Thanks for the good word! Cheers from Los Angeles!

That's really interesting. A great story and approach to your thinking. Thanks for sharing!

Sometimes you just vibe with a certain part of the music. I get that.

2 unbeatable influences!

@@RodneyMcG As I started to study other players I got a better understanding of why Bob Daisley is the man. Great bass lines and tone from a great player.

Steve Harris gallop riffing is all it takes.

Doesn't sound like you failed to me!

Great take on the bass role in music. Thanks for that!

Sometimes we come to it on a winding path. Great story!

Much appreciated, Rob. Glad you've gotten something out of the videos.

Adam has some fantastic lines. Really under credited.

Let's see some slap riffs T.J! Maybe I can steal some ideas from you!

@@RodneyMcG im trying like hell to break out of this stagnated period in my progression. Im falling into the rut of wanting to play the same type of riffs everytime. Guys like Sky Accord are huge influences on me. Not a slapper all the time but can use the technique when a song calls for it. The bass playthrough for a song called "The Realest" would be a great example of what im talking about. Might not be your cup of tea, but worth checking out if you haven't.

I'll definitely check it out. And thanks for the support. I'm doing a live chat this week that will go over creativity and inspiration. It may help.

@@RodneyMcG i look forward to it. Thank you!

I also agree.. I've been leaning to slap for some time and loving it, but I've never thought of your arguement, and now that I do, it makes so much sense; once you've heard one slap bass riff, you've heard pretty much 99% of them.. it's always just root and octave, root and octave, over and over and over again.. and I struggle to break out of this root octave rabbit hole myself..

So you got bass Rope a Doped! I love it!. Thanks for the sub, glad to have ya.

Agreed. I think my favorite was Fair Warning. They were both on fire the whole album.

I have checked them out. Good quality, no doubt.

Can't go wrong with some Sean Yseult

Rhythm section unto yourself!

Sounds like destiny!

I love a power trio - good stuff! I remember the old Peavey basses. Solid stuff.

My first bass was a T40 too, paid $125 for it at a pawn shop. Heavy as hell but I loved it.

Very cool. Sometimes bass sneaks up on ya😉

Rodney McG damn I wasn’t even finished editing the comment after I realized I forgot some stuff and you already replied, kudos for putting attention on your comments

My pleasure. I started the channel to create a community, and I love talking bass🤘

Sounds almost Like The drummer and bassist in Anthrax. They traded instruments, and history was made!

Ryan is a monster, no doubt.

@@RodneyMcG he sure is!! Thanks for taking the time to read my little story 🤟

Ha! Every once in a while they get it right!

It's definitely making it's return! Great suggestions, I agree.

A convert to Bass! That's awesome. Thanks for sharing.

Yeah, the nut can be murder if it's not done right. I wouldn't have minded funk metal if it were more of a fusion, and blended. Infectious grooves did some great stuff, but most of what I hear just sounded like the same trick repeatedly. Like they weren't really into it, it was just a trend to get them noticed.

@@RodneyMcG I think Ryan Martini is the best of the best when it comes to fusion slap metal

That's a REALLY interesting study, thanks for sharing that. I have a major interest in human behavior and group psychology, so that's definitely my thing.

Simon Gallup has some fantastic lines and a great tone. Definitely under appreciated.

I wonder sometimes how many people play because of Cliff. What a powerful influence.

Sounds like we had a similar experience. It definitely feels like something just wakes up inside you and tells you your purpose.

I LOVE a good power trio!

I need to look more into him, definitely.

2 great inspirations if I've ever heard any!

Sounds like you were always at home in the rhythm section. Good stuff!

I play both now too. Bass is definitely where i'm most at home though.

There's always a number of approaches that can work. I wouldn't mind slap if someone went somewhere new with it. Maybe it's out job!

@@RodneyMcG Fieldy had a unique approach, and Ryan Martinie has a very original way of playing- he's quite musical, and uses a bunch of percussive techniques. I think all bassists develop their own thing if they stick with it.

