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Top Christmas Gifts for Bass Players in 2025

Insta of Bass — Sun, 23 Nov 2025 17:33:58 +0000

Buying gifts for a musician can be tricky, and it’s even harder at Christmas. Don’t worry – we’ve got you covered! This guide is full of awesome gift ideas for bass players. From small stocking fillers to big presents, you’ll find something for every budget.

Bass players don’t always get the love they deserve, but they are the backbone of any band. If you want to make a bassist happy this Christmas, check out these ideas.

How To Pick the Perfect Christmas Gift for Bass Players

Ask them! It’s okay to ask what they want. Saves you guessing and makes the gift perfect.
Check their skill level: New players need different gear than gigging pros.
Do a little research: Read reviews or ask their bandmates what they might need.
Set a budget: Stick to it. If something is too pricey, gift cards work too.
Hunt for deals: Black Friday and pre-Christmas sales are great for discounts.

Gifts To Avoid

Some gifts are fun but not very useful for bass players:

Novelty items like mugs, socks, or t-shirts with bass prints.
Cheap strings or gadgets—they often break or don’t work.

Instead, go for practical gifts they’ll actually use:

Branded strings
Picks
Cables
Tuners
Straps

Always check their preferences first, especially for strings, picks, or straps. A little input can make your gift even more special. Take a look at our list below for ideas.

Cheap Christmas Gifts Under $50

These products are fairly cheap, but they give you a lot of value for the money. They make playing, practicing, and taking care of a bass much easier without needing to spend a lot. If you want useful gifts that bass players will actually use, these are all smart and affordable picks.

Higher Budget Christmas Gift Ideas for Bass Players

These gifts cost more, but they offer real quality and long lasting value. They help bass players sound better, stay organized and enjoy their instrument even more. If you want to give something special that feels solid and pro level, these higher budget picks are a great way to go.

The post Top Christmas Gifts for Bass Players in 2025 appeared first on Insta of Bass.

How Oteil Burbridge Stepped Into Phil Lesh’s Shoes And Transformed Dead & Company From The Inside Out

Insta of Bass — Sun, 16 Nov 2025 22:03:19 +0000

Back in 2015, Oteil Burbridge found himself in a spot most bass players can only imagine. He was asked to take over for Phil Lesh in Dead and Company, the new version of the Grateful Dead. It was a huge job, and he knew it. Fans of bands like the Grateful Dead and the Allman Brothers really care about who plays bass, and Oteil felt that pressure right away. He didn’t want to copy Phil, but he also knew he had to respect the lines and ideas that shaped the songs from the start.

Phil’s playing style was a huge part of what made the Dead sound the way they did. His parts pushed the songs into rock, blues, country, long jams and everything in between. Oteil understood how big that role was. In his mind, taking Phil out of the mix almost meant the band wasn’t the same anymore, which is why he never believed anyone could truly replace him.

Oteil first got pulled into the Dead and Company fold through Bob Weir’s manager, who asked him to try playing with the group. He already had a connection with drummer Bill Kreutzmann from a previous project, and he had played with Bob, Phil and Jeff Chimenti before, so the vibe fit.

At one point Oteil even saw pictures of Mike Gordon from Phish at the Dead’s rehearsal space, so he assumed Mike got the job. Months later, he was surprised when he got the call telling him the gig was his. Mike had to turn it down due to his own band and solo work.

Oteil Burbridge On Preparing For The Gig

Oteil already knew around twenty Dead songs, but once he understood he was really in, he got to work fast. He picked out fifty songs the band seemed to play often, then linked up with John Mayer, who already knew seventy. They compared lists and filled in the gaps. By the end of rehearsals, they had around eighty or ninety songs ready.

Taking on this gig opened up something new for Oteil. Friends had tried to get him into the Dead since high school, but it never clicked until he got older and had more life experience, especially with writing lyrics and singing. Once he started digging in, he realized how deep the music went.

