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Slap Bass and Indian Slap Bass, the Evolution by Guest Writer Jayen Varma
Slap Bass and Indian Slap Bass, the Evolution… Many changes occurred in making and playing the Bass Guitar during the last century. ‘Slapping the bass’ is considered to have begun in the 1920’s on the Double Bass. On double bass it refers to the technique which is a more vigorous version of pizzicato, where the strings are plucked so hard that when released it bounces off the fingerboard, making a distinctive sound. Smacking the strings with all four fingers of the right hand also makes a percussive sound.
On Electric Bass Guitar
“Slap bass” is referred to percussive playing technique in electric bass as well, that the style sounds and looks percussive rather than the usual fingering of notes. Slap bass is more technically called “slaps” and “pops”. In the slaps, the bassist uses the bone of the thumb joint to strike the lower strings near the base of the guitar’s neck. In the pops, the bassist uses the index and middle fingers of the plucking hand to snap the higher-pitched strings away from the body of the bass, causing them to bounce off the fret board; this produces a prominent buzzing tone with a sharp attack and more high-frequency vibrations than in plucked bass.
Innovations
Double Bass player Bill Johnson, is considered by many as the father of slap bass. The methods developed by Larry Graham followed by Louis Johnson are nowadays practiced by a majority of electric bass players around the globe. Some bassists use fingers instead of the thumb to do slapping. Abraham Laboriel, Sr. developed a technique of using the thumb to pop the strings while his other four fingers slap the strings. Bassist Victor Wooten uses a double thumb technique, where he slaps the string when the thumb goes downward and pops when it goes upward. This gives him extra speed to play so that it sounds like a drum-roll on the bass guitar. Tony Levin created a similar drumming sound by using a hard surface on the fingers to strike the strings, which was named ‘Funk Fingers’. Funk Fingers are kind of small drumsticks strapped to fingers. To get a metal slap tone, bassists usually use their nails to hit the strings. Doug Wimbish also plays slaps with his fingers other than thumb.
Some of the double and electric bass players who are notable in slapping the bass are Bill Johnson, Pops Foster, Wellman Braud, Chester Zardis. Milt Hinton, Kim Nekroman, Scott Owen, Alcide Pavageau, Lee Rocker, Amy LaVere, Bootsy Collins, Stanley Clarke, Jonas Hellborg, Marcus Miller, Stuart Hamn, Les Claypool, Mark King, Kai Eckhardt, Mike Gordon, Flea, Fieldy, Brian Bromberg, Gustavo Dal Farra and the list goes on and on. A close watch of these bass players reveals that each and everyone has very distinctive styles. Similarly, every musician whether he is professional or amateur has his distinctive methods and techniques hidden inside. What matters is to develop it with proper training and self-motivation.
Applications
Since the acceptance of electric bass guitar in Jazz Music and subsequent revised applications of the technique since 1940’s, slap bass has been increasingly attracting music lovers all over the World. When funk music became more popular, slap bass has been subjected to various experimental playing techniques. Slapping is applied in most of the music genres since the 1960’s especially in funk, disco, jazz, pop and world music fusion.
During the changes in the music of the West, fusion music was silently having its own innovations. One of the inevitable instruments of India for fusion music has been Tabla. Bass players succeeded in blending the slap bass with Indian percussion instruments due to the similarity in the slap tones and sound of tabla. Jonas Hellborg and Kai Eckhardt adapted a different approach to the slap to blend it with Indian Classical music.
Tabla Style Technique and Myself
Even from the beginning of my bass playing career in 1986 the tabla/mridangam style technique was more convenient for me than the usual slap method. This may be because I had some training in the Indian percussion instrument mridangam, application of this technique on the strings was easy for me. In the early 1990s, when I could not get a slap tone due to inefficient pick-ups and guitars available at that time, I was forced to use hard plastic pipe pieces on the forefinger and middle finger to get the tone while playing like a tabla. That was a success as far as tones were concerned, but the playability was comparatively poor. In those days the music genres I used to play in bands did not require slap bass, so I had to keep that idea aside after experimenting for few years. In the early days I did not have enough access to the world outside India, but in one of the videos of the great Abraham Laboriel I heard him say, and I am paraphrasing, that, “What is important is the sound that is produced and not necessarily how the bass is played.” Those words really lit the fire inside me; therefore I decided to move ahead with this unconventional style. Later on I was also encouraged by the words of some of the greatest names in the bass world… Jeff Berlin, Bootsy Collins, etc.
