How To Write Songs On Bass Only From A Zakk Wylde Like Technique

I was reading an old article in a copy of Bass Guitar. James Lomenzo was the featured Bottom-Feeder in this article. At the time James was playing with Zakk Wylde. What really intrigued me about this piece was Zakk's desire to write for his (Hangover Music Vol.VI) strictly on Bass.

What does this mean?

Think about it, when you play Bass you're only playing to keep the foundation of the rhythm section together and keep the lead guitar from venturing too far into the netherlands of their own little solo world. That's pretty much it. But when you play Bass in a live or Jam setting, for the most part you're not using full chording, tone, texture or notes.

But if you're writing and composing music from Bass, you're playing changes using riffs that are more full out and you're applying lead guitar techniques. Ever notice the top Bottom Feeders use lead guitar like texture and riffing patterns? Huh?

Take the old pros like The Who's John Entwistle and Cream's Jack Bruce. They played like a lead guitarist and locked in with the lead guitar. Kind of like what Geezer Butler does with Tony Iommi. These Bass players took the music on a journey to a higher level.

Funny thing though, Zakk wanted LoMenzo to do his regular Bass playing when fleshing out the tunes he wanted him to get down. And, strictly play the parts as is. Basically like a session player. Most lead guitar players write from their own guitar, and the music becomes stale as the years go by. Ever notice that fellow Bottom-Feeders?

Doesn't matter if you're Hendrix,Slash,Wylde or Clapton, you have times where you have difficulties coming up with great riffs and textural tones that are original. Basically, your shit just ain't cuttin' the mustard anymore.

Think about it this way. By Zakk writing from a Bass perspective it forces any player to be more creative period. I understand he wanted James to just replace his parts, but he may have wanted him to play more solo like, like the lead guitar. By writing from Bass it also forces you out of your natural writing and playing tendencies and on coming up with licks and riffs that take the music and the listener to a new place.

Mind you that could be just total theory and Bull-Shit on my part. But I've watched enough Practices,Jams and live shows to know that I think I'm right. Want to learn to write from Bass not just from a rock theme?

Then listen to and play different types of music like Jazz and slow blues. Learn how difficult chording can be not just playing Jazz, but slow blues. A lot of players have issues with slow blues, and if you learn how to play and write from the Bass, you'll see it from a different perspective and come up with new riffs you never thought of.

Start writing and playing from your Bass Players Axe today. He'll think you're nuts but that's why you're a musician.



Email me with your thoughts on writing from Bass only.

Bottom-Feeder Series--Bass Playing Basics--Down-Picking Can Be a Great Way To Learn And Become a Better Bottom Feeder

Yep, the simpler you make something but make people work at it the more people won't do it. But it makes it easier to play effectively. That just means the real bass players will stand out. I got the inspiration to write this article is from ex-Metallica Bottom Feeder Jason Newsted. Newsted runs his own label (Chophouse) and played with the thinking man's metal band (Voivod) who are on his label.

Jason talked about the need to use a pick to get the tone you need to cut through a very loud lead guitar and drums. But at the same time keeping your tone in sync with the others but not more in the mix than the others.

Getting Your Bottom Feeding Right on The Money:

The one thing I want to get across to you is to get a tone that's right for the type of music you play, and learn to lock in-step with the lead guitar player, especially if you play metal. As well, play tunes you know and can play using a simple down stroke. Try to figure out where you get the best tone on your bass. Is it closer to the bridge pickup, the neck pickup or in between both. Or is the tone better when you pick the string over the pickups themselves, or in between the pickups where Newsted feels he gets the best tone.

Experiment with it and see what's what in the tone texture of your Bottom Feeder sound.

When You Down Pick It Produces Beefier Tones:

Really, it does produce a total Fat oblong football bass chording,  that if tweaked just right when setting up your amp and Bass will serve you well. When the tempo of a song is slower you learn to pick more effectively when you strictly down stroke. That way when your chops get better you'll be able to include up strokes to a limited degree, which I feel aren't as effective as down strokes, even for the best Bottom Feeding Gurus.

Try to use down strokes always. If you can't always if you're doing session work or live gigs, you can use both and alternate between both up and down strokes. But think about this before I go. In 95 percent of most bass players stroking style, it's always up strokes, and some down stroking.

