Sire Marcus Miller V7 vs Warwick Rockbass Infinity – Bass Practice Diary – 1st December 2020
Sire created a sensation in the bass world when they released their Marcus Miller basses a few years ago. They are great sounding basses sold at an amazingly competitive price. However, while they are really good basses, I’ve often thought that Sire were not the first company to come out with high quality instruments for a budget. If you follow my videos, you know that I’ve been playing Warwick basses for many years. So, I’ve long thought of doing a comparison between Warwick’s more budget friendly Rockbass instruments and Sire’s Marcus Miller basses.
Sire vs Warwick
If I’m being completely honest, this video is just a bit of fun. It’s not a particularly scientific comparison. The basses had different strings at the time of recording. The Sire was strung up with some nice new Overwater bass strings whereas the Warwick had a very cheap set of Warwick Red Label strings.
The pickup configuration is obviously different as well. With the Sire, I’m using both pickups in the video, but with the Warwick I’m only using the single coil pickup at the front.
However, I should say that both of these basses were a very similar price point when I bought them. Less than £500 at full price in the UK. The new Warwick Rockbass Infinity basses are being sold for considerably more. They’ve given the model a makeover in 2020 with a flamed maple top, but my one is the more simple looking 2018 model. There are Warwick Rockbass models in 2020 that can still rival the Sire V7 for affordability. You probably need to look at something like a Corvette or a Streamer.
If you want to see a proper comparison of Sire and Warwick Rockbass and what they both offer for the price, then let me know by leaving a comment on the YouTube video. If enough people want a detailed comparison, then I’ll do it.
Slap Bass Timing Exercises – Bass Practice Diary – 8th September 2020
If you’ve been following my recent series of videos about timing exercises, then you’ll know how these work by now. You take an odd number note grouping and play those groupings as continuous 16th notes. What I didn’t mention on any of my previous videos, was that these exercises are a great way to practice slap bass. This video feature three slap bass timing exercises. And you can take this concept and develop your own exercises.
The first exercise is 16th notes played in three note groupings. The three note grouping consists of a note, G, thumped with the right hand thumb (T). A tap on the strings with the left hand, marked L.H on the notation. And finally a pull with the index finger of the right hand, which I’ve played as a dead note by muting the strings with my left hand.
The second of the three note sequence, the left hand tap, can be very soft. You don’t need to hit the strings hard, you just need to do it in time. Hitting the strings with the left hand has the effect of silencing the first note. So, even if you don’t here the tap, you will still feel the rhythm by hearing the note G go silent.
The second exercise is an extension of that idea. This time the three note grouping is made by thumb (right hand), hammer (left hand) and pluck (right hand index). And the notes are taken from a C minor pentatonic scale.
The final exercise features a five note grouping. The five notes are as follows. Thump the G and then tap with the left hand, exactly as in exercise 1. Then thump with the right hand thumb again, but this time as a dead note muted by the left hand. That’s three, the final two notes are F and G. Pluck the F on the D string and hammer onto the G on the fifth fret with your left hand.
Slap Bass 10 Minute Workout – Bass Practice Diary – 4th August 2020
This is the third 10 minute bass practice workout that I’ve released, but the first to feature slap bass techniques. There are a lot of videos on YouTube of bass players teaching and demonstrating slap techniques. They’re often fast and flashy and they almost always involve using lots of open strings. There’s nothing wrong with that, because those things are fun to play. But, in this video I’ve tried to zero in on what I think are the fundamental techniques that bass players should practice, so that they can use slap bass techniques in “real world” music situations.
What are the fundamentals of slap bass?
If you follow my Bass Practice Diary videos, then you probably know that slap bass is not my “main thing” on bass. The vast majority of what I do is played finger style, but I like to keep my slap bass chops ready for when they’re needed. This line, that I’ve written is typical of the kind of exercise that I’ll set for myself when I’m practicing slap bass.
I’ll start by asking myself the question, what do I need to be able to do in order to execute slap bass lines quickly and accurately when they’re put in front of me on a gig? Then I’ll come up with a line, like this one, that I feel tests me on the fundamental techniques that I need. So, I haven’t included any advanced techniques like double thumbing or machine gun triplets. Those are great techniques for playing slap bass solos, but I’m more interested in the fundamentals that I need to make my slap bass lines sound good.
For me, the fundamental techniques of slap bass are the thump with your thumb, the pull with your index finger, the hammer ons and pull offs with your left hand for playing legato lines and dead notes. When I’m practicing these fundamentals, I’m concentrating on trying to get my timing as well as my tone and dynamics even. So all the notes can be heard and nothing is coming out too loud.
Bass players often use compression on their slap bass lines to even out the dynamics. It’s ok to do that, but I would strongly recommend that you don’t use compression when you practice. You need to learn to control the dynamics with your hands. Using compression will subconsciously teach you that you don’t need to control the dynamics because the compression does it for you.
The 10 Minute Slap Bass Workout
If you’ve done one of my workouts before, you’ll know the format by now. I divide the 10 minutes up into four exercises, each practiced for 2 minutes (roughly). And then the last 2 minutes is for putting all four exercises together into one line. Each exercise is practiced at four different tempos, roughly 30 seconds at each tempo. The first tempo should be very slow to help get used to the notes in each new exercise. And the last tempo for each exercise should be pushing you to the edge of your comfort zone.
