Without getting real personal, we liked our bass player Ed. He was a great guy and he was a good bass player but his playing was suited for a different style of band.
I'm the quiet bass player.
Yeah, my drum programming especially is based on my knowledge of playing a drum kit. For the bass too, definitely. It was the first thing that I translated any sort of ideas through. It must have shaped it somehow.
With bass, especially bottom end, the vibration has to happen on stage otherwise the feel is wrong. This is why you can't scale the equipment down too far.
I played a bass player and a singer in a movie once, but I totally lip-synced to everything.
I grew up around salsa, merengue, bachata, bass music, freestyle, hip-hop, techno, house, rave.
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.
But people are now realising why I was playing bass with Hendrix.
Occasionally, when I run into a great bass backstage at a festival I'll play a few notes on the low E string, just to feel the instrument vibrate against my belly.
I love playing with Jeff. That's something I never really say in the press, but he's my favorite bass player. I've played right next to him for 10 years.
Ben was more improvisational, and relied less on methodology, and basically is a guitarist who switched to bass, whereas Jeff has a more traditional approach to playing bass in a band, and has a great sense of what his band sounds like, and we lock up nicely.
I set myself up to be a bass guitarist and bass players get a lot more work than people like me.
The worst thing I could be thinking is how could I be a cool bass player.
My best monster bass sounds have come from FM8. People think they all come from Massive, but most of the ones that kids online are trying to recreate in Massive are actually from FM8. I also really like Sylenth1, my Tone2 Gladiator and some other granular soft synths as well.
There are a lot of people who can do it on the guitar and sing at the same time, but I think what is harder is bass players that can play the bass and sing.
I've always liked a very dry snare and, like everyone else, a very dry bass drum.
I had left the music business and became a conflict journalist. The conflict journalism started for me in the Gulf and the oil spill. When Skynyrd needed a new bass player, they knew me from the Black Crowes.
I had different bands. I played with the Acoustic Warriors for the most part, without girl singers. It was the same kind of sound, acoustic guitar, bass, with violin and sometimes accordion, and the guys would sing, that kind of thing.
Heaven to me is percussion and bass, a screaming guitar and a burbling Hammond B-3 organ. It's a soup I love being immersed in.
I tour a lot and interview a lot. I'm on the Internet and doing stuff. I go out and promote. I've got a bass drum and a sandwich sign and a washboard. You just have to shout louder and louder that you're still alive.
I play bass. I play a bit of guitar. I've never been to a lesson, so my theory of music is non-existent in any instrument, but we always had guitars around. My dad taught me to play drums for 'Love Actually,' and I still play drums now. But I'm not a 'drummer.' I'm not a 'guitarist.' I'm trying to be a bassist.
I remember my brother came home with a bass and played a blues solo on it. I just went insane for days afterwards learning that.
El Perro del Mar sort of accompanied my time at 'SNL.' To concentrate and focus, I would play the bass to one of her songs from her third album.
Every time I want to impress someone about samples and hip-hop, I play 'Portrait of Tracy.' It's one of the greatest bass players ever doing a whole composition with only the two harmonics of electric bass; then a three-second loop in it became every great R&B song in five-year intervals.
Later in high school, I met Hillel Slovak, who was the original guitar player of the Chili Peppers, and we became really close. We had a band, and we didn't like the bass player, so I started playing bass, and I got a bass two weeks later.
Journalism is my first love. But music comes in a close second. What's important for me is that whatever you do, whatever your passion is, you should have another passion - something in your life. And when I put on that musician hat and I put the bass in my hands, I'm not Lester Holt the TV guy anymore. I'm just Lester Holt who likes music.
Producers like to record all the drums first, then they do the bass, then all the guitars, so you're constantly moving from one song to another.
I played bass for a year, but I wasn't getting better at it, so I decided to stop so I could see my friends.
In general, we like to play as a band - guitar, piano, and voice. We also tour with a bass player, a drummer, and somebody who plays keyboard and guitar. We try to play all of our parts and flesh it out to get a lush sound, while also keeping the energy of a three-piece punk act. We want to be the best of all possible worlds.
Look closely, and you can see where the grooves of a record widen, indicating a sparseness that can only be a bass solo, or grow denser to accommodate a cresting density of sound.
I always tell girls who say they want to start a band but don't have any talent, 'Well, neither do I.' I mean, I can carry a tune, but anyone who picks up a bass can figure it out. You don't have to have magic unicorn powers.
Without the Fender bass, there'd be no rock n' roll or no Motown. The electric guitar had been waiting 'round since 1939 for a nice partner to come along. It became an electric rhythm section, and that changed everything.
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.
Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.
I tried the guitar, but it had two strings too many. It was just too complicated, man! Plus, I grew up with Steve Cropper. There were so many good guitar players, another one wasn't needed. What was needed was a bass.
The bass is just the crayon that I picked out of the box. I'd probably be writing similar stuff if I played guitar or trumpet. The pictures I want to draw I do with this crayon I chose, which is the bass.