backline power, these pedal-sized options have plenty to offer.
Here’s a rundown of six amps in a stompbox format. Carry soft, play loud!
Blackstar Amplification AMPED 2
A portable 100-watt pedal amp with onboard effects that’s perfect for the guitar player that wants an all-in-one watt-cranker and an effects processor
blackstaramps.com
NUX Amp Academy (NGS-6)
This compact workhorse offers 18 amp models, seven signal blocks, independent outputs, and a robust IR loader—plus, it functions as a USB audio interface.
nuxaudio.com
MayFly Audio Sunrise Amp Simulator
The MayFly emulates the classic sound of black-panel amps, including their preamp, power amp, speaker cabinet, and spring reverb. It's intended to plug directly into a PA or DAW, and includes a stereo headphone output jack.
mayflyaudio.com
Friedman IR-D
The IR-D dual-channel tube preamp is an entire Friedman rig, inspired by the JTM45, in a compact pedalboard-friendly package.
friedmanamplification.com
Strymon Iridium Amp and IR Cab Pedal
The Iridium offers three iconic tube amplifier models and nine super-high-resolution, 500 ms impulse response speaker cabinets, along with size-adjustable IR-based room ambience.
strymon.net
Revv Anniversary Series G3
The new Anniversary Edition Revv G series pedals feature new aesthetics and even more amp-like feel and tone—modeled after Revv amps’ purple channel.
revvamps.com