Tonefiend Forum

Joe will be around with the pro, practiced version, but tuning down a step and dropping the Low E (now D) another step (now Low C) is a good trick (one I stole shamelessly from Joe) for reaching lower without going too weird like a bari in a different scale length. Pitch shifting, digital or old school analog octave down, can help occupy some more of that range.

The amp can be important, too, as many guitar amps are designed for a guitar range. Old-school reverb-era Fenders, even in non-reverb models, pass bass pretty well through the preamps. It's the power stages, underdesigned power supplies, and open-backed speaker cabs that create issues. Bassman and Showman heads with closed back cabinets do well for reaching lower. Stepping up to higher gain stuff, even like modestly hotter Marshall Super Leads, risks murking things up if the gain and bass don't play well together. Counterintuitive tip when you run into problems: roll off the bass tone control if you run into trouble, since tighter, clearer, and smaller bass will probably work better than a muddy, rumbling mess.

You could also go beyond guitar and mess with bass pedals, prog-rock style. The Keith McMillen 12 Step is an affordable new octave-ranged bass pedal controller that will interface well with a synth module or a laptop or iPad running a virtual synth. The Moog MiniTaur module and a 12 Step is gonna lure me in eventually, I'm sure. Beyond playing lines, you could use a controller to trigger samples or run something like Ableton's Live or Apple's Mainstage (Joe's laptop host) to flesh things out.

I play without a bass player more often than not these days, both in duos with other guitarists or harmonica players, or in a guitar/drums duo with my brother.
My first bit of advice is don't attempt to overemphasize the bottom end; people don't miss what's not there. Remember that you can suggest a part then leave it- people will fill in the blanks as long as they can still hear the structure. Second tip: leave your pick behind- you will get more rounded, bassy tones in the low-end with your thumb and with practice you can add an additional part (or two) in the middle or treble registers. Third tip: pick your keys carefully- being able to pedal a simple open string bass part can leave you open to solo fairly freely. Fourth tip: when in doubt, go small- breakdowns can be a really effective way to solo without self-accompaniment and they will push the most subtle moments of your playing to the fore. Last tip: open tunings (preferably more than one) will give you some big full sounds and provide a nice contrast to your standard-tuned performances.
Finally, just try not to get hung up on it. There are many ways to skin a cat. Learn to embrace the space, not fight it.

So it seems like the overall consensus I'm getting is to play so that I emphasize the lower registers without trying to sound like a bass, and make sure I steer clear of the other guitarist's sonic footprint. Got it. Play through gear that lets the bass notes be heard, but don't try to replicate a bass. Thanks guys, I appreciate it.

Quote from bear on August 7, 2012, 21:31

You could also go beyond guitar and mess with bass pedals, prog-rock style. The Keith McMillen 12 Step is an affordable new octave-ranged bass pedal controller that will interface well with a synth module or a laptop or iPad running a virtual synth. The Moog MiniTaur module and a 12 Step is gonna lure me in eventually, I'm sure. Beyond playing lines, you could use a controller to trigger samples or run something like Ableton's Live or Apple's Mainstage (Joe's laptop host) to flesh things out.

The 12-Step is a cool piece. I made a little demo video for Keith in exchange for a unit and loved it — but haven't cracked it open since then because I've been so overbooked. But yeah, definitely worth exploring! 🙂

Quote from Double D on August 10, 2012, 02:08
I play without a bass player more often than not these days, both in duos with other guitarists or harmonica players, or in a guitar/drums duo with my brother.
My first bit of advice is don't attempt to overemphasize the bottom end; people don't miss what's not there. Remember that you can suggest a part then leave it- people will fill in the blanks as long as they can still hear the structure. Second tip: leave your pick behind- you will get more rounded, bassy tones in the low-end with your thumb and with practice you can add an additional part (or two) in the middle or treble registers. Third tip: pick your keys carefully- being able to pedal a simple open string bass part can leave you open to solo fairly freely. Fourth tip: when in doubt, go small- breakdowns can be a really effective way to solo without self-accompaniment and they will push the most subtle moments of your playing to the fore. Last tip: open tunings (preferably more than one) will give you some big full sounds and provide a nice contrast to your standard-tuned performances.
Finally, just try not to get hung up on it. There are many ways to skin a cat. Learn to embrace the space, not fight it.

+1 to EVERYTHING Double D said!

His first point about perception is especially spot-on. One of the best ways to create a massive bass impression is to omit the bass register, only to re-introduce it at a dramatic moment.

A real good example of this is the Michael Hedges piece "Aerial Boundaries," where he builds up a lot of upper-register polyphony, and then surprises you with low, open strings of his harp guitar. In that context, they sound like the deepest notes in the world.