The Technique
Indian Slap Bass is playing the Bass Guitar just like the Indian classical percussion instruments Tabla or Mridangam or Kanjira. It is played by hitting the string with the index finger and hitting with middle and ring fingers held close together. This is not complicated because strings are hit like two drum sticks: One stick is the index finger and the other stick is the middle and ring fingers held close together. The exercise to begin is hitting the last string with forefinger (F) first and then with the other two fingers, middle and ring (MR). To be precise, the fingering is F-MR-F-MR | F-MR-F-MR for 1-2-3-4 | 1-2-3-4. Later the playing is reversed to MR-F-MR-F | MR-F-MR-F. It is done with the left hand finger on the 5th fret of the last string. After making it comfortable by doing it for few days, the same is to be played on the other string, holding the left hand finger on the 3rd fret. The sound created when the string is hit with MR fingers is slightly different from the sound created by F finger. Many different methods/exercises can be worked out to get playability and to avoid the problems caused by crossing the strings, fingers and notes.
I have been experimenting and promoting this method single handedly for years. I am so happy that it has many fans across the World now. Many young bassists are willing to learn it. I am sure that if someone practices this technique for one year, he will be able to do it well.
It works perfectly not only with funk, jazz, blues or rock, but with heavy metal also. Since the two fingers can distinctly produce clear 16th notes on the same string, it fits with metal music. It can also be blended beautifully with Indian classical music. I am sure that the next generation of musicians will find the potential in its application in future music to come.
My Intention
My intention is to popularize ‘Indian Slap Bass’ across the World. There are so many good bass players in India. But the majority of people still have to become familiar with the instrument Bass Guitar, which makes my task challenging. So my task also includes popularization of bass guitar in India among the masses.
Jayen Varma
India
Jaya Kumar Kerala Varma –aka- Jayen Varma, known for developing Indian Slap Bass lives in India, the land of many amazing Musicians and Music genres. It took three decades for him to prove the World that Tabla/Mridangam finger technique can be applied on Bass Guitar. In 2008 The Registry of Official World Records (Record Holders Republic) USA&UK declared him the Fastest Bassist. Visit online at www.jayenvarma.net.
Positive Grid launches Spark 2, the next evolution of their cutting-edge smart guitar practice amplifiers and Bluetooth® speakers.
Engineered for acoustic, electric guitar, and bass, Spark 2 delivers an immersive practice and playing experience. Enjoy detailed sound and an all-new upgraded speaker design powered by Positive Grid’s exclusive Sonic IQ Computational Audio technology. With an onboard creative looper, optional battery power, and intuitive AI features for tone exploration and practice, Spark 2 is the gateway to a musical experience that goes beyond expectations.
Proprietary Audio and Advanced Technology
Spark 2 represents a leap forward in amplifier design. It integrates a new DSP amp modeling engine with double the processing power, and at 50 Watts, it packs 25% more volume than the original. Positive Grid’s proprietary Sonic IQ Computational Audio delivers incredibly detailed and dynamic sound. New HD amp models, enhanced by multi-band dynamic range compression and virtual bass augmentation, redefine the sonic landscape.
Equipped with two premium FRFR speakers and reflex ports, Spark 2 offers wide stereo imaging and broader frequency response, ensuring refined bass and clear, immersive sound.
Built-In Creative Looper
Spark 2’s built-in Groove Looper features hundreds of hyper-realistic drum tracks. From basic loops to multi-layered soundscapes or the ultimate jam session, this intuitive tool inspires endless creativity. Onboard amp controls provide quick, on-the-go looping functionality.
AI-Powered Tone and Smart Jam
Spark AI revolutionizes tone exploration. Describe any desired tone in the Spark app – from practical to outlandish – and Spark AI will suggest tones to audition or download. The more it’s used, the smarter it gets, delivering the perfect sound.
Additional smart features make it easy to practice, learn new songs and improve playing skills. Smart Jam listens to the user’s playing style and generates accompanying bass and drum parts, while Auto Chords analyzes any song streamed and displays the guitar chords in real time, to make learning and practicing new songs easier than ever.
