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Electric Bass Guitar Frequently Asked Questions (FAQS) Sponsored
by: This page is always growing...Bookmark for future reference! |
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1. What is the difference between a Fender "P" Bass and a Fender "J" bass? |
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A Fender Precision Bass, or "P" Bass has a single split coil pickup, a simple tone control and a volume control. P bass necks are a bit thicker and wider than J bass necks, and provide a tried and true sound that has been used for decades. The first commercially available bass emerged in 1952, and it was a Fender Precision Bass. Although the P bass has somewhat limited tonal options, it sits well in just about any style music. |
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| Jazz or "J" basses have two single coil pickups placed near the end of the neck and near the bridge. The J bass has a more modern type of sound, less "woody" than a P bass. The metallic quality of the strings can be heard more on a J bass. When the neck pickup is solo'd the J bass can "ALMOST" achieve the P bass sound. The J bass has a slightly thinner neck, and a more sleek looking body style. Many also describe its tonal characteristics as "growly." | ||||||||||||||||||||||||||||||
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Although the configuration has changed over the years, the J bass now has two volume controls for each pickup, and a tone control for the entire bass. An endearing, but somewhat annoying quality of J basses is that they "hum" if both pickups aren't turned up all the way. This is b/c each pickup is single coil, and the vintage tone is at the expense of this humming, which is not audible in most live situations, but can be a nuisance for recording. |
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TOTALLY subjective, however, there are a few rules of thumb. |
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| Extremely dense hardwoods will sound tighter, with more pronounced highs, and have excellent sustain characteristics, with simpler harmonic overtone properties (tone won't sound as rich, but more "hi fi.") Warwicks are examples of hardwood basses with Bubinga or Ovankol and other hardwood type bodies. Warwick's owner's manual does a great job at describing the different types of wood properties. | ||||||||||||||||||||||||||||||
| Woods that aren't as dense like swamp ash, or alder, or bass wood are more the tried and true woods, and have a fuller, "warmer sound" with good sustain characteristics. Fenders, Zons, Music Man, etc., are basses that usually have this type of body, although some of the upper end basses will have (for example) an ash body with a layer of some other kind of hardwood on top to help tighten up the sound a little, but not completely sacrafice the warmth of the ash or alder body wood. | ||||||||||||||||||||||||||||||
| There are more variables to the bass sound than just the wood. Most important, the player, the neck material, the pickups, the strings, the hardware (even the frets), and the finish can all play a part in the total sound of the instrument. | ||||||||||||||||||||||||||||||
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Suggested reading on tone and bass guitars... |
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A truss rod is needed on a wood necked bass to keep it stable from warping due to humidity, string tension, other weather related issues. Truss rods are usually set to be adjusted: *clockwise = make gap between strings and neck less (straighter neck) *counterclockwise = make spacing between strings and neck greater (more bowed neck). Here is some good advice on truss rod adjustment. There are also dual truss rod basses for even finer adjustments. |
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| 4. What is action? | ||||||||||||||||||||||||||||||
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The height of the strings off the neck, based on neck adjustment, saddle height, and gauge of strings. Some people like low (or fast) action for intricate playing while others like high action for heavier playing. Each has their tradeoffs. |
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Easy. The one that makes you feel the best while you are playing it. There is no right answer here. |
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see above. |
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| 7. What is the deal with graphite composite necks? | ||||||||||||||||||||||||||||||
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Ahhhh...my favorite topic. Graphite composite necks are just that...a COMPOSITE of a lot of materials, of which graphite is included, built in a certain way to yield favorable stability (performance) and tone characteristics. |
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| Just as all wood necked basses don't sound the same, the same goes for graphite composite necked basses. There are thousands of combinations that a composite neck can be made from, and Zons sound different than Modulus's which sound different than a Status or a a Steinberger. As well, what kind of body wood? Pickups? Strings? Bridge mass/material? You get the point. | ||||||||||||||||||||||||||||||