The songs were built in a way that felt almost like building a structure, with twists in the chords, the grooves, the influences and the tricky timing. Some songs felt like open jams until suddenly, fifteen minutes later, the first verse appeared. Others had parts that happened only once and never came back. Even a song that sounded simple, like Box of Rain, turned out to be much harder than he expected.

At the same time, he loved the freedom. There was no pressure to play everything the exact “right” way. He could bring everything he had learned in his life into the music. It reminded him of the Allman Brothers in how many styles the band covered, but with even wider harmony and wilder lyrics. The open minded spirit of the Dead also hit him hard. From the start, they never let rules box them in. That idea connected with his biggest influences, like Miles Davis, Sun Ra and Jimi Hendrix. In many ways, he felt like the gig was something he was meant to find.

When it came to stepping into Phil’s spot, Oteil found himself in an unusual position for a bassist. Phil rarely played fixed basslines. Only a few songs had lines that had to be played a certain way. Most of the time, he went against the expected part, which meant Oteil had a lot of freedom. Oteil came from a more traditional groove based style, rooted in African rhythms, but he soon realized that many Dead songs came from the same place.

Bob Weir always heard reggae like and funky bass ideas in his head, even in songs where Phil wouldn’t play that way. On tunes like Estimated Prophet, Oteil naturally fell into that groove, and Bob loved it. This pushed Oteil to play in a way that felt true to himself. He joked that he won over the crowds “from the waist down” before anything else, because the grooves hit first.

Oteil On Singing And Finding His Voice

He still connected deeply with Phil’s style. On songs like Bertha, he tried to match the feel, but in his own voice. To him, Phil was like a rock version of James Jamerson, with loose, melodic lines that wandered around the main part, all improvised. That was something Oteil loved. He even got a solo spot on Eyes of the World, which let him try chord style ideas on bass in front of huge stadium crowds.

On top of all that, he also ended up singing lead on songs like Comes a Time, China Doll and If I Had the World to Give. Singing in stadiums shocked him at first, but the band pushed him to do it, and people welcomed it.

Looking back, Oteil feels lucky for all the paths his career has taken. His years with the Allman Brothers were a lesson in rock and many other styles, taught by the people who helped shape them. Gregg Allman opened his ears to soul artists he had never heard before. The band itself was a mix of jazz, blues, R and B, British rock, folk, country, bluegrass, New Orleans music and more. He also got to play with legends at the Beacon Theatre shows, from Roy Haynes to Dr. John. Being part of that made him feel like he had stepped right into music history.

His time with Tedeschi Trucks Band was meaningful too. He had always hoped Derek Trucks and Susan Tedeschi would form a band together, and playing in it with his brother Kofi was a joy. But with an eleven piece band, the touring schedule was nonstop, and Oteil knew he didn’t want to live on the road that much. After two years and two albums, he stepped away, knowing the hard work they all put in could be heard in the music, especially on their live album.

Through it all, Oteil’s career has been shaped by moments he never saw coming. Taking on Phil Lesh’s role was never going to be easy, but he found room to be himself, honor the past and push forward, all at the same time.

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Remembering Anthony Jackson: The Contrabass Visionary Who Redefined the Role of Bass

Insta of Bass — Fri, 31 Oct 2025 13:46:43 +0000

Anthony Jackson wasn’t just a bassist. He was a force of nature, a visionary who reshaped how we think about low end. On October 19, the music world lost a true innovator when Jackson passed away at his Staten Island home from Parkinson’s disease. He was 73.

For anyone who’s ever picked up a bass, Jackson’s influence is impossible to ignore. A perfectionist with laser-sharp technique and a tone that could both thunder and whisper, he left his fingerprints on over 500 recordings. From pop and soul to fusion and jazz, he made the bass more than just a supporting instrument – he made it an equal voice.

Anthony Jackson: The Bassist’s Bassist

Among fellow musicians, Jackson was revered as a mentor, a thinker, and a relentless seeker of musical truth. Bassist Tal Wilkenfeld called him “My North Star. My bass guru. My mentor and friend with one of the sharpest minds and kindest hearts I’ve ever known.” Stanley Clarke described him as “a great light in the bass universe… a specially gifted soul whose grooves became permanently etched into music history.”