Enhanced Hardware Design and Portability
Spark 2 allows for storing up to eight customizable presets directly on the amp for quick access to favorite sounds. Perfect the tone with large, visible onboard controls for looper, EQ, gain, reverb, and more.
Designed for convenience, an optional rechargeable battery provides up to 12 hours of playtime for on-the-go sessions. The new double-thick strap and durable build ensure easy and secure transport. Spark 2 is also Bluetooth® ready, allowing for music streaming and jamming along with favorite tracks anytime, anywhere.
Multiple Outputs and Advanced Features
Spark 2 offers versatile connectivity with a headphone out for private practice, stereo line outs for external audio sources, and a USB-C port which enables it to function as an audio interface. WiFi-enabled, Spark 2 allows convenient over-the-air firmware updates, keeping the amp up to date with the latest features and improvements.
“I’ve used a ton of practice amps while touring the world for over 38 years and it was always just a technical, bland exercise,” says guitar virtuoso, singer-songwriter and producer Nuno Bettencourt. “Spark 2 is like taking Madison Square Garden wherever you go – epic and versatile.”
Color Options
Available in Pearl or Black finish with a dark weave grille and premium finish.
Special Event, Upgrade Pricing & Availability
Join the special live premiere event featuring Nuno Bettencourt and surprise guests on August 1, 2024, at 8:00 am PT/11:00 am ET. Visit positivegrid.com/pages/livestream for more details and to sign up for a reminder.
Regularly USD $299, Spark 2 will be available at special early bird pricing during the pre-order period. Registered Spark 40 owners can also receive exclusive upgrade pricing.
For more information and to sign up for pre-order alerts, visit positivegrid.com/products/spark-2.
A review of the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.
Introduction: The Joyo Gloam is a sub-octave fuzz pedal specifically designed for bass players, combining modern sub-octave effects with rich fuzz tones. With two independently controlled circuits, the Gloam aims to provide a versatile range of sounds, from deep, aggressive fuzz to Moog-like synth effects. This review will explore the Gloam’s specifications, controls, and overall performance, highlighting both its strengths and areas for improvement.
Specifications:
- Dimensions: 130 * 110 * 50 mm
- Weight: 403g
- Working Voltage: DC 9V
- Controls: The Joyo Gloam features a comprehensive control set designed to provide bassists with a wide range of tonal options:
- Dry Tone: Adjusts the tone of the clean signal.
- Dry Volume: Controls the volume of the clean signal.
- Sub Octave Volume: Adjusts the volume of the sub octave signal.
- Gain: Controls the amount of gain in the fuzz circuit.
- Fuzz: Adjusts the intensity of the fuzz effect.
- Bass: Controls the bass frequencies in the fuzz circuit.
- Treble: Adjusts the treble frequencies in the fuzz circuit.
- Fuzz Mode Switch: Switches between two different fuzz modes.
- Dry Tone Frequency Switch: Selects between two different frequency points for the dry tone.
Performance: The Joyo Gloam excels in its dual-circuit design, offering both a sub octave and a fuzz channel that can be controlled individually. However, it’s important to note that the octaver cannot be used without the fuzz circuit activated; the only way to solo the octaver is by turning down the fuzz while both channels are engaged.
Fuzz Circuit: The fuzz circuit includes standard controls such as gain, volume, bass, and treble, along with a fuzz mode switch that toggles between two distinct fuzz modes. While one of the fuzz modes is highly usable and delivers a rich, aggressive tone, the other mode falls short and is less practical for most applications.
Octaver Circuit: The octaver circuit features controls for sub octave volume, clean volume, and clean tone, along with a dry tone frequency switch that provides two different frequency options. This allows for significant tonal versatility, enabling bassists to fine-tune their sound to match their preferences. Despite its limitation of being tied to the fuzz circuit, the octaver produces a deep, balanced sound that stands out.
Combined Effect: When used together, the fuzz and octaver circuits create a wide range of sounds, from classic, aggressive fuzz to synth-like tones reminiscent of a Moog synthesizer. This combination makes the Gloam a powerful tool for bassists seeking to experiment with their sound and achieve unique, textured tones.
Pros:
- Versatile Controls: Extensive control options for both fuzz and octaver circuits.
- Rich Tones: Delivers deep, aggressive fuzz and balanced octaver sounds.
- Sturdy Construction: Durable build quality ensures reliability.
