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First Steps in Walking Jazz Bass | Get What You Need | Parallel Thinking

Get What You Need:

by Rawn Randall

My students are constantly asking me for advise on gear. Here comes the answer: KISS Keep it simple stupid. What does that mean? How many basses can you play at one time? Jaco had a few but we all know about his legendary 'Holy Grail' '61 Jazz Bass. Marcus Miller is still playing the same '77 Jazz Bass from high school. James Jamerson had his 'Funk machine' P-bass. Having said all that let's break it down:

The Axe:

Finding the 'Holy Grail' can take a day or a lifetime. It is a safe bet you'll end up some where in between. You may even already have your 'axe for life' but you can't find your voice on it because of what stage of maturity your playing is at. Most players' do not choose a fretless bass, acoustic bass guitar (ABG) or electric upright bass (EUB) for their main bass. A player must consider whether a 4, 5 or 6 string fretted electric bass is most appropriate.

4-String vs. 5-String:

I switched over to a 5-string very early in my development and consequently feel more comfortable on it than a 4-string. A 5-string offers the advantage of an extended lower range to cover synth bass parts and detuned rock tunes. Sure, you can detune the E string on a 4-string but then you have to relearn new positions. So obviously a 5-string is a more versatile instrument. Some claim that the 5-string does not sound as good as a 4-string. This is a matter of opinion. The fact is 'aged' instruments sound better than new instruments. So check out the sound of your Sadowsky 5 in twenty years and tell me what you think. Vintage Smith and Tobias multi string basses have already taken on a 'classic' tone.

What About 6-String:

6-string basses are for another application all together. The 6-string is delightful in a trio setting. Most bassists however, are paid to cover the bottom. The additional high C string puts you in the range of the guitar. If you are going to be doing a lot of soloing this may the right choice for you. The 6-string may turn off or intimidate some bandleaders and producers. Beware the physical considerations (weight and fingerboard width) if you are a smaller person. Some thought the 5-string was too much. But hey, there are 7, 8 and 9-string out there too so…

Cover the Gig:

Do you need a fretless? If so, it is probably not going to be your main bass. Keep in mind that you do not have to spend much more than $1000 on a quality fretless these days. Twenty years ago you had to spend big bucks to find a fretless that 'spoke'. Don't hesitate to throw some extra bucks into an axe that could be your main 'bread winner'.

It's always nice to have an older Jazz ('70's will do, 60's even better if you can afford it!) in the collection; especially for studio applications. These basses will probably continue to appreciate through the years. In 1966 a Jazz bass cost somewhere around $199. That same axe is worth around $3000 now. Be careful with these instruments on the road and make sure you have full insurance on all your gear. (More on that in future articles)

A Precision bass would be nice to have in the arsenal as well. The P-bass, while not as versatile of an instrument as the Jazz has a distinctive tone that works best for certain applications. The P-bass is generally a little less expensive than the J-bass. If you can only have one, go for the versatility of the Jazz unless you are in a rockabilly band. Other quality vintage 4-strings such as a MusicMan or Rickenbacker have specific applications as well.

The Rig:

Back in the day, you could have a large, medium and small rig. Nowadays, 'modular' is the buzzword. Basically, most players have a medium/large rig (that can be broken down/up depending on the venue) and a combo amp for smaller venues and home practice). The medium/large rig usually consists of:

500 to 800 watt amp head +
1 x 410 cabinet +
1 x 210 or 115 cabinet

For larger venues you bring the entire rig. For medium venues you bring the amp and 1 cabinet. In larger cities where transportation is an issue some players are going with 2 x 210 cabinets. The 150 watt 12" or 15" combo is perfect for the singer/songwriter café showcase. Here you don't need a lot of volume. You just want to be heard. Still buy a quality combo; don't slack here. Your amp should always match the quality of your bass.

Toys:

Effects/pedals, please go light here. If you are going to slap a lot you better have a high quality COMPRESSOR (no, the one built inside your amp head will not do). If you solo in the higher register or play a lot of fretless, a DIGITAL REVERB can be quite useful.
An OCTAVER can do wonders to cover synth bass parts. For the funk, an ENVELOPE FILTER (like Bootsy or Larry Graham) will do the trick. Again, let's keep these to a minimum. If your pedal board is bigger than the guitarist's…

Additional Tools:

ABG's and EUB's fall into the category of 'tools'. For 'unplugged' dates, ABG's are invaluable. For cafes or radio station performances there is nothing better. As a substitute for a 'real' Upright bass, the EUB has come along way both sonically and visually. There is no real subbing for an Upright bass but if cartage is an issue or the physical limitations of the instrument for the player is an issue an EUB may just do the trick. Both of these 'tools' can be had for around $1000 now.

Grand Finale:

Yes, gear is important. More to the point, having the right gear to help you express yourself is important. Don't let gear (or the acquisition of it) get in the way of what is truly important. Once you have the tools of the trade make the most of them. Get yourself a great teacher. Learn to read music. Absorb as much information about music as you can. Don't forget playing music for a living is a privilege no matter if it be on Broadway, Disney World, a cruse ship, or for Stanley Clarke. Never take it for granted!