And those grooves – they’re everywhere. His legendary line on The O’Jays’ “For The Love of Money” is one of the most iconic and sampled bass riffs ever recorded. That phase-shifted, pick-driven riff has shown up in songs by N.W.A., Mary J. Blige, Dr. Dre, and even as the theme for The Apprentice. It’s the kind of line that defines not just a song, but an era.

From New York to the World

Born in Manhattan on June 23, 1952, Jackson started on piano before switching to bass at 13. Influenced by Motown’s James Jamerson and Jefferson Airplane’s Jack Casady, he began gigging in New York clubs by 16. His early break came with Billy Paul’s “Me and Mrs. Jones” and from there, his session career exploded.

He recorded with everyone – Roberta Flack, Paul Simon, Chaka Khan, Madonna, Chick Corea, Al Di Meola, Steve Khan, Hiromi, and countless others. If you’ve heard great music from the 70s onward, odds are you’ve heard Anthony Jackson.

The Contrabass Guitar

Jackson wasn’t content playing a four-string. He envisioned something bigger: the contrabass guitar. A six-string tuned in fourths (BEADGC), it expanded the instrument’s range and possibilities. In partnership with Fodera Guitars, his signature models became holy grails among players chasing clarity, depth, and range.

Al Di Meola, who worked with Jackson on classic albums like Elegant Gypsy and Casino, wrote, “He was a true innovator whose genius reshaped modern music. His sound, precision and soul were unmatched.”

Precision, Passion, and Legacy

Jackson’s pursuit of perfection was legendary. Drummer Simon Phillips recalled how Jackson would sit side-stage before every show, headphones on, listening to Rachmaninoff to get in the zone – then walk out and deliver pure fire. That mix of discipline and soul defined his entire approach.

Though Parkinson’s sidelined him from performing after 2017, the bass community rallied around him earlier this year for a benefit concert, “For the Love of Anthony,” featuring legends like Ron Carter, Victor Wooten, Christian McBride, and Stanley Clarke. It was a fitting tribute to a man whose tone, groove, and intellect inspired generations.

Anthony Jackson didn’t just play bass – he reimagined it. His legacy is not just in the notes he played, but in the countless musicians who now see the bass as he did: limitless.

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Keanu Reeves Said No, Eddie Van Halen Nearly Said Yes: The Untold John Wick Soundtrack Stories

Insta of Bass — Wed, 16 Jul 2025 18:30:57 +0000

It’s no secret that a great soundtrack can make a movie unforgettable. In the case of the John Wick franchise, Tyler Bates’ compositions have become just as iconic as Keanu Reeves. But as it turns out, the music behind the bullets and mayhem almost had an unexpected rock legend in the mix – Eddie Van Halen.

In a recent interview with ScreenRant, Bates opened up about a missed opportunity that could have taken the John Wick theme to legendary status. “At one point, we almost had Eddie Van Halen play on the John Wick theme, toward the end of his life,” Bates revealed. According to the composer, the idea came up during the production of John Wick: Chapter 2 or 3. Eddie actually visited Bates’ home studio and spent time hanging out, but something felt off.

“He hadn’t picked up a guitar in a while,” Bates recalled. “I could tell he wasn’t in the headspace to create, even though it was amazing just to have him over.”

Bates wanted to respect Van Halen’s space but still gently nudged him. “I told him, ‘You live 10 minutes away. If you want to play, I’ll set up a guitar for you. And if you hate it, I’ll destroy the recording right in front of you.’ He really appreciated that.”

Sadly, the collaboration never happened. What did grow, however, was a friendship rooted in real conversations – often centered on Van Halen’s health battles. “He probably sensed I’d gone through some stuff too,” Bates said. “Our talks became more about life than music.” Another could-have-been? Keanu Reeves himself.

Despite being a skilled bassist and the face of the franchise, Reeves turned down Bates’ request to secretly lay down bass lines on the theme.