- Wide Range of Sounds: Capable of producing everything from classic fuzz to synth-like effects.
Cons:
- Unusable Fuzz Mode: One of the fuzz modes is less practical.
- Dependent Octaver: Octaver cannot be used independently of the fuzz circuit.
Conclusion: In conclusion, the Joyo Gloam sub-octave fuzz pedal offers a versatile and powerful option for bassists looking to expand their tonal palette. Despite some flaws, the Gloam delivers impressive sounds and flexibility. Its combination of rich fuzz and deep octaver tones, coupled with a sturdy construction, makes it a valuable addition to any bassist’s pedalboard. For those seeking a modern bass distortion with the added depth of sub-octave effects, the Joyo Gloam is a compelling choice for a very compelling price.
Visit online at joyoaudio.com/product/281.html
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Behind the Strings – Jim’s Corner…
D’Addario & Co. proudly announces the launch of “Jim’s Corner,” a captivating new YouTube series telling the 400-year-old story of the D’Addario family creating the world’s largest music accessories company. This series features Jim D’Addario, Founder and Director of Innovation at D’Addario and Co., sharing his family’s remarkable journey from 17th century Italy to a 21st century global enterprise.
In the first four episodes now available, Jim D’Addario takes viewers back to the beginning, making strings from animal guts and knotting ukulele wire as a family around the television. Countless generations carried the passion forward until the 1970s when the company made it official and never looked back. Jim recounts the creation of strings that inspired legendary riffs, including one by The Who, the launch of Darco strings, the merger with Martin Guitars and the company’s humble beginnings with his wife, Janet and brother, John. Jim D’Addario’s firsthand accounts provide an intimate and personal perspective on the milestones and challenges that shaped D’Addario into the revered brand it is today.
Episode Highlights:
- Episode 1: The Early Days in Italy and the Move to America
- Episode 2: Inspiring Iconic Riffs and Legendary Partnerships
- Episode 3: Launching Darco Strings and Merging with Martin Guitars
- Episode 4: Building the D’Addario and Co. Legacy
Watch & Subscribe Now:
Join us in celebrating this incredible legacy by watching the first four episodes of “Jim’s Corner” on YouTube. New episodes will drop every month so please subscribe to our channel to ensure you don’t miss any future episodes and exclusive content from D’Addario & Co.: www.youtube.com/@daddarioandco
Gear News
Gear News: Aguilar Amplification Unveils Limited Edition NYC Gold Skyline Tone Hammer Preamp
Aguilar Amplification announces the release of the Limited Edition NYC Gold Skyline Tone Hammer Preamp pedal. Hand serialized 1-100, this exclusive edition celebrates Aguilar’s deep roots in New York City with a tribute to its iconic landmarks and vibrant spirit.
Born in the heart of NYC and raised on the road, the Tone Hammer Preamp DI has been an indispensable tool for bassists seeking inspiring tone and versatility. The new Limited Edition Gold NYC builds on this legacy with striking custom graphics encapsulating the essence of New York City. Featuring iconic landmarks from the Statue of Liberty to the Empire State Building, this pedal is not just a tool, but a piece of art embodying the soul of the city. Each unit features a sharp platinum silkscreen over a stunning matte gold sparkle finish, that is as visually captivating as it is sonically powerful.
The Tone Hammer is an essential preamp/direct box for every bassist’s toolbox. The Tone Hammer features fully sweepable midrange frequencies in addition to bass and treble controls. With the Tone Hammer’s pristine D.I. players are set for either studio or stage. To give this tone shaping unit the ultimate flexibility we introduce our proprietary Adaptive Gain Shaping circuitry (AGS). AGS allows the player to kick in an additional gain structure and EQ with the “stomp” of a button. You can go from modern slap sounds to vintage or overdriven. 18-volt operation gives the Tone Hammer plenty of headroom to reproduce the most dynamic playing styles. Separate gain and master controls allow players to dial in just the right gain structure for any instrument.
Aguilar Amplification’s Jordan Cortese adds, “With only 100 hand-numbered units available, this third iteration of our NYC edition Tone Hammer is a collector’s dream. “It’s a homage to our city’s monumental influence on music and culture and celebrates the craftsmanship and the story of Aguilar”.
Street price: $299.99 For more information, please visit www.aguilaramp.com
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