You know it's funny - I don't play slap, but a few of my percussive and chord pieces in videos have had people compare it to Ryan's work. Funny, as we're on different sides of the slap fence. I never got too much into Feildy, but Ryan is definitely a stand out. I guess I'm hoping more people would innovate like he did.

String tension isn't altered by action. It can make a bass harder to fret, but it's not actual string tension. The same string and same gauge on a longer scale will be pulled more taught. Broken Wings is a great tune! Haven't thought of that or the Young Ones in ages! Good Times!

​@@RodneyMcG Yes it is. The further you have to bend the string to meet the fret, the more stretch it puts on the string, therefore the more tension. We're talking basic physics here. Raising the action has the same effect as lengthening the string: it increases fretted string tension to a level that is necessary for clearance. Even with a completely flat neck, even just 1 mm of added string action makes a noticeable difference in fretting tension. If your G string is at 2 mm and your B is at 3 mm, they will feel relatively the same under your fingers when you fret them because of the increase in tension on the B string when you fret it. Why do you think most manufacturers set up the action that way before shipping their instruments? It's not to hide bad frets, it's because it's necessary to maintain proper string tension when fretting the low strings. Graduated string action is the proper way to set up a standard bass, particularly if it has a B string. For example, the factory setup for all Ibanez basses is 2.5 mm on the bass side and 2 mm on the treble side. Now I know there are tonal reasons for preferring extended scale, and I understand that's your focus here (and why we seem to be talking about two different things when we say tension), but I'm addressing the other reasons people play fanned frets. The main reason is that you get relatively even fretted string tension across the neck instead of loose strings on the bass side and tight strings on the treble side when the action is set the same on all strings. Some people like having equal action across the neck. That can't work for uniform scale instruments if you want something that's optimally playable. Some people prefer fanned frets for that reason. To me, that's a stupid reason. Playing a standard instrument with properly set up graduated action is not limiting in any way. Thinking that you have to have all your strings set the same height to optimize playing is imaginary bullshit. I've played fanned fret basses, and I play a standard bass with graduated action. It's the same exact effect accomplished by different means: even fretted string tension across the neck. My high strings play just as buttery as my low strings and I don't get fret buzz on the low strings unless I slam them really hard. Lengthening a string or raising the action does the exact same thing: it increases the tension of the string when fretted. If eliminating fret buzz on low strings is your primary goal, then graduated string action is a much simpler and more practical solution than increasing scale. If tone is your primary interest, then playing fanned frets tuned drop standard with low enough action to produce fret buzz defeats that purpose, because the tonal improvements of increased scale are only relevant if notes are ringing out properly, which they don't do when the string buzzes. So even if tone is your purpose in playing a fanned fret bass, you still have to raise the action to prevent fret buzz. That's why I say they're a gimmick. All you get is a series of trade-offs. People say it's more ergonomic, but I found myself not being able to play more than half of my material on fanned frets. But you compose and play differently than I do, so maybe that works for you. Maybe you find all that fret slant natural to your hand movement and finger positions; I don't. As for any of the other considerations, I don't see the gain in it for you. Fret farts are the same no matter what instrument you make them with. If that's your aesthetic and you play that way intentionally, then you don't need a fanned fret bass. Any piece of shit bass with ultra low action will work for your down and dirty playing style.

I'll check it out, thanks!

Can't argue with those influences! Thank you for watching!

I appreciate the fact that you actually read the comments. And... Anybody who knows me well, knows that I am a fan of the Devin Townsend Project. I loved it when Beev was the bassist!

DTP is just untouchable. So much great work.

Thant's a great story! Funny how things come full circle some times.

Can't argue with that influence!

It's funny how the path can have so many twists and turns. I wonder how that guy would feel about your playing today?! It would be funny to see his face!