“I said, ‘Dude, you should play bass on the theme. No one even has to know. It’d just be a cool connection between all of us,’” Bates said. “But Keanu was like, ‘Tyler, man. You’ve got to do this.’”

Reeves declined because he didn’t want to hijack credit for the soundtrack. “He didn’t want it to leak that he played, and suddenly he’s getting praise for the whole score,” Bates explained.

Although the dream collabs with Eddie and Keanu never happened, Bates still made musical waves with other heavy hitters. He worked with Evanescence and K.Flay on the upcoming John Wick spin-off Ballerina, and Jerry Cantrell of Alice in Chains fame contributed “A Job to Do” to John Wick 2.

Meanwhile, the Van Halen universe continues to ripple. Sammy Hagar recently opened up about his creative connection with Eddie and why the guitar icon slowed down on releasing new music in the 2000s.

So next time you watch John Wick, imagine what could’ve been—an Eddie Van Halen solo blazing through a gunfight, or Keanu Reeves quietly thumping basslines beneath the chaos. It didn’t happen, but it almost did. And that, somehow, makes the myth even cooler.

The post Keanu Reeves Said No, Eddie Van Halen Nearly Said Yes: The Untold John Wick Soundtrack Stories appeared first on Insta of Bass.

You Know Taylor Swift, But Do You Know Her Bass Player? Meet Amos Heller

Insta of Bass — Mon, 16 Jun 2025 19:52:16 +0000

If you’ve ever watched a Taylor Swift concert and found yourself wondering who’s holding down the low end with all that swagger and precision, let me introduce you to Amos Heller, the bass player who blends heavy metal roots with arena-ready professionalism.

Amos isn’t just a bassist, he’s a full-spectrum musician with a foot in both the classical and metal worlds. While most people know him for anchoring the rhythm section on Swift’s massive tours, real heads know this guy’s story runs much deeper.

From Upright Bass to Megadeth, With a Detour Through Nashville

Amos started young, borrowing his school’s upright bass to learn songs from albums that had zero business being played on orchestral instruments. While his teachers taught him Bach, he was secretly ripping through Metallica and Sepultura at home.

He stuck with classical upright for a decade, but metal was always there in the background, pushing him to develop insane chops and endurance. After cutting his teeth in Cincinnati, he made his way to Nashville, quickly becoming a first-call bassist both in studios and on tours.

That all led to a career-defining moment in 2007, when he joined the young Taylor Swift as her bass player just as her star was beginning to rise. Now, almost twenty years later, he’s become a fan favorite with Swifties and an integral part of one of the most polished and high-powered live acts in the world.

What’s something fans might be surprised you listen to?

While it might not come as a huge surprise anymore, Amos Heller is a metalhead through and through. He cut his teeth on thrash legends like Metallica and Megadeth, and he’s never been shy about his love for Faith No More, Pantera, and Sepultura. These days, his playlist leans toward bands like Ghost and Four Year Strong, along with The Paradigm Shift by Korn. If Jacob Umansky drops something new, Amos is probably already listening.

That metal edge translates into his playing, but behind the scenes, he’s constantly pushing himself in new directions. One of his favorite drills involves picking a random key, firing up a drum loop, and setting an eight-minute timer. The goal? Build a tight, creative four-bar groove before time runs out. It’s a simple structure that forces him to stay sharp and listen deeply. From pick technique and endurance to ear training and melody transcriptions, Amos treats practice like a craft, not a chore – and that’s a big part of why he continues to evolve as a player.

Amos Heller’s very first concert set the bar impossibly high. At just six years old, his parents took him to see Talking Heads on the iconic Stop Making Sense tour. He doesn’t remember all the details, but the fact that he was there? That’s a lifetime brag. While most people grow up and eventually realize their parents were just regular humans trying to figure things out, Amos had a different realization, his parents were legitimately cool.

Years later, another concert would leave a permanent mark on him. Seeing Paul McCartney live was nothing short of life-changing. The performance, the band, the energy, all of it blew him away. McCartney’s ability to command a stage after decades in the game, while still delivering hit after hit from one of the most legendary catalogs in music history, was staggering. “I left that show completely inspired,” Amos said. And for a guy who plays some of the biggest stages on Earth, that says a lot.

