A Quote by Trevor Dunn
It wasn't until after private lessons and learning bass lines that I even noticed bass in the music I was listening to at that age. My ears were blown wide open.
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So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.
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.
At the time, I didn't know that bass would not be enough for me. I'm not a bass player because bass is always a background instrument even to this very day.
I can't really sing and play live, because I can't play bass efficiently and sing at the same time. If I concentrated on the vocals, I'd mess up the bass, and if I concentrated on the bass, I'd forget the lines.
Amon Tobin has been producing electronic music since the mid-'90s, and was a key figure in the rise of drum-and-bass. He's also written some of the genre's most compelling tracks, in the process delving into jazzy breakbeats and bass lines.
That was the reasoning behind learning to play bass, and then after that it was more like it was neat to play songs together - for me to play bass and for him to play guitar
That was the reasoning behind learning to play bass, and then after that it was more like it was neat to play songs together - for me to play bass and for him to play guitar.
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 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?'
Around age 11 or 12, I started playing jazz bass. From there, I went to electric bass and then guitar, which I kept up for a long time.
I listened to many different types of instruments and music, and have always tried to look at the bass as an instrument as opposed to only a bass.
Sometimes I can listen to music - sometimes there's no choice, especially if I'm out writing at a coffee place. But sometimes it's too distracting. If I'm listening to something I really love - I have to stop and give everything over to it. I'm listening to its structures, its melodic lines, the bass. It takes up too much of my head - in a good way.
One of my all-time favourite guitarists is, in fact, a bassist - John Entwistle from The Who. He's one of my all-time favourites, the way he kind of expanded. I mean, he could have been a lead guitarist and been one of the best guitarists in the world. He wasn't even bass player; he was a bass guitarist, and he took the bass to another level.
If you're going to play bass, then play bass how you play bass. You can learn technique and theory, but we want to hear what you have to offer.
I wouldn't want to hear Beethoven without beautiful bass, the cellos, the tuba. It's very important. Hip-hop has thunderous bass. And so does Beethoven. If you don't have the bass, it's like being amputated. It's like you have no legs.
My first instrument was bass, and the first thing that I remember learning to play that was better than a few notes was Fleetwood Mac's 'The Chain.' If you're the guy who penned that bass riff, then you should probably be in some sort of fantasy band.
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