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It can take a manufacturer up to a week to make a graphite neck. Graphite necks are known for their lack of "deadspots" (see what is a deadspot below), superior sustain characteristics, superior harmonic characteristcs, and as close to perfect as you can get to even frets, no fret buzz, etc. Graphite necks don't have a need for a truss rod (see above) as the necks are inherently stable. Weather, and string tension do not affect the neck over several years. A factory that builds a graphite neck manufactures the relief so there is never a need for any adjustments relating to this aspect of playing. Most people find this to be a plus, as there is only string height that needs to be adjusted to dial in appropriate action. |
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| 8. I heard that graphite necked basses sound "plasticy." Is this true? | ||||||||||||||||||||||||||||||
| No. This is FUD (Fear Uncertainty and Doubt) that is usually spread by folks that are afraid of new technology. | ||||||||||||||||||||||||||||||
| While the neck does account for a good portion of tonal characteristics, the body (on bolt-on necks, and to an extent set-in necks) accounts for most of the tone of the bass (followed by a close second by the pickups). However, the neck accounts for the majority of the sustain characteristics (the string vibrates along it) and a good deal of how the PLAYER sounds (that is what you are using to modulate notes with). If one were to doubt this, Steinberger has an extremely tiny rectangular shaped body, yet b/c of the graphite neck, is able to achieve stunning sustain. | ||||||||||||||||||||||||||||||
| While it may seem logical to assume that a graphite neck would sound "artificial" the rest of the bass (pickups, body wood) is offsetting this. What some manufacturers have figured out is that the performance (and yes even tone) aspects of a graphite neck coupled with a rich, warm sounding body wood give a player the best of both worlds. Tone, and performance. | ||||||||||||||||||||||||||||||
| In my "opinion" I feel that an extremely hard wood neck, like Wenge, coupled with an extremely hard body wood, like Bubinga, sounds weak harmonically, i.e., sterile sounding. | ||||||||||||||||||||||||||||||
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The problem is that there is a compromise between performance aspects of neck materials, vs. desired tonal characteristics. The harder the wood, the less it resonates, and the more "metallic" your bass will sound due to the lack of harmonics being contributed from the harder wood. But, hardwoods will sustain more, and are inherently more stable. |
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The best of all worlds would be an extremely stable (hard) neck material, coupled with a rich, warm sounding body wood like Ash, Alder, etc. A soft wood neck will ultimately yield frequent truss rod adjustments, uneven frets, and lots of "fret buzz" from the uneven frets. |
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| 9. What about the number of strings? Is 5 harder to play than 4? Is 6 harder to play than 5? Can you slap on a 5 or a 6? | ||||||||||||||||||||||||||||||
| Again, it is all subjective, but these are my thoughts on this. | ||||||||||||||||||||||||||||||
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There isn't anything you can do on a 4 string that you can't do on a 5 string. There isn't anything you can do on a 5 string that you can't do on a 6 string. HOWEVER, a 6 string neck may be too wide for some people's hands, and the same goes for a 5. A 6 string's string spacing may be too narrow for some, and the same goes for the five string, although, personally, I have found it easy to adapt to the 5 string spacing as it isn't THAT much narrower. But, a 6 string FOR ME, is too wide, and the high C string makes it difficult to get under the G string for popping (I don't like the sound of a popped C string, sounds like a guitar popping, and not a bass). On the otherhand, slapping the E string isn't as difficult with the B under it b/c you can simply mute the B string. Indeed, a narrow spacing makes chordal playing that much easier, as well as moving from string to string can seem faster and more effortless. |
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| Besides extra range of a 5 or a 6 string, these alternatives also allow for the opportunity to cover 2 octaves while staying in one position. There is less horizontal movement. If a person is gifted at covering 2 octave arpeggios and scales on a 4 string, they will be that much better on a 5 string or a 6 string. | ||||||||||||||||||||||||||||||
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Which one is more difficult to play? I feel that it is what you are used to. I took me about 2 months to get totally used to a 5 string (learning how to mute the extra string, slapping, utilizing the range, understanding that the extra string doesn't always need to be used, etc), and now I feel that a 4 is harder to play (more horizontal movement, strings are too wide apart for chords and even finger style playing, etc). A 6 is no different. It isn't the number of strings. It is the player. |
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A violin has 4 strings, and I never heard people believing that it was an easy instrument to play, did you? Go ahead and snip the highest 2 strings off a guitar and watch a guitarist become bewildered as they have to expand all their signature riffs out horizontally since they can no longer rely on the ease of playing in one position with 6 strings. |
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| 10. I am thinking about getting a 5 string...should I get one? | ||||||||||||||||||||||||||||||