Bass Icons, Metal Heroes, and the Dream Lunch Table

When it comes to musical influences and idols, Amos doesn’t hold back. If he could sit down for lunch with any bass players, he’d build an all-star table. For a peek into the business side of music, he’d pick Chris Chaney.

To just sit in stunned awe, it would be Cliff Burton – the late Metallica legend who helped shape Amos’s playing from the very beginning. For a thoughtful, great conversation? Bryan Beller. And if we’re talking pure clout, who wouldn’t want to say they had lunch with Flea?

Speaking of Metallica, if Amos could step into any band as a sub, it would be to fill in for Robert Trujillo. That band shaped the very foundation of his musical identity. As a teenager, he was learning Kill ’Em All on his upright bass and idolizing Cliff Burton, who remains one of his all-time heroes to this day.

First Basses, One-Finger Grooves, and Unexpected Wardrobe Fails

Amos still remembers his very first bass – an Ibanez EXB 404 that he got when he was 13. It was lightweight, sleek, and the moment he got it, he covered it in surf stickers. Ironically, he only went surfing once, years later, but hey, the aesthetic mattered. He’s even been thinking about trying to track that bass down, just for the nostalgia.

One of the best pieces of advice he ever got about bass playing came from a drummer friend, who encouraged him to practice using just one finger on his plucking hand. It completely changed the game. That kind of constraint forced him to focus on tone, control, and restraint – letting the groove breathe. On the Eras Tour, he’d warm up by running through a playlist using only his right pointer finger. If he could make it through the instrumental break in Rush’s Tom Sawyer, he knew he was locked in.

Of course, not everything on stage always goes to plan. During a mid-show costume change, Amos once managed to rip a giant hole in his pants without realizing it. He went on to play for another thirty minutes, blissfully unaware that he was mooning part of the arena. It happens.

Whether he’s performing for hundreds of thousands of fans or riffing alone in his Nashville home, Amos Heller brings intensity, humility, and a whole lot of low-end power to everything he does. He’s more than just the bass player for Taylor Swift, he’s a deeply dedicated artist with a love for the craft and a wicked sense of humor to match.

The post You Know Taylor Swift, But Do You Know Her Bass Player? Meet Amos Heller appeared first on Insta of Bass.

Nathan East Pulled Off This Insane Bass Trick – And Fooled Everyone!

Insta of Bass — Tue, 11 Mar 2025 18:39:56 +0000

Nathan East is one of those bass players who’s worked on so many hits that even if you don’t know his name, you’ve definitely heard his work. We’re talking about a guy with over 2,000 recordings under his belt, playing for legends like Eric Clapton, Daft Punk, Chaka Khan, and Phil Collins. But every now and then, instead of laying down his usual killer bass grooves, he had to switch things up and make his bass sound like a guitar.

Take Kenny Loggins’ Love Will Follow from the 1985 album Vox Humana. Nathan shared a little trick he used on that track: “It was basically just me, Kenny, Greg Phillinganes, and a drum machine for the basic tracking section,” he told Vertex Effects.

He went on to explain how he pulled off that guitar-like sound: “I don’t usually use a pick, but I grew my nail out just enough to get a passive sound. Even on Footloose, and the intro of Love Will Follow, I do my impersonation of a guitarist.” Turns out, that double-guitar sound in the intro? Yeah, that’s all Nathan—just him working his magic on the bass.

Speaking of Footloose, Nathan had a big hand in bringing that absolute banger to life. The song, which shares its title with the 1984 movie, blew up, spending three weeks at number one and becoming one of Loggins’ most iconic tracks.

Nathan remembers the grind that went into perfecting it: “We were on tour – this was 40 years ago—but every single day we rehearsed it. No matter where we were, we’d find a room at the hotel and go in there to rehearse.”

