Beatrice Lang
The electric upright bass is a versatile stringed instrument that is foundational to many musical genres. Learning to play it can be exciting but challenging. The first step is to choose the right-sized bass to ensure comfort and proper technique. The physical position of the instrument is important, with the neck held higher than the body for comfortable hand positions. The left hand is particularly important for fingering, and the right hand for producing sound. Developing proper techniques for the right hand will ensure a clear and consistent tone. Different bowing techniques, such as legato and staccato, can be used to add variety and expression. Pizzicato, or plucking the strings, is another fundamental skill to master. Proper tuning and maintenance are also key to producing a great sound.
| Characteristics | Values |
|---|---|
| Instrument type | Electric upright bass |
| Sound | The sound of an electric upright bass is described as having a rounder attack and a quicker fade compared to an acoustic upright bass. |
| Playing technique | The electric upright bass is played with a combination of mindset and technique. Fewer notes are used, and each note carries more meaning. |
| EQ settings | To achieve an upright bass sound, adjust EQ settings by bumping low mids (around 100 Hz) and reducing upper mids (1kHz) and highs. |
| Plucking technique | Pizzicato, or plucking the strings, is fundamental. Pluck closer to the bridge for a bright sound and further away for a rounder attack and deeper sound. |
| Bowing technique | Legato and staccato techniques involve smooth, connected bow strokes and short, detached bows, respectively, adding variety and expression to your playing. |
| Hand and finger positioning | The right hand is crucial for sound production. The left hand controls note duration by damping after the initial attack. The 1-2-4 fingering method is used, with the option to train the third finger for upper frets. |
| Posture and comfort | Proper posture is vital to avoid strain and injury. Stand or sit with a straight back, relaxed shoulders, and feet shoulder-width apart. Use a strap to ensure the neck is higher than the body for comfortable hand positioning. |
| Tuning | Tuning the E string to a reference pitch, then adjusting the A, D, and G strings, is essential for a great sound. Electronic tuners simplify this process. |
| String type | Flat wound strings sound warmer and feel more like upright bass strings, while round wound strings are less expensive but feel stiffer. |
| Scale length | Electric upright basses typically have a shorter scale length than acoustic upright basses, usually around 34". |
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What You'll Learn
Posture and positioning
To begin, it's important to choose the right-sized upright bass. Full-size basses are typically suitable for adults, while smaller sizes may be better for younger players or those with a smaller frame. Adjustments like neck angle and strap length can also significantly impact your comfort while playing. Experiment with different strap lengths and neck angles to find the most comfortable position for your body.
When standing, adjust the length of the bass endpin so that the nut of the fingerboard is at eyebrow level. Bassists have differing views on the proper height of the bass and how to adjust the endpin. Some recommend the nut should be at eye level, while others suggest adjusting it to the height of your forehead or the top of your head. You can also use your knuckles as a guide: stand facing the bass, holding the neck with your left hand, and adjust the endpin so the bridge touches your knuckles or fingernails of your right hand.
Once you've adjusted the endpin, turn the bass slightly to the right and tilt it back so that it rests against your left hip or stomach. Many bass players use endpin rests or straps to prevent the endpin from sliding. When sitting, sit on the front half of the stool with your back straight, shoulders relaxed, and feet shoulder-width apart. Some players keep both feet on the floor, while others lift their left foot onto one of the stool's rungs.
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Plucking and pizzicato
Plucking, or playing pizzicato, is fundamental to electric upright bass playing. There is no single way to play pizzicato, but there are a few principles to keep in mind. The left hand does most of the work in sound generation, so it's important not to play too hard with the right hand, as this can cause injury and muffle the sound. The right hand still has a significant influence on the sound: where you pluck the string, how fast you get your finger through it, and how much flesh you use to strike it will all affect the tone and character of the note.
There are three basic approaches to plucking the string. Firstly, plucking with the side of your index finger from the second joint to the tip. This is a common way to play jazz bass lines and is also used in orchestras. Secondly, you can pluck with the fatty part of the fingertip of either your index or middle finger. Orchestral players often use this technique. Finally, you can use the tips of both your index and middle fingers. This approach is used by all bass players, especially when playing faster passages. When using this technique, you alternate between both fingers quickly. It takes a lot of practice to get an even sound out of both fingers, and you may not be able to play with as much power.
The thumb may rest on the edge of the fingerboard, or on top of it, as in the two-fingered technique. Positioning the thumb behind the fingerboard can help to oppose the pressure of the left hand and shift the bass's position and balance.
When plucking, it's important to pull the string to the side and not straight out and away from the fingerboard (unless you want the string to snap against the fingerboard like a Bartok pizzicato). The tone will change depending on where you pull the string. Plucking the string closer to the bridge will result in a crisper and less booming sound, while playing over the fingerboard will create a deeper, less penetrating sound.
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Bowing techniques
Playing an electric upright bass involves a variety of techniques, including pizzicato (plucking the strings) and, of course, bowing. While the former is fundamental to upright bass playing, the latter is more of a mystery to beginners.
The bow is like a musical paintbrush, and understanding how to draw a full, resonant sound out of the bass can be challenging. The most important aspect of developing your bow technique is understanding how the bow interacts with your body and the instrument to produce a tone.
One fundamental concept to keep in mind is that your hands should look like your hands. This means that your hand should retain its natural shape when holding the bow. Your thumb should rest gently on the bow, with your fingers relaxed and curved naturally around it. Hold the bow firmly but not too tightly, allowing flexibility and control. Regularly practising your bow hold will help you develop muscle memory and improve your overall technique.
