It’s no secret that bassists are struggling.
Bassists are in the midst of a renaissance, with some artists such as The Chainsmokers and The Weeknd finally breaking through the plateau of success.
But there’s also a long history of bassists struggling with their sound.
Bassist Brian Eno has a long and storied history of struggling with the sound of his instruments, and the last album of his band, The Black Keys, is perhaps the most famous example of that struggle.
“You’re trying to find the sweet spot between the instrument you can play and the song that’s playing,” he said at the time.
“If it’s a very high-pitched, sharp bass note, that’s going to do it.
If it’s not, it’s going back to the beginning.”
But while some of Eno’s previous recordings sound much less harsh, they still sound like something that’s been in a box.
“We can do the same thing we did with our instruments, but it’s more about the sound,” he says.
“It’s just the difference between being able to play it and being able’t play it.
The difference between having the sound and not having the sounds is what makes you feel like you have to play them.”
The problem, of course, is that when you’re trying on a record and it sounds okay, that means that you’ve got the same instrument and the same songs on it, and it’s that feeling of “Oh shit, it really sounds good!” that’s the real problem.
Bass player Chris Fenn says that when it comes to trying to improve on a track, the main thing to focus on is how that sound sounds, rather than the actual instrument that you’re playing.
“In a lot of ways, it all starts with a sound,” Fenn tells Ars.
“What I look for is the kind of sound that’s not the one you have in your head and you can actually reproduce in real life.”
When you’re a bass player, the only thing you really have in real-life is your brain.
But the brain isn’t the only part of the body that can’t reproduce sounds.
The muscles that make up the lower half of the skull, for example, are also sensitive to noise and vibration, so it can feel like your feet are going “fuzzy.”
“It sounds weird,” says Fenn.
“But in the right context, it sounds like it could be a bass line.”
And as long as your bass is able to sustain those vibrations and noise, you’re going to be able to sound great.
And as a bassist, it doesn’t matter how loud you play or how loud your bass sounds—you still have to have a lot more to go around.
Fenn has a whole collection of headphones that he uses to try out different bass soundscapes, including the AudioQuest GX, a new pair of $99 basses that have the same high-end bass as the Audio Quest M1 and M2.
The GX have an open-back design, so you can open up your bass and listen to different frequencies.
It’s a great way to try new sounds.
And while Fenn doesn’t have an ideal set of basses, he does have one that he thinks is one of the best basses around.
He bought the AudioVision QS, which is an open, flat-bottomed design.
When it came time to buy the bass, he says, “I had a feeling that this was the bass that I wanted to play.
But I didn’t want to spend money on a bass that wasn’t going to last.”
For a bass guitar, the QS was a good buy.
It sounds really good and has great tone.
Förder’s Q-basses are also great.
They sound great and sound good, too.
And Förner doesn’t think that the Q-series is a bad bass—at least not for a beginner.
“I’ve always wanted to try something new, and I really liked the Qs,” Förber says.
He also has a pair of the Audio-Quest X-Basses that are much more affordable than the Q and X-series.
The X-bass is one thing.
The bass is something else.
Förer’s favorite thing about playing bass is the feeling of freedom, especially on a song like “In the Aeroplane Over the Sea,” where he can just throw all his sounds into the mix and just play the bass and let the songs do the rest.
“The best thing about this is I can play the songs,” he tells Ars, “and that’s a huge benefit.”
Förninger’s new bass sounds better than the old ones, but the X-bass isn’t necessarily better.
Fingers crossed that he can eventually buy a pair that will be as good as the Q series