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Yes. Zon and other bass manufacturers report that most of their bass sales are 5-string models. This is a testiment to the increasing popularity of the 5-stringed bass. Be prepared to spend at least $500 for a new decent 5-stringed bass guitar. Many on the internet newsgroups, and in "real life" report that there aren't tha many (if any) quality 5-string basses for under $500. |
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| 11. How many watts do I need for an average sized club? | ||||||||||||||||||||||||||||||
| As many as you need to be heard (DUH!). Basically, there is a rule of thumb out there that talks about being 4-5X as many watts as a guitar amp to be heard. I don't go by this. I go by if I am able to deliver a clean, crisp, punchy, chest hitting bass sound with the volume of an average DRUMMER, un-mic'd. The rig you play through will be mostly a stage monitor rig, and you need to be able to hear yourself at the right volume with the drummer. Anything that is too wimpy, and you will not have enough headroom to deliver your tone (you need more headroom for the pre-amp (your eq, etc.) to do what you want it to do. I.e., if you push the rig too much, your tone will start to become altered (some might like this sound, but don't expect the rig to last very long). | ||||||||||||||||||||||||||||||
| There is a desired working "sweet spot" with any rig. Too soft, the drivers (speaker cones) won't drive the bass, and push enough air. Too loud (or turning up more than the rig can handle), and you will saturate either the drivers, pre-amp section, the power amp section, or all three. | ||||||||||||||||||||||||||||||
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In my personal experience, I have found that an 8 ohm impedance cabinet (2x10", 15" or 18", you have to pick that one out for your desired sound) with 300-400 watts will be just about right for playing with the hardest of drummers, yet still allow for a solid bass sound for lower volume situations (quieter songs, sections of songs, smaller venues, wimpy drummers, you get the point.) Anything under this, and you are at the upper end of the range of what the rig can handle playing with louder drummers. You may still be able to hear yourself with less then 300 watts, but you would rather hear yourself without PUSHING the system too hard, and get it so that the rig is comfortable with the volume you need to play at. 300-400 watts should give you plenty of room to spare and allow you to operate at the "sweet spot" of most rigs. |
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| 12. What is a deadspot? | ||||||||||||||||||||||||||||||
| A deadspot is where the bass itself actually resonates at the same frequency as the note itself, effectively reducing the sustain and many major harmonic characteristics of the note. This is heard as a duller sounding, and less sustaining note. The place that this occurs is usually from the 4th to the 10th fret on the G string (Not all of them, but one or god forbid 2 notes will yield this if you have a deadspot). When buying a bass, be very critical of this, and be sure to check this out, along with fret eveness (fret buzz), and all other aspects of the instrument. Fender basses are notorious for deadspots around the C, C# and D notes on the G string (the 5, 6, or 7th frets). SOMETIMES, string gauge can mitigate this, but usually, if there is a deadspot, you should just a) get used to it or b) sell your instrument and get a new one. | ||||||||||||||||||||||||||||||
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Upper end basses will try to engineer it so that the body and neck materials are voiced to create the deadspot at a frequency that is not at all common to any notes on the fretboard, effectively moving the dead spot off the neck of the instrument so that it isn't heard. While it is possible to have a deadspot on a graphite necked bass, it is usually not the case. If there is one, it will sound less offending than on a wood necked bass. |
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| 13. I want to get into theory to enhance my understanding of the bass, what should I start with? | ||||||||||||||||||||||||||||||
| I have compiled what I think is a solid start to what would be a pretty solid grasp of theory...know and understand all of this, and you will have a super foundation of theory on the bass (or any other instrument for that matter). | ||||||||||||||||||||||||||||||
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What are Modes? First, are 2 common thoughts about scales and modes. "So I learn a bunch of scales, now what?" Keep reading... "I don't need no freakin' scales mon, I just feel it..." While some may be gifted in this way, being able to seemlessly construct consonant (good sounding) bass lines perfectly, in any key, over any chord change, without a scrap of theory knowledge, it helps the rest of us mortal humans to think something like this: "Ok, this song or this part of the song is in a particular key...here is the chord progression...what are my choices of notes that are gonna sound good? Ok, I will pick from those..." This narrows down the choices and helps to GUIDE you in your note selection. If you aren't worrying about the note you are going to play next, you are better able to focus on the groove and emotion of the music. Onwards... Mode: Referring to the church modes, essentially, just playing a series of notes while maintaining a key signature. For example, Key