Be different and use down strokes. Not to be just different but to become a better bass player who learns the simple stuff, and becomes a great Bottom Feeder. And to piss off every player out there. I love it!!

Bass Playing Tips--Learning To Fly On The Bass By Playing To Vinyl

By Mark Grove




What you say Mark?







What I'm saying is to play bass and learn by listening to a record,album,vinyl,wax that is.

I'll get into into in a bit.

Practice is under valued for a lot of bass players and getting a solid bass playing tone and style is acquired through a number of various playing situations.

Like Jams,rehearsals,Gigs and session work.


But one area that most players including bass players avoid or neglect is,or pay no mind to is playing bass to a vinyl record.

Remember those lads?

Forget CDS for a moment guys.Go buy a cheap turntable,receiver and a set of Jensen speakers,ala late 70's early 80's style.If you really want to learn to play to real music,listen to the warmth and natural tones of vinyl.

if your band is playing blues,C&W,funk or metal,go back and pickup some vinyl at a used record store.Pick your favorite bands out and go home and start playing your bass to vinyl. You'll get a different feel and hear it differently as well, listening to and playing to vinyl,that is.


Its a good change instead of listening to your band and others on CD all the time.


You'll play better,and your bass style will go back and have a feel texturally and playing wise that goes back to the 70's and early 80's.


i also talk about making analog recordings and demos a lot, which make your band more creative when dealing without all kinds of effects and digital technology.

Then when you're in the studio or gigging,your band will know what to do and play like you're playing with less.

This is a no brainer fellow Bass Axemen!

Try it with your band today.


MG

Bass Guitar Tips--Bass Guitar Tone Done The Bottom Feeder Way

By Mark Grove






Okay,the perfect bass tone is not out there,nor would I want it to be. It is possible to get a complementary sound that just gives er! for live or session work.Your sound is not in your fingers which most bass players seem to think.

Your fingers may be manipulating the strings,but the strings, pickups,amp,mic and other equipment shape the sound.

Get it? Good.

Shaping Your Bottom-Feeder Sound:

Learning how to shape your bass tone should start from the bass axe and amp themselves,not in the actual playing of your bass.Think about this.Your sound doesn't come from a direct box or pre amps,or EQ from a PA.

Okay,I'm venting a bit.The real secret here is,and its no secret,to be able to set up your amp's settings to the way your band plays.As well it stems from the set up of your mic tone,string and head stock tuning.



You don't need equipment that costs a bundle,but it does need to be set up properly.If you can't tune your bottom feeder axe,amp and accessory rig properly,how do you expect to do it with brand new gear that costs a bundle?


As far as mic's go which is vital to good sound to use a good Shure 57 or 58.They will work in either live or recording situations.Buy at least two brand new ones.Do not scrimp on mic's.That's one thing that shouldn't be done like a bottom feeder.And no bass players just starting out don't need a wah pedal or direct box to shape their sound.



Learn how to shape your bass sound with an axe,amp and mic to record it. Also,use a monitor speaker or two to get a good idea of your tone.Using a direct box makes playing too easy,especially if that DI box is EQ'ed to the hilt when connected to a mix board console direct.

Learning to set up your amp settings and your bass--along with learning to play is more important above all else.When you do start learning to play and you're going out to jams and playing in a band situation,and you don't have constant problems with tone and your playing isn't off,start using a Wah or stomp box to add to your sound.

Once you do start playing major gigs chances are you'll need to use a DI Box to lessen distortion and muddiness in certain songs.You may need a DI box for session work as well.But don't rely on it all the time or it becomes a crutch.

But in ending,if you know how to play bass like a bastard,but your amp and bass axe set up is always off,you'll always have tone issues and your sound will never be your own.And if you use a Di Box,wah and an arsenal of effects, don't expect to be the great player you always wanted to be.


Peace and success to all bottom feeders





Mark G

Bass Playing In A Hard Place

Picture Of Jack Bruce

By Mark Grove


How To Fill The Bass Slot In A Band Doing It Your Way

Filling the space left by a bass player who may have been with a band for years is tough to say the least.Dee Curtis,Canadian Guitar Player Consultant has been filling the bass slot with different Bass players
in his band like it was a task to do.Not some kind of problem that never seems to end.