He laughs, recalling how it got a little exhausting: “Eventually, I was like, ‘We’re gonna rehearse Footloose again? But in the end, all that practice paid off. “By the time we got to the studio, it was just one take – done.”

Of course, his influence doesn’t stop there. Nathan East also played bass on Eric Clapton’s Tears in Heaven, a session he still considers one of the most emotional experiences of his entire career. And honestly, with a resume like his, that says a lot.

The post Nathan East Pulled Off This Insane Bass Trick – And Fooled Everyone! appeared first on Insta of Bass.

Mac Miller Balloonerism: A Posthumous Journey of Emotion and Groove Featuring Thundercat

Insta of Bass — Tue, 18 Feb 2025 19:43:20 +0000

After seven years since his untimely passing, the estate of Mac Miller has dropped Balloonerism, his second posthumous album. It’s been a long time coming, this project was recorded back in 2013, with some tracks leaking here and there over the years, but nothing official until now. Along with the album, they’ve also released a short film to go along with it.

The estate explains that it was a huge passion project for Mac, and they believe it really shows off his range as an artist. “Given that unofficial versions have been circulating for years and that releasing Balloonerism was something Malcolm was always vocal about wanting to do, we thought it made sense to give the world the official version,” they said.

One of the highlights of the album is definitely the groove and bass lines, which you can thank Thundercat for. He’s on about half of the tracks, including the single “5 Dollar Pony Rides,” where his bass work is like a fusion of McCartney’s style with some hip hop flavor. It’s a unique sound that’ll definitely grab your attention.

But here’s the thing: Balloonerism isn’t just some leftover tracks from a past Mac Miller era. It’s a full-on project that truly captures Mac’s ability to turn raw, heavy emotions into feel-good tunes.

Take “Mrs. Deborah Downer,” for example. It’s a slow, jazzy track with Thundercat’s bass giving it that smooth, almost sweaty vibe, while Mac’s vocals and the loose drums add a perfect touch of chaos. It’s not the kind of song that should make you feel comforted, yet it somehow does.

The same goes for “Stoned,” which, though it has a similarly laid-back, damp vibe, still hits in a way that makes you feel like you could just float through the day with no worries.

What makes Balloonerism stand out is how it carries this bittersweet, yet charming, energy throughout. It’s not as fleshed-out or polished as some of Mac’s other projects, but that’s what gives it its charm.

The songs are simple: keys, bass, drums, and Mac’s vocals. There’s just enough added production from Thundercat, Ronald and Jameel Bruner, and Taylor Graves to bring everything to life, but it’s all very minimal. Even the darker moments have this light touch thanks to the dusty, soulful beats. Take a track like “Shangri-La.” It might sound like it’s heading into heavier territory, but the vibe is too light to feel weighed down.

Mac raps in his deeper, almost distorted voice, saying, “If I’m dying young, promise you’ll smile at my funeral.” But he balances that with, “Live your life ’cause you can lose tomorrow.” The song feels like a beautiful memory, almost faded and distorted over time, but still uplifting.

In the end, Balloonerism is definitely one of those albums that brings you through a range of emotions. It’s not about being overproduced or polished; it’s about feeling something real, something raw. And in that sense, it’s a perfect send-off for Mac. This project isn’t just a collection of old demos, it’s a fully realized piece that shows how Mac’s artistry was always evolving, even in the most uncertain times. It’s the kind of album that resonates because it’s pure Mac, and there’s something timeless about that.

The album is available now on CD, vinyl, and digital download (you can find it on Apple Music and Amazon Music). And if you’re in the mood for more of the experience, the accompanying short film is up for streaming on Amazon.

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ZZ Top Bassist Elwood Francis Talks 15-String & 17-String Basses: ‘It’s Brutal, but It Gets the Job Done!

Insta of Bass — Fri, 24 Jan 2025 19:40:28 +0000

Alright, so picture this: you’re at a ZZ Top show in 2025, and bassist Elwood Francis – Dusty Hill’s replacement – rocking this ridiculous 17-string bass. Like, seriously, a 17-string bass. He pulls it out for “Got Me Under Pressure,” and, believe it or not, it actually works.

