Eventually, my aim is to be making multiple videos every month, but it takes a lot of time and effort to ensure the quality remains high. I’ve put together a (very silly) trailer to show how small monthly donations via Patreon will help me achieve that goal.
If you want to see more bass videos from me, it would mean the world if you signed up to pledge a monthly donation. There are a few tiers with a variety of rewards, so whatever seems the right amount for you – any amount would be greatly appreciated!
Cory Wong is a fantastic guitarist, producer and songwriter, but he can also kill it on the bass. This track has at least 2 distinct bass tones on it, with a few overdubbed sections, so I combined everything into one take with one bass, and a couple of pedals. At the end of the video I go into detail on how I achieved various sounds.
I’ve been meaning to transcribe this one for so long. In my opinion, ‘Runaway’ is a great example of solid pop songwriting, production and musicianship – each element supporting the other without taking too much precedence. The verse part is almost like a hook in itself, and owes a lot to the bass ostinato in the similarly-titled ‘Running Away’ by Roy Ayers. Surely not a coincidence?
The chorus is where the bass playing really takes off. Paul Turner, Jamiroquai’s bass player since 2005, takes a few simple rhythmic ideas and gradually develops them over the course of 3 choruses. It’s a perfect blend of pocket playing, tasty fills and amazing tone.
Talking of tone, I used two basses on this one. A Fender Precision (strung with flats) on the verses, and a Stingray on the choruses. This is actually what happens on the track, as I heard directly from Paul himself when he delivered a masterclass at Leeds College of Music in my final year there. I hadn’t noticed the change myself until he pointed it out, and it felt like a lightbulb moment. Each bass compliments the instrumentation of its respective section – the verses are relatively sparse, so the unmistakeable woody tone of the Precision sings out. By comparison, there’s so much more going on in the chorus, so the low-mid punch of the Stingray occupies a much narrower frequency range – it has presence, without getting in the way. In the video I go into a bit more detail on my settings to achieve the right sounds.
Don’t forget you can the transcription for this one – in tab & standard notation – over on my transcriptions page.
New video! Another fan request over on Patreon. If you’d like to make requests for videos like this, download resources for my tutorial videos, or if you just want to support me in general, please consider signing up. It would mean the world to me!
This was fun to transcribe and put together! The verses have a unique sound – I’m pretty sure the bass is programmed, and it sounds to be quite a picky tone on the samples used. To recreate that sound, I employed Bernard Edwards’s “chucking” technique.
The chorus is a different story. It’s a typical-sounding Moog synth bassline played by Pomo (as far as I can tell from the liner notes). I used 3 effects in my chain to achieve that sound: Octabvre, You’re Doom (both made by 3 Leaf Audio) and Boss CEB-3 Bass Chorus. Check out the latter part of the video to see the settings in more detail.
Enjoy! And don’t forget, you can get the transcription in tab and standard notation on this very website.
I’ve always been a massive fan of Chaka’s cover of ‘We Can Work It Out’ from What Cha’ Gonna Do For Me. Greg Phillinganes absolutely laying it down on synth bass! Thanks to Cesar Baron for requesting this on Patreon.
I’ve had a go at recreating the synth sound with a handful of pedals. In the video I do a full rundown of which pedals I use, and the settings.
I’ve also done a full transcription of the bassline, note-for-note! Head over to the transcriptions page to get the tab or notation.
Let me know how you get on in the comments! And if you’d like to make requests for anything like this – playalongs, tutorials, transcriptions – please consider signing up to support me on Patreon!
In this time of reflection, at the end of a turbulent year, we should give thanks to D major for just how well it translates to solo bass. Open strings! Harmonics! A third thing! D major, you’re the MVP, and we’re blessed that Paul McCartney chose you to write this song.
I could start by saying that I was inspired to do this arrangement in a flash of inspiration; that the lyrics really spoke to my urge to get back to basics in a year dominated by technology and screens. It would be completely untrue, but I could still do it.