The last tempo should be challenging but not impossible. It’s a mistake to try and go too fast. You need to push yourself in the last 30 seconds but I think it’s a much bigger mistake to go too fast than too slow. I’ve set the tempos in this video at tempos that work for me, 40bpm, 55bpm, 70bpm and 85bpm. If those tempos don’t work for you, then do the workout in your own time at your own tempos. You only need a metronome or a drum beat, which you can find for free online.
The line is based around a jazz III-VI-II-V in the key of E major. The line itself uses hardly any open strings. I’ve done this deliberately, because it’s harder to play slap bass without using open strings. Typically, when I’ve been asked to play slap bass on gigs, I’m very rarely required to play in keys like E and A where I can use lots of open strings. It’s more often in keys like F and Bb because those are popular keys for keyboard players and horn players.
My line is in the key of E. However, I’ve chosen the chords G#m7 – G7 – F#m7 – F7. Therefore, there isn’t much opportunity to use the open strings on the root notes. However, once you’ve learned the line, you can resolve it onto an E chord, which is fun because you can then bring in the open E string. Here’s the line.
The first exercise goes like this.
I’m practicing it as a 3-beat repeating cycle. The chords at this point go from G#m7 to G7. I’ve included one dead note, which I’m playing by striking the string with my right-hand thumb while muting with my left hand. I haven’t included many dead notes, because I feel like I probably over use them when I improvise a slap bass part. I also put dead notes in instinctively on rest strokes. You can hear me doing it in the video. So feel free to improvise dead notes on any of the rests. You can play dead notes with your right hand and left hand, I usually use a combination of both.
After the dead note, there’s a hammer on from the 2nd to 4th fret on the A-string. In this exercise, I’m working on getting an even sound between the notes that I’m thumping, which are the notes on the A and E-strings. And the notes that I’m plucking on the G and D-strings.
The second exercise is this.
This is a bass fill played using a combination of hammer ons and pull offs with the left hand. While the right hand is using both index finger and thumb. It starts by plucking the 6th fret on the first string and pulling off to the 4th fret. Then the right-hand thumb plays the open string second string and the left hand hammers on the 5th fret. Then I use my thumb again to play the 2nd fret on the A-string and I hammer on to the 4th fret. Watch out for the rest on beat 1, and the goal is to make it sound like one smooth line.
Exercise 3 goes like this.
Each note in this exercise is articulated using either the thumb or index finger on the right hand, with no written dead notes or legato phrasing. You can improvise dead notes on the rests. It’s a 3-beat cycle, like exercise 1. I could play exercise 3 as a 2-beat cycle, but it flows better with the quarter note rest on the end.
This is the fourth and final exercise.
Another rest on beat 1. More combinations of thumping and plucking, hammer ons and pull offs. Good Luck!
Victor Wooten Techniques on 6-string Bass – Bass Practice Diary – 15th May 2018
This week I’m doing something that I don’t don very often, I’m practising slap bass. And I’m learning from the very best by playing excerpts from a book called The Best of Victor Wooten. In this video I’m demonstrating a passage from a piece called A Show of Hands.
Why Use a 6-string Bass? Victor Wooten always plays 4-string basses!
There are two reasons why I’m using my Warwick “Steve Bailey” 6-string bass for this.
The first is that it’s the bass I use on most of my gigs. I usually play finger style but I’m often asked to play slap bass on one or two tunes in a set. So, I need to know that my slap bass chops are ready to go when required. And I need to know I can do it on my first choice gigging instrument. I can’t stop during a gig to switch onto a 4 or 5 string bass. Also, I often need to play slap bass on just one part of a song and finger style on other parts.
The second reason is that many of the transcriptions in The Best Of Victor Wooten, including A Show of Hands are written and were originally performed by Victor Wooten on a 4-string bass tuned A-D-G-C. He calls this his tenor bass. This tuning is the same as the first four strings of a 6-string bass. It’s not possible to achieve this tuning on a standard 4 or 5 string bass without changing the strings or using a capo. My 6-string bass can play all of the transcriptions in the book at the correct pitch. Including all the pieces played on Standard E-A-D-G tuning and the A-D-G-C tenor tuning.
Is it harder to play slap bass on a 6-string bass?
Yes, but the more I practice, the less I notice the difference. There was a time when I used to do all of my slap bass practice on 4-string bass. I didn’t like slapping on the 6-string because the first string, C, felt too small to slap. And it got in the way when trying to pull the second string, G.
I started practising slap bass techniques on my 6-string bass for the reason I outlined above. I was playing 6-string bass on virtually all my gigs and when I was called upon to slap, it felt awkward. My slap bass chops on my 6-string were not where they needed to be.
So I realised I needed to practice slap bass on my 6-string bass. Now I feel comfortable playing slap techniques on my 6-string including on the high C-string. As a result I get all the benefits of extended range that you get from playing a 6-string. I highly recommend learning to slap on a 6-string bass, it might take a bit longer to master but for me the benefits of the extended range and the versatility far out weigh the challenges.