Your metaphor is awesome 😂

I'm with you. I went to a 1 guitar situation with my band and it freed up so much space. Love that power trio plus vocalist vibe.

Sweet! Review must happen!

Well, it turned Tony Iommi into a god, so maybe you're the bass Iommi!

I could see how your ear might get conditioned to hear something in a particular way, and feel off center when it's not there. Interesting.

I agree Martinie is more innovative than most give him credit for.

I really appreciate that! Not to say some shred solo isn't a part of what I do, but if you can groove while you shred, there's the ultimate win!

Ryan is a monster. His style is exactly what I hoped people would do with slap, but he seems to be an anomaly. The funny thing is in a couple of my solos because of the the percussive tapping and chord flicking approach I use, I got compared withe him a few times. I thought it was funny because it seems we have totally different approaches, but get to similar results.

Prove you wrong is a classic. That and Beg To Differ knocked me back.

@@RodneyMcG old Headbangers ball intro. Different bass player, though. Right? What do you think of Dominic LaPointe? Is what he does fretless cheating cos the action is zero? I'm baffled by him.

You'll just have to go with what seems most important to you, feel of playing, or tone. Not always a easy choice!

Thanks for checking in, Mauro. I think slap could work in Metal bass, I just don't think many people have tried a more metal approach.. It's just funk thrown in on top. That's a bummer that your teachers let you down. At least your on the path again now. Good to hear it!

Rodney McG Thanks Rodney, I’m from Brazil, in the south, it’s very nice that we around the world could be in touch with you and talk about bass. Keep on Rockin...

To be fair, I never really looked that far into them. They were just part of a wave of grove metal that was suddenly everywhere, so i didn't look deeply into it.

@@RodneyMcG yes very much stoner rock kind of vibe, the first album had some more heard rock/thrashy sort of stuff, but the next two are like 100% mushroom trips lol

Can't go wrong with Geddy! The bass that launched a million players!

@@RodneyMcG Geddy was the reason I bought a Hohner (Steinberger clone) headless bass with my first month's pay back in 1993. I saw the picture of him with one, and I was hooked. I still have it, even though the frets are rather worn now.

I remember those! So unique and fun

Everybody has their take, but heavy strings won't have the same attack and overtones as lighter gauges on longer scale. Go with what does it for you, though.

Rodney McG I’m the first to admit: I’ve never actually sat with a fanned fret bass for any length of time so I’m just forum blabbing to be honest ;). I see more and more very technical extended range bass players using them, so there must be something to them. I’ve also never played in a really downtuned band, I hardly ever go below D on a 5 string. More tension def seems to add more harmonics, less more fundamental

I get that. I think that's actually the advantage to fanned fret. You can tune standard, but have higher tension with lighter gauges giving you the best of both worlds. Fast attack and fundamental with brighter overtones. In the end it's all academic without a good bassline, so i don't sweat it too much!

Hahaha! I don't mind the thumbs - still boosts my metrics. Love or hate me, just don't ignore me! The best promotion lesson i ever learned.

I love it!

It does take longer scale strings. The regular series doesn't but this was a custom one that was extended scale.

Well, you found your way - that's what matters!

It's the great Cthulhu!

It was Brice

I'll see what i can do 😉

I didn't just want to be another guy with a guitar

Ryan is definitely a stand out. I was hoping more people would innovate like he did.

Finger slapping? Are you meeting something besides normal slapping technique?

@@RodneyMcG Yes, you say in your video you slap with fingers as an alternative while tapping. I've tried it and I'm not sure if I'm doing it correctly. Ryan Martinie, Scott Reeder and I've heard Geezer Butler does it but I've never seen him do it to confirm that.

Got it. I'll see what I can do!

That's a great story. It's so strange what can set you on the path!

I agree on all points!

Exactly, Mark

I think it could be useful, I just don't see much innovation going on with it. Maybe you're the guy!

maybe I will be the metal bassist slapper of the future 😳😂