Being able to hold down the bottom-feeding like a bastard is important. How you hear each instrument is also a part of the equation.By playing what you hear and playing enough of what the others in a band are doing, then doing your own thing on an improvisational level will help you more than anything.

But being a world class session guy doesn't mean you'll get that dream bass gig.You may be able to play the bass with just about anybody,but if you don't have the feel for a studio or live session then you may not get the job.Depends on the front man,producer or the rest of a band who have equal votes in who becomes the resident bass player.

A guy who can't read music,but plays with great feel for both live or studio work,may get it over you.

And the gear you use or have to use could be part and parcel of whether you get a gig as well.Learning new gear or even a bass could help or hinder your playing.Be willing to learn different amps,effects and recording gear even if you don't ultimately get the gig.

If you're dealing with a blues band that plays some jazz gigs,be willing to stretch your playing ability by learning that material,and playing with some jazz cats that play the type of material that the blues band you're auditioning for plays. Playing jams are so important to become better. A players who's been gigging for only six months could show you a thing or two some veterans may not be able to.

Having an attitude that says I'm willing to do anything to get into that blues band will help you more than anything.

Trying different Recording techniques will see how well you play as a bass player too.Change up your mic placements on your cab,or go direct into the board without a mic will challenge your playing and force you to play with different chording,tempos or string tuning. Sometimes less recording gear can make you a better bottom feeder and be more creative.

Even try an old Tascam tape deck instead of a hard disk or Pro Tools.

Play like you mean it and you don't care about getting the gig:

Your goal shouldn't be about getting the gig.It should be about playing with people who's music you like,and you're willing to work hard as nails to get it down.Not make money.Most don't make it because they only want the gig,they don't want to do what's needed to play with musicians who care about music that says something.

So, Don't need the gig to make more money or think you'll be a better player. Do it because you love being a bottom feeder and jamming with others.

Peace and success to all Bottom Feeders

Bass Playing Tip:How to Play Bass Riffs Outside The Norm Making People Take Notice

Cliff Burton Of Metallica



By Mark Grove



First of all, don't change your Bass axe or get a beefier amp or arsenal of stomps that just blur your original intentions as a Bottom-Feeder who means business. No need to do that.I was reading an old article by EE Bradman in the now defunct Bass Guitar Mag.The article was on Metallica's Cliff Burton.

If you listen,really listen to early Metallica material on "Ride The Lightning" you'll see Cliff played like Randy Rhoads because they were both schooled in classical music.Along with that Burton's phrasing and chord texture was like a guitarist.

Both Rhoads and Burton learned this type of approach to music long before they ever hit a stage with Ozzy or Metallica. What I mean by all of this is Burton played more like a guitar player.Burton used more
effects for certain songs,and he knew how to use them for more grinding effects that lended themselves to lead guitar chords.

Using more guitar like cabinets in Cliff's arsenal like Mesa-Boogie's or Marshall's will not help most Bass players.First of all, I probably know shit compared to a lot of players out there,but learning how to get a grittier tone that's in sync with the lead guitar and drums will help you be on the road to greater excellence as a bass axeman.

Setting up your axe for higher action and lighter strings,not too light as a bass player, and more open tuning will bring more harmonic's and tones that enable you to play more guitar like chords and riffs.

Using the Right Guitar Cab and Amp In Your Bass Arsenal:

I would go the other way around and not use a guitar cab or amp,but a beefier Bass amp like an SWR.You could use an Ampeg,but to get better tones and play more like a guitarist,use a solid bass amp like the SWR I mentioned.

http://www.swrsound.com Look at the new SWR "Black Beauty Bass Amp



Lighten up the string gauge very minimally and set up your amp so it's volume is swelling,yet the presence is turned back a bit.Playing dirtier yet challenging the tone and your ability to chord like everyone else.

Once your band sees what you're doing and not trying to change the tone or style,but trying to challenge the band to come out with new tones and playing at a new level,they'll be more giving and see you want them all to get
better as players.

It's also vital and I say this constantly--that you have to apply the lead guitar and drum technique to tap their playing. So they see you want to play like them,but aren't just playing off somewhere that has nothing to do with the band's intentions. Constantly listen to other players will help your own playing as a Bass axeman.

When it comes to stomps...

