BASS
[ TIPS FOR LISTENING AND PLAYING | Gary Lunn ]
For the last 15 years or so I have grown Now that we’ve gotten the mix dialed in, it’s time the second verse, but then let the notes ring
accustomed to dialing in my own mix on personal to focus on the things we need to focus on, by out to their full value on the second chorus, or
headphone mixers. Over time I have figured out merely being aware of the musical elements. you might want to wait until the bridge to play
what works the best for me, mix-wise. Panning Here’s how I suggest that you accomplish this. longer, sustained, connected notes. Whatever
is the key (in my opinion) to solving overlapping First, you must tune in closely to the hi hat. The note durations you choose, use the same ones
rhythmic reference problems in the phones. space between the drummer’s hi hat notes is all the way through each section in a consistent
Having clarity and perspective between the generally where the drummer’s groove is. You pattern.
many different instruments, the lead vocal, and want to get inside his head and his heart so that
the click is paramount to finding the groove. My you can always find those subtle subdivisions Always maintain a consistent note volume in
solution is this: acoustic instruments panned to in his groove. Typically, this resides within his each section. Try to play as evenly as possible,
8 o’clock and 5 o’clock, electric guitar panned hi hat pattern, ride cymbal, or tom groove (if in the dynamic sense. Avoid letting notes jump
to 11 o’clock, the piano panned to 9 and 3 applicable). Pay close attention to what bass out or drop drastically in volume in the middle
o’clock in stereo (as well as the bgv’s), the aux drum pattern the drummer has chosen. If you of a pattern.
keys panned hard left and right in stereo, the decide not to play exactly what he plays, try
click panned to 2 o’clock, the hi-hat panned to not to play too many extra notes different from Experiment with “laying back” on certain
10 o’clock, the overheads hard left and right, his pattern (unless you are playing a straight sections to create a “fat-back” effect. You can
the kick and snare are panned at 12 o’clock 1/8 note pattern). Listen closely to the click easily achieve this by plucking the string with a
(the snare is set substantially lower in volume (metronome) from time to time (if there is one) little more “meat” of the finger rather than the
than the kick), and the bass at 12 o’clock. The and determine the relationship between it tip. If you need speed for a difficult “lick” you
kick, bass, and click are the loudest elements and all the different parts that the drummer is can easily roll your hand toward the strings
in my mix. playing. which will facilitate plucking with the tip of your
fingers. Whatever you do, DON’T RUSH! You
As you can see, everything has its place in my Consider your note duration as it relates to can play on the center or the beat (if the bass
stereo spectrum. This allows me to be aware not only the style of the song, but also the drum is) but no farther ahead than that.
of who is rushing, who is dragging, and who’s different sections of the song. For example, if
right in the zone (what I want to hear the most). you are going to play a rock song with a big On the gigs when you are not playing, listen
I never turn anyone else off (if I had to do that, intro, play longer, more connecting notes on to excellent bass players who have great
they probably wouldn’t be in the band in the the intro, then change the duration of the note feel and have been successful with their
first place) but I do turn some more “drifting” to a 1/16 note shorter (a 1/16 note rest at the careers (remember that they’ve become who
elements down a little. Overall, my desire is to end of every note) which will create space they are for a reason). Study them. Pick their
hear a wonderful, CD-sounding mix, with the between the notes. When the chorus comes parts apart. Examine what they repeat in their
bass, kick, hat, and click louder than everything along, you might keep the same duration in patterns. You will be amazed at what you find
else. Experimenting with the settings can make the verse on the first chorus but dig in a little from section to section, player to player. May
a big difference on how comfortably you play. harder, dynamically. “Choke” it back down for God truly bless the work of your hands!!
38 August 2017
WorshipMusician.com