A Quote by Charlie Haden
The bass, no matter what kind of music you're playing, it just enhances the sound and makes everything sound more beautiful and full. When the bass stops, the bottom kind of drops out of everything.
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I don't look at my instrument as having one specific role; I was raised to go as far as you can. But Raphael Saadiq hated my bass. He told me to throw it away. And playing in Snoop's band, there was a time when my bass was more annoying to everyone than helpful. They would get on my case: 'Can you make your bass sound like more of a bass?'
When I started playing the bass, I became kind of fascinated by it and started investigating various styles of bass playing, and I was really struck with funk music, mainly American funk music - Stanley Clarke, Funkadelic and that kind of stuff. That comes out in a couple of songs like 'Barbarism Begins at Home.'
I often use a return channel to get some shape out of the bass. It's a good way to split the frequencies of the bass so that the sub bass is clean and in mono and the higher end of the bass sound can be filtered off - have it on an audio channel and that's where you can use effects.
I love a little distortion across the bass; I think it kind of adds something to the sound of the band when the bass is a little overdriven.
I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.
In 1972, I got my first electric bass and started playing the kind of instrument I play now. I found that the majority of musicians couldn't bear that. They are not used to listening to the bass because they think the bass is in the background to support them.
In the late '80s and early '90s, there was a slightly retro drum sound that was popular in hip-hop music called the 808 bass drum sound. It was the bass drum sound on the 808 drum machine, and it's very deep and very resonant, and was used as the backbone as a lot of classic hip-hop tracks.
I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.
Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
I need a little bass and I don't even need that crazy bass to break your face. I just want it to sound good when I have my favorite song.
When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.
It's really hard for me to sing and play bass. Unless you're singing something that's kind of in rhythm with the bass, the melodies, it's just difficult.
I just enjoy the sound as I hear it in everything around me. The high and low frequencies of sound bewitch me. Whether I am in a shop, in the bathroom or listening to noise that my fans make... everything is music to my ears and drives me. I just put all these things in rhythm when I'm playing.
A bass should sound like a bass with the thump of the finger against the wood, like it began with stand up.
The bass should be the note of the bass drum, and then you've got the engine of the band that everything else builds on. Everything else, the guitar, the keyboards, is a colour.
The Florida sound would probably be best defined as heavy bass with high energy dance records. There's a strong Caribbean heritage in Florida which features a lot of uptempo music, and the music accents the sexy, body-oriented sound.
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