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The Difference Between Playing and Emoting: Thoughts From Mike Pope

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As musicians, we’ve all been listening to music we love for a long time. I used to sit and listen to Weather Report, or Pat Metheny, or Chick Corea for hours on end, all the while painting a sort of subjective picture of the music. In my mind I’d formulate images of what the players looked like when they were playing these amazing solos or bass lines, or the ambience of the room or hall they were playing in (often a function of Mr. Lex I Conreverb, of course). I remember being knocked out the first time I heard that Cmaj pentatonic lick in the seventh bar of the 1st chorus of Birdland. I envisioned some grandiose physical rigmarole involved in playing it. The one time I got to see Jaco it became clear that I was deadly wrong. He played so much while not really moving a whole lot. I completely revamped my approach to the instrument at a time when I had tons of time for discipline and practice (I think I was 15). I progressed more in the ensuing 3 or 4 months than I had the previous few years I’d been playing. At least in terms of my command of the instrument.

For many of us, it was the emotions and images this music conjured up that drove us to play an instrument. For me, there was very little video available to see at the time, so these mental images had a lot to do with my approach to the bass. Unfortunately, many of them were less than conducive to good bass playing.

Playing and emoting are not the same thing. Mainly because emoting is feeling and playing is doing. This isn’t to say that they aren’t related and intertwined with one another. I don’t think that anyone would argue that an unemotional performance is generally not a good one. But I think understanding how the emotion of the performance, the emotion felt by the listener, and your original emotional impetus for playing the music differ.

The emotions you feel when you play will not necessarily lead you to do the things you need to do to in order to make your audience feel the emotion you want them to feel. This isn’t to say that you shouldn’t be feeling emotion when you play. It’s simply to say that you need to deal with the reality of how you play something in order ensure the desired result. In fact for many, simply focusing on the emotion behind the music gets them doing what they need to do. This is probably most often because those people already know what to do on some level, and are simply wrapped up in the mechanics of doing it. Ironically for others, when the emotion is spurious, it can impede your ability to understand how what you’re playing is being received. When that happens, as it often does, you need to question what’s driving the emotion. The goal being to separate the non-pertinent emotion you’re feeling from the task you’re trying to perform so that you can focus on learning to DO what you’re not DOING in order get the FEELING you want. Time to practice!

If you’ve ever walked away from a gig with memories of brilliant moments and deep emotional catharsis you can understand how powerful the images and sensations of those moments can be. But the reality is that you felt that way because of what you did. You did not do what you did because of how you felt. And so, in order to feel that way again, you need to do what you did again. It’s as simple as that. Let’s break it down to a single musical passage. Upon playing it you, and your audience, said, “that was GORGEOUS!” Your memory of this is reflective emotion. If you reflect on this the next time you go to play the passage, you won’t be paying any attention to doing what you need to do in order to play the passage and get that result again. You almost certainly WON’T get the same result. But if your focus is on what you need to do in the here and now, you have every chance at not only feeling what you felt again, but also having the audience feel it right along with you.

Taking the time to record yourself and listen to it objectively is a great way to establish where you really are. But listening to yourself objectively is difficult when you’re searching for a subjective response from someone else. But a good place to start is where you purge your mind of preconceptions and imagined responses of others. Make sure there’s not an image of a person, or a memory of an experience floating around in the back of your mind, posing as some sort of self-imposed benchmark. Listen to what you played and decide if represents your feelings. You are the maker of your music, and you know what you want to say. There’s no need to stress yourself out over imagined challenges. I think the real ones are enough for most of us.

Bass Videos

Interview With K3 Sisters Band

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Interview With K3 Sisters Band

K3 Sisters Band Interview…

It is very rare when I talk to a band where all the members play bass. The K3 Sisters Band is a perfect example of a group where Kaylen, Kelsey and Kristen Kassab are all multi-instrumentalists and take turns playing bass.

Hailing from Texas, these three sisters have been playing music since they were very young and have amassed an amazing amount of original music,  music videos, streaming concerts, podcasts, and content that has taken numerous social media platforms by storm. On TikTok alone, they have over 2.5 million followers and more than a billion views.

Join me as we hear the story of their musical journey, how they get their sound, and the fundamental principles behind these prolific musicians.

Here is the K3 Sisters Band!

Photo, Bruce Ray Productions

Follow Online:

k3sistersband.com/
TikTok
YouTube
Instagram
Facebook 

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Bass Player Health

What is a Pinched Nerve? with Dr. Randy Kertz

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Dr Randal Kertz - Bass Player Health - Oct 2022

What is a Pinched Nerve?