“It’s not horrible,” Elwood says, laughing in an interview. “But yeah, it’s not exactly top-notch craftsmanship. The guitar tech’s constantly dealing with loose frets. It’s just your standard crappy, Chinese-made guitar.”

Here’s the wild part: they’re not even using all 17 strings. “We only use four—two on top, two on the bottom. My sound’s already this big, thick, dirty thing, so you can hide a lot of imperfections. It’s enough to get through the damn song!”

But wait, there’s more. As if the 17-string wasn’t already enough chaos, Elwood decided to add another monstrosity to his lineup—a black 15-string bass, which he calls his “B rig.” It’s got a Teisco logo slapped on the headstock and “High Selecta” inlayed on the fretboard. Classy, right?
“These things aren’t exactly well-made,” he admits. “The nuts are literally wood! But hey, they look cool, and they’re good enough to use as stunt basses.”

And yeah, it’s all a bit of a joke. Apparently, it started as a goofy idea between Elwood and Billy Gibbons. “I found the first one, the yellow 17-string, while scrolling the internet late at night on tour. We bought it from some random Chinese bootleg website. No clue where or who it came from, but it showed up.”

Their plan? Try it once, laugh it off, and move on. “The first night, we were like, ‘Alright, let’s just do it, have a laugh, and be done.’ But then… we didn’t stop. It wasn’t planned, which I think makes it better. It’s honest. Some people love it, some hate it, but hey, it’s a thing now.”

And about that “High Selecta” inlay? That’s a nickname Billy came up with for Elwood. “He calls me Lord High Selecta, it’s just one of those things. Somebody said it once, and next thing I know, he’s getting it slapped onto the bass. It’s kinda catchy, right?”

Now, would the bassist ever play one of these beasts for an entire ZZ Top set? He doesn’t even hesitate: “Oh, hell no! I’m so happy to put that thing down after one song. It’s brutal, it weighs a ton. No way I’m hauling that around for a full show.”

Still, he says it beats dealing with ZZ Top’s famous fuzzy guitars. “The fuzzy ones are kinda cool, but also a total pain. When I was the guitar tech, I had to clean the fur with little brushes. I hated it.”

As for what’s next? Elwood has no clue. “I’m barely keeping up with the madness we already have. When I first played that 17-string, I hadn’t even practiced with it. I’m standing there like, ‘Oh, crap. I guess this is happening.’ It was so confusing—way harder than I expected. And nope, we didn’t soundcheck. A soundcheck would’ve been nice.”

But hey, that’s life as a bassist with ZZ Top. Elwood sums it up best: “Every time I look down at that bass, I’m just like, ‘Goddamn… this is wild.’”

The post ZZ Top Bassist Elwood Francis Talks 15-String & 17-String Basses: ‘It’s Brutal, but It Gets the Job Done! appeared first on Insta of Bass.

Mastering the Bass Guitar Fretboard: A Beginner’s Guide

Insta of Bass — Mon, 20 Jan 2025 22:58:16 +0000

If you’ve been playing bass for years but still struggle with fretboard navigation, don’t worry, you’re not alone. Many players find themselves in this situation, but the truth is, learning the notes on your bass guitar fretboard isn’t as daunting as it seems. With a logical approach and a little practice, you can master the fretboard in no time.

Let’s dive into how you can learn your bass notes effectively and unlock your full potential as a bassist.

Step 1: Understanding the Basics of Musical Notes

Before we tackle the fretboard, let’s cover the basics of musical notes. Western music consists of 12 notes: A, A#/Bb, B, C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, and G#/Ab. Notes A to G are known as natural notes (think white keys on a piano), while sharp keys (#) and flats (b) are black keys.

Key tip: The notes E and F, as well as B and C, are only a half-step (one fret) apart. Every other pair of natural notes is a whole step (two frets) apart.

Step 2: The Logic of the Bass Guitar Fretboard

The fretboard on a bass guitar follows the same interval logic as a piano. Each fret represents a half-step, so moving one fret higher on a string gives you the next note in the sequence. For a standard 4-string bass, the open strings are tuned to E, A, D, and G.

