In an era where many people routinely listen to music on built-in laptop speakers or the leaky standard-issue iPod earbuds, the poor bass player (particularly the electric bass player in the guitar-driven rock band), can feel like he or she is on a hiding to nothing.
While the low-end content of a lot of EDM is frankly insane, that’s not always evident except in clubs or in cars with subs in the back: that sort of content is extremely low frequency and can’t be adequately reproduced by small radio speakers or earbuds. In a lot of people’s usual listening environments, that stuff isn’t really apparent. Within rock mix, the tendency towards louder, shallower mixes often results in indistinct low end where the kick drum has been square-waved into indiscernability and the bass guitar is inseperable from the low end of mid-range instruments like acoustic guitar and piano. An unhappy state of affairs, but a very common one.
Life in the club or theatre is little better for bassists, either. Depending on the venue, the bass may be overpoweringly loud but with no clarity, or barely audible in among the clanging, reverberant din. Both extremes are equally common.
It all contributes to the relatively unappreciated status of the bass player. Indeed the stereotype of the bassist is the one who quietly takes care of business, is not the most accomplished musician in the band but certainly isn’t the least, keeps the drummer in check and provides a cool and unflappable, steadying presence. It’s one with more than a bit of truth to it. And as a bassist for 20 years, initially as a way of joining a band in high school that already had two guitarists, I’ve got a natural sympathy for my brothers and sisters in four strings. Hence this series, celebrating the unsung providers of the low end, which I hope has been at least moderately entertaining. We’ll be back to normal programming later this week. Take care now.