Where has the bass gone?

[guns_of_minerva]

I'm referring to being tuned so low you can't play certain notes or that they just don't sound right from that position.
https://pages.mtu.edu/~suits/notefreqs.html

https://en.wikipedia.org/wiki/Musical_tuning#Tuning_systems

Violin scordatura was employed in the 17th and 18th centuries by Italian and German composers, namely, Biagio Marini, Antonio Vivaldi, Heinrich Ignaz Franz Biber (who in the Rosary Sonatas prescribes a great variety of scordaturas, including crossing the middle strings), Johann Pachelbel and Johann Sebastian Bach, whose Fifth Suite For Unaccompanied Cello calls for the lowering of the A string to G. In Mozart's Sinfonia Concertante in E-flat major (K. 364), all the strings of the solo viola are raised one half-step, ostensibly to give the instrument a brighter tone so the solo violin does not overshadow it.

 

[j3ps3]

I'm referring to being tuned so low you can't play certain notes or that they just don't sound right from that position.
https://pages.mtu.edu/~suits/notefreqs.html

https://en.wikipedia.org/wiki/Musical_tuning#Tuning_systems

When exactly does a low tuning block you from playing certain notes? If you have 12 frets on your 1 string guitar, there you go. All the notes are there. Doesn't matter what the tuning is. You, again, are talking about timbre, which has nothing to do with voicings and progressions. When making a song I still go "hmm, it needs a minor chord here" and find the notes after I hear in my head what I'm after. Different tunings do not change the process or the voicings at all as at this point I pretty much now what I like and dislike and found the same voicings that I enjoy on different tunings. It affects the feel of the instrument, though, which is refreshing and can give you new ideas.

 

[guns_of_minerva]

You are fundamentally wrong, in this chart there are 8 E's, On your 1 string guitar you can only use 1. https://pages.mtu.edu/~suits/notefreqs.html

Lets just agree to disagree and hopefully others have found the links this useful for song writing.

Back to bass...



R.I.P Raven

No that's not Nirvana

 

[j3ps3]

You are fundamentally wrong, in this chart there are 8 E's, On your 1 string guitar you can only use 1.

Lets just agree to disagree and hopefully others have found the links this useful for song writing.

Back to bass...



No that's not Nirvana

So how that affects how the chords are build and voiced and the progressions then? Are they different because there are 8 E's instead of one? No.

Edit: Those same chords and voicings can still be found if you'd tune to drop A. Would it be comfortable? Probably not, but you can still find those same notes in that tuning, which was my point. The timbre will be different, though, that on I agree, but it was never what I was originally talking about.

 

[guns_of_minerva]

The tone is so good on this:

What is your signal chain? This sounds really good!

 

[guns_of_minerva]

Its a shame when you have to make use of the ignore button

 

[Floppystrings]

What is your signal chain? This sounds really good!

Not me playing there but from the comments it looks like:

Spector Euro 4LX (switched the Tone Pump with an EMG BQC preamp)>Darkglass B7k>Markbass head (I believe someone ID'd it as a lower wattage model)>cab???

He says: "It's mostly the sound of the bass (EMG P/J and BQC preamp), it has a natural and aggressive growl to it. Using both pickups (50/50) and with everything flat on the bass, using only light distortion from the B7K, about 70/30 natural/drive blend with a slight cut to the lower mids. It's a beast..."

 

[isispelican]

Bass is huge and prominent on the whole album!

 

[guns_of_minerva]

Bass is huge and prominent on the whole album!

This is a really great example, bass has a really nice tone and tight low end! And the song is also a banger!

 

[guns_of_minerva]

This song has a lot of great examples of the bass holding down the riff's and driving the song and letting the guitars go of and do something different and coo. Ceckout 2:57.

 

[Stuck_in_a_dream]

IMHO, within recent Death Metal offerings, Obscura's Jeroen Thesseling, and Linus Klausenitzer transformed bass playing by incorporating fretless bass in this kind of music in a way that I never heard before. I discovered Obscura from a YT bass cover of their Death (the band) tribute song "Incarnated", see below.
Another band along same line is Beyond Creation, their first bass player, Dominic Lapointe was a monster fretless player as well, new guy not too shabby either.

 

[Screamingdaisy]

The secret to a heavy guitar tone is a heavy bass tone.

You might think the bass is buried, yet everyone is raving about how thick the guitars sound...

 

[akinari]

Perfect example of a fizzy guitar and a monstrous bass coming together and making something really beautiful and crushing. Check out 1:41 for reference. HM2s on both, btw

 

[DjentyBoi7]

The secret to a heavy guitar tone is a heavy bass tone.

You might think the bass is buried, yet everyone is raving about how thick the guitars sound...

This insanity is the perfect exhample (pun intended)

 

[guns_of_minerva]

Credit to KnightBrolaire for showing me this!



Great bass guitar lines throughout!

 

[StevenC]

Its a shame when you have to make use of the ignore button

He's right though. You posted a link to two chords one starting on the 7th fret of the E string and the other starting on the second fret of the A string. And they had the same 4 pitches. That's not a voicing change, that's a timbre change.

That's the difference between playing middle C on piano or playing middle C on cello.

Go back to your wiki link about voicings, listen to the first audio samples and read the music. The same notes are in the chords, but in different orders. That's what a voicing is.

It doesn't matter what octave you start in, if you play G-B-D you're playing G major. If you're playing B-D-G, you're still playing G major but a different voicing. If you play the same pitches on the same order on different strings, however, then you're using a different timbre.

That's just what those words mean.

 

[guns_of_minerva]

He's right though. You posted a link to two chords one starting on the 7th fret of the E string and the other starting on the second fret of the A string. And they had the same 4 pitches. That's not a voicing change, that's a timbre change.

You are wrong

A voicing is a particular expression of a given chord, based on the order in which the tones are stacked. For example, playing E major in the open position is one voicing. Playing E major using an A form barre chord at the 7th fret is another voicing of that same chord. Both offer different expressions of the same chord.



The Instrument has a Timbre, the chord has a voicing.

 

[j3ps3]

You are wrong

A voicing is a particular expression of a given chord, based on the order in which the tones are stacked. For example, playing E major in the open position is one voicing. Playing E major using an A form barre chord at the 7th fret is another voicing of that same chord. Both offer different expressions of the same chord.



The Instrument has a Timbre, the chord has a voicing.

E major voicing in the open position: 1-5-1-3-5-1
E major voicing starting from the 7th fret of the A string: 1-5-1-3-5

Nothing about the voicing changed. The octave changed, but the voicing of the chord is still very much the same. God, you're thick headed.

 

[StevenC]

You are wrong

A voicing is a particular expression of a given chord, based on the order in which the tones are stacked. For example, playing E major in the open position is one voicing. Playing E major using an A form barre chord at the 7th fret is another voicing of that same chord. Both offer different expressions of the same chord.



The Instrument has a Timbre, the chord has a voicing.

Yes, choosing different pitches makes a chord different, but if they're the same notes then the voicing is the same at a higher pitch. Voicing is the names of the notes, the order they're played and how far apart the notes are relative to each other.

And playing an E power chord in the open position of a guitar tuned to E is the same voicing as playing an E power chord on a guitar tuned to D. Which is the point at hand.

 

[guns_of_minerva]

And playing an E power chord in the open position of a guitar tuned to E is the same voicing as playing an E power chord on a guitar tuned to D. Which is the point at hand.

The point at hand and my original point is that the tuning effects the choices of the composer, when you tune to D you can't play that E power chord at the open position which you might want to extend.


also has great bass lines.

This is in open C, yes could could play it in C but it would be really hard and it would not sound the same if played in E standard