When it comes to stomps and effects,keep it simple to mix in distortions and effects.Dunlop has some of the best stomps out there,like their Blowtorch stomp effects box made to put the right amount of dirty and deep bass tones,and high end Bottom-Feeding Distortion that keeps you in line with the other players in your band.

http://www.jimdunlop.com Blowtorch

It takes time to learn this shit.And the more you do to challenge your ability as a great Bottom-Feeder to play like a guitarist,without fucking up the band tempo and timing,the more you'll get noticed by other bands.

Studios,agents, and other industry people will want your services in studio sessions and live work.And above all else will want to hang with you. Keep your playing simple and your gear that way too,but strive to keep your playing different as a Bass axeman.

For more info on the best amps and bottom-feeding stomp boxes:click these links to these great companies:

http://www.jimdunlop.com MXR Blowtorch Distortion Stomp Box

http://www.swrsound.com SWR Black Beauty Bass Amp

Peace everyone.

Mark G Canadian Guitar Player

Canadian Guitar Player Blog Name Has Changed Once Again

By Mark Grove

We've decided because of the emails to change the blog name again. We've gotten emails saying we should have the first name of the blog be Guitar.I thought about it for quite a while and said to myself,self,change the name.

So, the new name is Guitar-Player Blog.

So refer your guitar axe buddies to:

http://www.guitar-playerblog.blogspot.com

Remember to put the hyphen between Guitar and Player in the domain name of Guitar-Player Blog.

We will have more and better how to articles for guitar players and bass players.

Peace and Success To all players,

Mark G

Errick Lewis On Endorsement Deals And How It Can Help Your Career

By Mark Grove

Errick Lewis is a well known Oregon based Bass session player who has made a name for himself doing sessions for top artists and doing endorsement deals with some of music's top equipment makers like Epifani Amps and Pavel bass guitars.

EL has also latched onto gigs with artists like Snoop,Jay-Z and Lauryn Hill. Before Eric's deals with Epifani and Pavel, he worked with Fender and MTD Bass Guitars.

Errick has been able to capitalize on opportunities by being a consummate original indie bass bottom feeder who gives artists what they want, yet inject a dose of his own style on bass to the mix.

All of this connects to procuring endorsement deals with music equipment companies. Making the deal work for the companies guitars,amps,stomps or what ever it is, is what's at issue--not "free shit".

There has to be a fit there. Eric has molded his career and bass playing style so he was able to be an indie musician that controls his career, and not be controlled by management, a label or an endorsement deal.

You'll find out in this interview with Errick on how to approach a music company and help them, not the other way around.

This Video Is Of Errick Lewis Jammin' Away. Very Short video with
very tight playing.





The Errick Lewis Take On Doing Endorsement Deals The Right Way


MG: This is a typical want of Players thinking, "Yeah Free Axes and Rigs".
Should you get that out of your mind and think, what can I do for the Axe or rig maker?


EL: yeah, completely take that out of your mind and think how can I help the company promote themselves and myself as well.





MG:Do you have any ideas on how to promote your band through an endorsement deal, yet focus on the equipment makers wants?

EL: Taking certain photos of your band with the endorser's or the name of your band.


MG: Is it important to understand all aspects of an endorsement deal so you're doing what they want, yet not chaining yourself to a deal that you get absolutely nothing from?


EL: yeah, every endorsement deals should be beneficial for both parties, whether its promotions of gear.



MG: How long should you use a product before approaching a company for an endorsement deal?

Example: Your deal with Minnieweather Basses

EL: its not about using the product, its about finding out about the product and what the benefits of the products are, so basically, which product has the best quality.



MG:Was a demo with your Bass playing being upfront in the demo on each track?

EL: Everything that I play when Im playing, whether its a demo, a single track or a whole album, is me giving 100% and being upfront with my sound and my approach to music



MG: For other players out there is playing regular gigs and having a strong rep as a player helpful in getting a deal?

EL: Yes, the more people who know about you, the easier it is for the company to find out information about you without you having to tell them.



MG: Last question Errick. Should players who just play locally try to test local guitar and rig makers. Not just to get free equipment, but help the makers promote their wares and buy their equipment if they like it?



EL: yes, your local companies just may be the ones that help take you to the next level, and also, you have more of a personal relationship because you can just "drop in".


For more info on Errick Lewis and how to contact him about endorsement deals or playing bass, go to...

erricklewis@gmail.com

http://www.myspace.com/truthbass

Cell:(503)839-3921