In this month’s video, we will cover how to tell if you have a pinched nerve and when to seek professional help.

Dr. Randall Kertz is the author of The Bassist’s Complete Guide to Injury Management, Prevention and Better Health. Click here to get your copy today!

The Bassist’s Complete Guide to Injury Management, Prevention & Better Health

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This Week’s Top 10 Basses on Instagram

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TOP 10 Basses of the week

Check out our top 10 favorite basses on Instagram this week…

Click to follow Bass Musician on Instagram @bassmusicianmag

FEATURED @colibriguitars @adamovicbasses @brooksbassguitars @lecomptebass @mgbassguitars @mauriziouberbasses @jcrluthier @biarnel @officialibanezguitars @chris_seldon_guitars

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Gear News

New Gear:  Ashdown ORIGINAL-EVO-C112T-300

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New Gear:  Ashdown ORIGINAL-EVO-C112T-300

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Introducing the Original-EVO-C112T, a ground-breaking innovation in the realm of bass amplifiers. This exceptional amplifier redefines the standards of power, portability, and precision, offering musicians an unparalleled experience in amplification technology.
 
Weighing in at a mere 13.5kg, the Original-EVO-C112T packs an astonishing 300 watts of unadulterated Ashdown bass tone into a compact and lightweight package. Say goodbye to the days of lugging around heavy and cumbersome gear – this amplifier is designed for the modern musician on the move.

Designed to accommodate global touring, the Original-EVO-C112T features auto-protect voltage support and an adaptive temperature-controlled fan for optimal performance in any environment.
 
In summary, the Original-EVO-C112T is a game-changing amplifier that combines power, portability, and precision. It’s a testament to innovation and quality in the world of bass amplification, deserving attention from musicians looking to take their music to the next level.

Product Specification-

Power Output: 300 Watts
Power Requirement: 115-230 Volts
Speaker Configuration: 1 x 12” + Horn
High Instrument Input: Impedance 3.9m Ohms, Input range 150mV – 20mV p-p
Low Instrument Input: Impedance -1M Ohms, Input range 150mV to 10V p-p
Line Input: Impedance 10k Ohms, Input range 300mV – 40V p-p
DI Output: 600 Ohm balance / Level -20dBu nominal
Minimum Impedance: 4 Ohm
Headphone Output: Yes and safe for silent practice
EQ: Bass +/-15dB @ 100Hz, Lo Mid +/-15dB @ 220Hz, Middle +/-15dB @ 660Hz, Hi Mid +/-15 dB @1.5kHz, Treble +/-15dB @ 7kHz
Effects Send: Impedance 22k Ohms / Level 0dBu nominal
Effects Return: Impedance 22k Ohms / Level 0dBu nominal
Dimensions (H x W x D in mm): 470 x 606 x 381
Weight: 13.5kg

For more info please visit www.ashdownmusic.com

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Gear News

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary

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30th Anniversary Limited Edition SansAmp Bass Driver DI

Tech 21’s SansAmp Bass Driver DI Celebrates 30th Anniversary…

The SansAmp Bass Driver DI has been an arsenal staple for players and studios almost since the day it was introduced in 1994. To commemorate its 30th anniversary, Tech 21 is issuing a limited edition with an anodized precision-machined aluminum billet housing and all metal knobs.

This all-analog multi-function, multi-application pedal dials up big vintage tube tones, bright modern slap sounds, gnarly distortions, and all in between. There are three different outputs to drive power amps, recording desks, PA mixers, or simply enhance your current rig. Controls include Presence for definition and upper harmonic content; Blend to combine the ratio of direct signal and SansAmp circuitry; and active 3-band EQ with 12dB of cut or boost.

The 100% analog SansAmp Tube Amplifier Emulation technology encompasses the entire signal chain, from pre-amp to power amp to speaker simulation. An integral part of the circuitry, the individually-tailored SansAmp speaker simulation will complement any type of bass speaker cabinet system.

It is rare an electronic music-related product can withstand such a test of time. The SansAmp Bass Driver has been used for every kind of music style from death metal to commercial jingles, in countless studios, and on tours around the globe. In fact, many mammoth stage rigs you see are actually driven by a SansAmp nestled behind the backline. It has defied the odds and to this day, SansAmp remains the standard of the industry.

Anticipated Availability:  May/June 2024

For more information, visit online at tech21nyc.com/products/sansamp/bass-driver-30/

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