of C, no sharps or flats. If I play E to E, while maintaing no sharps or flats, that is the "phrygian mode" which plays under certain types of chords...see below. Likewise, A to A maintaining key of C would be "A" Aeolian, or the natural minor of C major. Note that "A" is the 6th note of the C major scale (count it including the first note "C"). Anytime you play the 6th note of a major scale up to its octave, that is called a natural minor scale, or "Aeolian mode." Example: Key of D has an F# and a C# in it. *Playing from D to D one octave above using F# and C# is an Ionian Mode (Major Scale). *If you start from "B" instead, and still take into account the F# and C# (the key of D major), and play the scale up to B an octave higher, that would be B Minor, or the natural minor of D major, or B Aeolian. BTW: I should mention that once you learn a "mode," that pattern of notes is the same no matter what note you start on, i.e., Aeolean mode pattern starting from A is the same as sarting from Eb. So, all you have to do is to learn 7 patterns, and just learn how to apply them in context. In short, all a mode is, is picking a different starting point for the scale in a given key. ***** The following is to help you visualize how the 7 modes break down. These examples are given in D major. In any key starting from note 1 in the key, finishing at same note an octave higher is an Ionian (major scale) pattern D, E, F#, G, A, B, C#, D In any key starting from note 2 in the key, finishing at same note an octave higher is a Dorian (altered minor scale) pattern D, E, F#, G, A, B, C#, D, E In any key starting from note 3 in the key, finishing at same note an octave higher is a Phrygian (altered minor scale) pattern D, E, F#, G, A, B, C#, D, E, F# In any key starting from note 4 in the key, finishing at same note an octave higher is a Lydian (altered major scale) pattern D, E, F#, G, A, B, C#, D, E, F#, G In any key starting from note 5 in the key, finishing at same note an octave higher is a Mixolydian (dominant 7 scale) pattern D, E, F#, G, A, B, C#, D, E, F#, G, A In any key starting from note 6 in the key, finishing at same note an octave higher is an Aeolian (natural, pure minor scale) pattern (same as example above) D, E, F#, G, A, B, C#, D, E, F#, G, A, B In any key starting from note 7 in the key, finishing at same note an octave higher is a Locrian (diminished scale) pattern D, E, F#, G, A, B, C#, D, E, F#, G, A, B, C# ***** The 7 church modes and what they are good for: (All examples in C major) The modes give you a roadmap of notes that you can play under any chord in any key...great for improv playing! Remember: they are a roadmap...where you take them is up to you! 1) Major Scale (Ionian mode) Plays under: -any major chord, including major, maj7, maj6, maj9, maj6/9, maj13, add9, sus4 -any 3 chord in a related key, i.e, that would be E minor -Any 6 chord in a major key, i.e., A minor (m7, m6, m6/9, m9, m11, m13) 6) Minor scale (Aeolian mode)...numbered 6 b/c it is the 6th degree in any given key, or the "relative minor" of any given key, in this case C major. Plays under: -any 6 chord in related key, i.e., A (m, m7, m9, m11, m13) -any 1 chord, i.e., C (maj7, maj9, maj13, maj6, maj6/9, add9, sus4) -any 2 chord of the relative minor (relative minor of C would be A minor, 2 chord of that would be Bmin7b5) **The other 5 church modes** 2) Dorian
-Any minor chord or 2 chord in a given key, i.e., D minor (m7, m6, m7sus4, m9, m11, m13) (small m = minor) -Any 4 chord in a major key, i.e., F (major, maj7, maj6, maj9, maj6/9, maj13, add9, sus4) 3) Phrygian
-any 3 chord of a major key, i.e., E (m7, m6, m6/9, m9, m11, m13) -any 1 chord, i.e., C (major, maj7, maj6, maj9, maj6/9, maj13, add9, sus4) -any 6 chord in related major key, i.e., A minor (m7, m6, m7sus4, m/6/9, m9, m11, m13) 4) Lydian
-any 4 chord in a related key, i.e., F major (maj7, maj9, add9, major7b5, maj13, maj7#11) -any 2 chord in a related key, i.e., D minor (m7, m6, m7sus4, m6/9, m9, m11, m13) 5) Mixolydian
-any dominant 5 chord in a given key, ie., G (7, 7sus4, 9, 11, 13) -any 7 chord in a given key, i.e., B (7b5, dim) 7) Locrian
any 7 chord in a realted key, i.e., Bmin7b5 ***BONUS*** Any altered dominant chord, i,e, any time you see a b5, #5, b9, #9 on a C7 chord, you can play notes in the Locrian scale. **** Other scales: Blues **** Once you start playing these and hearing how the notes come together, I am sure that your bass lines will enhance quite a bit! !learn 2
octaves of each mode and scale! This helps you to see how all the notes connect in a given key. ***** |
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What the numbers in chord TAB mean: 8 notes in a scale, carrying it out 2 octaves, there would be 15 total notes: C Major
For instance, a Major chord would play the 1, 3, 5, notes simultaneously i.e., C, E, G For chords like an C minor 13th, the 1, b3 (flat the 3rd note in the key down a half step), 5, b7, 11, and 13th notes would be played simultaneously. i.e., C, Eb, G, Bb, F, A I haven't heard of any chords using any higher than a 13th in a chord, i.e., there are no 14th chords, or 15th chords.
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The Three basic chord types: Major, Minor, Dominant Major chord types: Major Triad:
1, 3, 5 Major 7th:
1, 3, 5, 7 Minor chord types: Minor Triad:
1, b3, 5 minor 7th:
1, b3, 5, b7 Dominant chord types: Dom7th:
1, 3, 5, b7 Dom 7b5:
1, 3, b5, b7 2 other chord types: Diminished: 1, b3, b5, bb7 Augmented: 1, 3, #5
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