Bass Central

On Oct'15, Thailand bass players had have joinded in SiamBass Metting day whice has activitys as thus below

- Memer introduced

- Bass review for Warwick , Lakland and Yamaha

- Bass Work shop by Mind ETC band

This is my second time came to metting , I was thinking it was going to be a normal joint in a sense.....

but I was wrong, I made many friendships, I got taught by my Thai bassplayer such as Mr.Mint ETC,

Mr.Jib BoyThai,Mr.Big(Not Band) , Mr. BoonGerd Snowwhite, ect,. , won a lot of bass stuff ....


but most of all I learned to FALL IN LOVE WITH MY BASS ALL OVER AGAIN.

As before metting I was not playing bass ... Ha..Ha...Ha...


In Workshop of Mr.Mint ETC has very nice that he was playing like Victor wooten with thumb pluck technique and show his bass slap song .

Click Link here to Listen His Song .....


and this is clip VDO in his show playing bass

Work Shop Clip1
Work Shop Clip2

I had have attached picture files as thus below.


Note : It will be slow to show picture as it has many pictures on this page.




































































































































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This bass signature is "Chachabass'Signature" which is combine between jazz bass of Aria Pro2 body and warwick design neck.
For 2006 Aria Pro2 2 edition is offering a very special limited edition of 1 unit worldwide .

The look of this Jazz fretless.
The neck of Flamed Maple is equipped with a fingerboard of Ebony in with new designed.
The "Chachabass" features a brand new pickup combination too.
EMG Vintage Sound pickup and WoW Rack on neck pickup offers an exact definition of sound.

Swamp Ash Body
Set neck Flamed Maple neck
Ebony fingerboard,Fretless
Gold hardware
EMG active J/J pickup Vintage souind
Selector system 1 volume 1 tone
4 strings Fretwound
With Pick up WoW Rack design

This bass accessory are second hand .

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"Open Hammer On Pop" or OHP ,next i will be say "OHP".
This is like vitor woonten's plucking technique but i would like to apply for us as some one can not using plucking with his thumb.
A concept of slapping an open string with thumb, Hammering a note with left hand and then pop string.
a note with your index finger. "Open Hammer Pluck" (OHP) is just a name and like all names they can be changed.

Tab Symbo
T = Thumb or Slap
P = Pop using the index finger
HO , H = Hammer-on

1.Basic Pattern



Throughout all of the different ways that we will explore this technique over the next few lessons,
it is good if we can keep the concept the same.
"Simple". This will allow us to keep our "thinking" simple as the technique gets more complex.
To get us started, here is my song of the basic OHP using to combine moving chord progressive in Em .
My song and sound that you hear guideline to create your song with OHP technique.
I using lick in Em scale as thus tab below.







It consist of three notes or three "attacks" (since some of the notes can be played as muted notes).
Start with this and get comfortable with it.
it at different speeds and with different levels of dynamics but make sure that each note stays clean and distinct.
Make sure that you can hear each individual attack. That will allow us to move it around much easier later.

All Tab below are show notes of my song in progressive chords "Em,D7,C7,B7" etc.

Tab Symbo
T = Thumb or Slap
P = Pop using the index finger
HO , H = Hammer-on






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my problem in victor's slap bass technique is have some time interrupt from my thumb position over string to be slow when i had pluck string .



Click-->Clip VDO Show my slap bass improvement
As high between string and bass's body is very much thus picture below .


I try to make a plate that i had knew this trick from thai bass player of the ETC band that i saw what plate bind on his bass body ,it is beautiful and merge with his bass.But my plate in the picture below is very abomination Ha...Ha....

My a problem improvement

I use a plastic plate to support for increase height for bass's surface.

Plate thickness is about 0.5 cm.


attach it by a 2 side glue tape(Sorry,i don't know a noun in english).



Ha...Ha.. I had got hight of surface of bass' body.



This picture is my thumb postion that i want,with the plate support.




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I have present in Stuart Hamm's slap technique.

Pictures below are 4 Steps of finger and hand position for Stuart Hamm's Flamenco Strums Slap Technique.


Tab Symbo
T = Thumb
P = Pop
S= Slap

Listen to exercise sound click here.

Exercise 1.


Exercise 2.


Exercise 3.


Exercise 4.

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I would like to present the Stuart Hamm Slap's Technic in Machine Gun Style.

Tab Symbo
T = Thumb or Slap
P = Pop
X = Ghost Note

Listen to exercise sound click here

Exercise 1.

Use tripple note playing , X symbo is use hand to mute string.

Exercise 2.

step 1. Thump on string.

Step 2. X is ghost note , use your left hand slap on string.

Step 3 . Thump on string again.

Note : three step above is tipple note playing.

Step 4. Pop string

Exercise 3.

This lesson will pop string before .

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This page is show how to create bass line in your concept or your song.
I would like to suggress in chord progression that you will be play what notes in these chord.

One of the most important aspects of playing bass is to be able to write effective bass lines. First, we can start with the basics (or bass-ics, if you're a fan of crappy puns--such as yours truly):

One way to start a bass line is to play the root of the chords in a progression. For example over a progression such as

Bm7 E7 C#m7 F#7

Your bass line could simply be:

G------------------------------------
D----------2-2-2-2-------------------
A-2-2-2-2-----------4-4-4-4----------
E----------------------------2-2-2-2-

Another method is to alternate between the root and the fifth, which would give you a bass line like this:

G------------------------------------
D----------2---2---------------------
A-2---2------2---2--4---4------4---4-
E---2---2-------------4---4--2---2---

Notice that to get to the fifth, you can just play the note on the adjacent higher string two frets up, or on the adjacent lower string on the same fret.

Also, in the major scale on the seventh degree and in the minor scale on the second degree, going down a fifth will bring you to a note that's not in the scale, so watch out for that.

Another way to play a bass line is to arpeggiate the chord you're playing over, which would give you a bass line like this:

G-------2------4-7--------4----------
D-----4----2-6----------6----4-----2-
A-2-5---------------4-7--------1-4---
E------------------------------------

Note: to do this, you need to know a bit of music theory, namely being able to spell the notes in a seventh chord of any tonality based off any root.

Now, that's still pretty vanilla, so you could add some non-harmonic (notes not in the chord you're playing over) tones:

G------------1-4--------1-0----------
D-----4-3--2-----0----2------4-------
A-2-5---------------4------------0-1-
E------------------------------4-----

Notice that I left out the seventh degree in some of the chords in order to add a passing tone. It's fine to leave out the seventh, because the guitar will definitely have it covered. Also notice that I changed the last chord. That was to make a chromatic lead up to the root, which is pretty hip.

This is just the beginning of what you can do with bass lines. There are many types of non-harmonic tones that you can choose to employ, such as:

1. Passing tones - a note that is approached by a step and leaves by a step in the same direction. They can either be on the beat or between beats.
2. 
   Neighboring tones - a note that leaves and returns to the same chord tone by a step.
3. 
   Suspensions - a note that is held over from the last chord that resolves down a step in the next chord. The two types are 9/8 suspensions and 4/3 suspensions. In a 9/8 suspension, the note that is held over functions as the ninth (same as second) in the chord, and resolves down a step to the root of a chord. In a 4/3 suspension, the note that is held over functions as the fourth in the chord, and resolves down a step to the third of a chord.
   
4. Anticipations - a note in the next chord that arrives before the next chord itself does.
   
5. Pedal tones - a single note that is played over an entire progression.
   
6. Appoggiaturas - a note that is approached by leap and resolves to a chord tone by step.
   Escape tones - a note that is approached by step and resolved to a chord tone by leap. Basically, the opposite of an appoggiatura.

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