Different bowing techniques, such as legato and staccato, add variety and expression when playing. Legato involves smooth, connected bow strokes, while staccato requires short, detached bows. Practising sequences of down bows (away from you) and up bows (towards you) on different strings will help you get comfortable with the bow.
While the shape of the electric upright bass can make bowing more difficult, it is possible to get usable sounds out of it, especially on the more ambient/electronic or film music side of the spectrum.
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EQ trickery
EQ’ing an electric upright bass can be a challenging task due to its unique timbre. The goal is to enhance the natural woody tone with a strong fundamental frequency and harmonics while minimising any unwanted frequencies that may clash with other instruments in the mix. Here are some tricks and techniques to help you EQ an electric upright bass effectively:
EQ Tricks for Electric Upright Bass
- Subtle Tweaks: Avoid excessive EQ adjustments and focus on subtle tweaks to enhance clarity and blend with the other instruments in the ensemble. Small adjustments can make a significant difference to the overall sound.
- Jazz: For jazz music, you may want to emphasise the warmth and resonance of the upright bass. A gentle boost around 200-400 Hz can add body and depth to the sound. Be mindful of the low-end, as too much bass can overpower other instruments.
- Rockabilly and Psychobilly: In these genres, the upright bass often takes centre stage with a slap-heavy sound. Boosting the 1-2 kHz range will accentuate the percussive slap and pop of the strings. A slight cut around 200-300 Hz can tighten up the low-end and prevent a muddy sound.
- Electronic Music: When integrating an upright bass into electronic music, more aggressive EQ adjustments may be needed. A high-pass filter around 40-50 Hz can remove unwanted sub-bass frequencies that clash with kick drums or basslines.
- Thin or Hollow Sound: If your EQ is causing the bass to sound thin or hollow, try using a linear-phase EQ or adjust the Q values of your EQ bands to minimise phase distortion.
- Dynamic EQ: Blending with other instruments using dynamic EQ can be a game-changer, especially in cluttered electronic tracks. It allows your bass lines to weave in and out smoothly, creating a professional-sounding mix.
- Kick and Bass Relationship: The kick and bass usually occupy the centre of the mix. Use a masking meter to identify where vital frequencies are competing with each other, and then decide whether to cut the kick or sculpt the bass. Creating separate spaces for the fundamentals of the kick and bass will result in a cleaner low end.
- Stereo Bass: Contrary to popular belief, bass does not have to be mono. Stereo bass can be very effective, especially when working with two bass parts, such as one electric and one synth. Try playing with the stereo width of one of the basses to create a wider soundstage.
- Resonant Frequencies: Use your ears to find particularly resonant frequencies by boosting a bell and sweeping it until it rings louder than other portions of the bass. Then, switch the band to a cut and make it dynamic to curb overly resonant notes and balance frequency changes.
- Low-End Control: The low end of your mix is its anchor. If it's too weak, too loud, or boomy, the entire mix will suffer. Use EQ to cut through the mix and establish the bass's presence while keeping the low end sitting just right.
- High-Pass Filter: Apply a high-pass filter with a sharp curve of about 20-40 Hz to clean up the low end. In EDM and bass-heavy genres, you may want to be more liberal with the high-pass filter to make space for the kick drum.
- Low-Pass Filter: Consider using a low-pass filter to roll off everything over 20 kHz to remove inaudible noise. This creates more room for the song's mastering process and allows for louder masters without the artefacts of limiting.
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Left-hand fingering
The left hand plays a crucial role in fingering and positioning the electric upright bass. The physical position of the left hand is different by almost 90 degrees when switching from an upright bass to an electric bass. It is recommended to use a strap to keep the bass at a good angle, with the neck higher than the body for a more comfortable left-hand position.
When it comes to left-hand fingering, you can use the 1-2-4 method, where you play notes at the 1st fret with the first finger, 2nd fret with the second finger, and notes at the 3rd fret with the fourth finger. This method is especially useful in the lower register, allowing for comfortable fingering without stretching your left hand too much. However, as you move to the upper frets, you may want to start training your third finger to work independently and use all four fingers.
The positioning of the neck and body is crucial for effective left-hand fingering. Holding the neck almost vertical, similar to an upright bass, can make certain passages easier to play. This positioning helps to maintain a good ergonomic position for your left hand, reducing the risk of strain or injury.
Additionally, the choice of strings can impact the feel and sound of the electric upright bass. Flat-wound strings provide a warmer sound and a smoother feel, resembling the feel of upright bass strings. On the other hand, round-wound strings are less expensive but may feel stiffer and more similar to electric bass strings.
Practicing proper left-hand positioning and fingering techniques is essential for playing the electric upright bass comfortably and avoiding strain.
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Frequently asked questions
Stand or sit with your back straight, shoulders relaxed, and feet shoulder-width apart. Place the neck on your left shoulder, allowing it to rest against your jaw.
Hold the bow firmly but not too tightly, allowing flexibility and control. Your thumb should rest gently on the bow, with your fingers relaxed and curved naturally around it.
Legato involves smooth, connected bow strokes, while staccato requires short, detached bows. These techniques add variety and expression to your playing.
Pizzicato refers to plucking the strings with your index and middle fingers. Mastering this technique adds control, consistency, and versatility to your performance.
Listen to recordings of upright bass to familiarise yourself with its unique sound. Use fewer notes, and play them with a slower, rounder attack, allowing them to fade away quickly.