Finding Notes on the E String

Start with your lowest string, the E string. Here’s the sequence of natural notes:

Open string: E
1st fret: F (half-step)
3rd fret: G (whole-step)
5th fret: A (whole-step)
7th fret: B (whole-step)
8th fret: C (half-step)
10th fret: D (whole-step)
12th fret: E (octave)

Repeat this process for the A, D, and G strings, using the same logic.

Step 3: Octave Patterns as Fretboard Signposts

Octaves are your best friend when it comes to navigating the fretboard. An octave is the same note at a higher or lower pitch. Knowing these patterns will help you find notes more quickly.

Here are some simple octave shapes:

Two frets up and two strings up: For example, the open E string’s octave is found on the 2nd fret of the D string.

Step 4: Apply What You’ve Learned

Theory is great, but practice is where the magic happens. Grab your bass, set a metronome, and start applying what you’ve learned:

Play scales: Focus on one string at a time, naming the notes as you play.
Practice intervals: Play a root note and its octave, then try fifths or thirds.
Play along to songs: Use the fretboard knowledge you’ve gained to identify notes while playing your favorite basslines.

Bonus Step: Say the Notes Aloud

As you practice, say the name of each note aloud. This reinforces the connection between what you see, hear, and play. Go slow and aim for accuracy over speed. With consistent practice, the notes will become second nature.

Mastering the fretboard doesn’t require hours of tedious memorization. Instead, it’s about understanding the logic of the instrument and applying it consistently. Use the tips and exercises in this guide, and you’ll see progress in just a few weeks.

So grab your bass, get practicing, and most importantly, have fun! The fretboard is your playground, go explore it.

The post Mastering the Bass Guitar Fretboard: A Beginner’s Guide appeared first on Insta of Bass.

Pink Floyd Bass Chair: Tony Levin on Filling Roger Waters’ Shoes and Turning Down the Tour of a Lifetime

Insta of Bass — Mon, 20 Jan 2025 14:26:45 +0000

Tony Levin’s career is a goldmine of collaborations, featuring icons like John Lennon, King Crimson, Peter Gabriel, and David Bowie. But one chapter of his journey stands out: his role in taking the bass chair in Pink Floyd during the band’s transition after Roger Waters‘ departure.

In an interview Levin shared how he became part of Pink Floyd’s story. “David Gilmour invited me to play bass on the album after Roger Waters famously left, assuming the band was finished,” Levin recalled. “I wasn’t involved in the internal band dynamics, but I was thrilled to step into their world and try to bring my own touch while staying true to their sound.”

One of Levin’s signature moves was using the Chapman Stick, an instrument that doubles as a bass. “It’s not a common instrument, but it’s a regular part of my toolkit. David was an intriguing, gracious person and great to work with,” Levin said. Despite the sessions being relatively straightforward, matching Pink Floyd’s distinct style was a unique challenge. Levin recounted a moment where his instinct to add flair didn’t quite fit the band’s ethos.

“I had a vamp section where I threw in a couple of extra notes—not a big riff, just a few extra touches,” he explained. “When we listened back, David smiled and said, ‘Tony, in Pink Floyd, as a bass player, you don’t add those extra notes until much later.’ It was a gentle way of saying, ‘You’re on the right track, but not quite yet.’ It showed me how deeply ingrained their style was.”

After about a week of recording, Levin was offered a spot on Pink Floyd’s tour. However, his commitment to Peter Gabriel’s tour meant he had to decline.

“That decision was one of the biggest of my career,” Levin admitted. “I chose to stay with Peter. I’ve never regretted it, but I do wonder how different my path might’ve been if I’d toured with Pink Floyd for the next year and a half.”

Levin’s journey continues to thrive. Most recently, he wrapped up the 65-date BEAT tour, playing alongside guitar virtuoso Steve Vai, King Crimson’s Adrian Belew, and Tool’s Danny Carey in a celebration of King Crimson’s 1980s legacy.

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