Guitar-Bass

The bass guitar (also called electric bass,  or simply bass;, as in "base") is a stringed instrument played primarily with the fingers or thumb (either by plucking, slapping, popping, tapping, or thumping), or by using a plectrum.

The bass guitar is similar in appearance and construction to an electric guitar, but with a longer neck and scale length, and four, five, or six strings. The four string bass&mdash;by far the most common&mdash;is usually tuned the same as the double bass, which correspond to pitches one octave lower than the four lower strings of a guitar (E, A, D, and G). The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) to avoid excessive ledger lines. Like the electric guitar, the electric bass guitar is plugged into an amplifier and speaker for live performances.

Since the 1950s, the electric bass guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While the types of basslines performed by the bass guitarist vary widely from one style of music to another, the bass guitarist fulfills a similar role in most types of music: anchoring the harmonic framework and laying down the beat. The bass guitar is used in many styles of music including rock, metal, pop, ska, reggae, dub, punk rock, country, blues, and jazz. It is used as a soloing instrument in jazz, fusion, Latin, funk, and in some rock and heavy metal styles.

1930s–1940s
In the 1930s, musician and inventor Paul Tutmarc from Seattle, Washington, developed the first electric string bass in its modern form, a fretted instrument designed to be held and played horizontally. The 1935 sales catalog for Tutmarc's electronic musical instrument company, Audiovox, featured his "Model 736 Bass Fiddle," a four-stringed, solid-bodied, fretted electric bass instrument with a 30½-inch scale length. The change to a "guitar" form made the instrument easier to hold and transport, and the addition of frets enabled bassists to play in tune more easily. Around 100 of these instruments were made during this period.

Around 1947, Tutmarc's son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L.D. Heater Co. wholesale jobber catalogue of '48. However, the Tutmarc family inventions did not achieve market success.

1950s


In the 1950s, Leo Fender, with the help of his employee George Fullerton, developed the first mass-produced electric bass. His Fender Precision Bass, introduced in 1951, became a widely copied industry standard. The Precision Bass (or "P-bass") evolved from a simple, uncontoured "slab" body design similar to that of a Telecaster with a single coil pickup, to a contoured body design with beveled edges for comfort and a single four-pole "single coil pickup." This "split pickup", introduced in 1957, appears to have been two mandolin pickups (Fender was marketing a four string solid body electric mandolin at the time). Because the pole pieces of the coils were reversed with respect to each other, and the leads were also reversed with respect to each other, the two coils, wired in series, produced a humbucking effect (the same effect is achieved if the coils are wired in parallel).

The "Fender Bass was a revolutionary new instrument, one that could easily be played by an electric guitarist, could be easily transported to a gig, and could be amplified to just about any volume without feeding back" Monk Montgomery was the first bass player to tour with the Fender bass guitar, with Lionel Hampton's postwar big band. Roy Johnson, who replaced Montgomery in Hampton's band, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender Bass pioneers. Bill Black, playing with Elvis Presley, adopted the Fender Precision Bass around 1957.

Following Fender's lead, Gibson released the violin-shaped Electric Bass with extendable end pin in 1953, allowing it to be played upright or horizontally. Gibson renamed the Electric Bass in 1958 as the EB-1 (The EB-1 was reissued around 1970, but this time without the end pin.) Also in 1958 Gibson released the maple arched top EB-2 described in the Gibson catalogue as A hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics. In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was very similar to a Gibson SG in appearance (although the earliest examples have a slab-sided body shape closer to that of the double-cutaway Les Paul Special). Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket. The EB-3, introduced in 1961, also had a "mini-humbucker" at the bridge position. Gibson basses also tended to be smaller, sleeker instruments; Gibson did not produce a 34" scale bass until 1963 with the release of the Thunderbird, which was also the first Gibson bass to use dual-humbucking pickups in a more traditional position, about halfway between the neck and bridge. A small number of other companies also began manufacturing bass guitars during the 1950s: Kay in 1952, and Danelectro in 1956;

1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Hofner 500/1 violin bass made using violin construction techniques by Walter Hofner, a second generation violin luthier. The instrument is often known as the "Beatle Bass", due to its endorsement by Paul McCartney.

In 1957 Rickenbacker introduced the model 4000 bass, the first bass to feature a neck-through-body design; the Fender and Gibson versions used bolt-on and glued-on necks.

1960s
With the explosion of the popularity of rock music in the 1960s many more manufacturers began making electric basses.

First introduced in 1960, the Fender Jazz Bass was known as the Deluxe Bass and was meant to accompany the Jazzmaster guitar. The Jazz Bass (often referred to as a "J-bass") featured two single-coil pickups, one close to the bridge and one in the Precision bass' split coil pickup position. The earliest production basses had a 'stacked' volume and tone control for each pickup. This was soon changed to the familiar configuration of a volume control for each pickup, and a single, passive tone control. The Jazz Bass' neck was narrower at the nut than the Precision bass (1½" versus 1¾"). Another visual difference that set the Jazz Bass apart from the Precision is its "offset-waist" body. Pickup shapes on electric basses are often referred to as "P" or "J" pickups in reference to the visual and electrical differences between the Precision Bass and Jazz Bass pickups. Significantly, Fender chose to label the headstock of this model with a decal noting Jazz Bass Electric Bass.

Fender also began production of the Mustang Bass; a 30" scale length instrument used by bassists such as Tina Weymouth of Talking Heads and Bill Wyman of The Rolling Stones ("P" and "J" basses have a scale length of 34", a design echoed on most current production electric basses of all makes).

In the 1950s and 1960s, the instrument was often called the "Fender bass", due to Fender's early dominance in the market.

1970s
The 1970s saw the founding of Music Man Instruments by Tom Walker, Forrest White and Leo Fender, which produced the StingRay, the first widely produced bass with active (powered) electronics. This amounts to an impedance buffering pre-amplifier on-board the instrument to lower the output impedance of the bass's pickup circuit, increasing low-end output, and overall frequency response (more lows and highs). Specific models became identified with particular styles of music, such as the Rickenbacker 4001 series, which became identified with progressive rock bassists like Chris Squire of Yes, while the StingRay was used by Louis Johnson of the funk band The Brothers Johnson.

In 1971, Alembic established the template for what became known as "boutique" or "high end" electric bass guitars. These expensive, custom-tailored instruments, as used by Stanley Clarke, featured unique designs, premium hand-finished wood bodies, onboard electronics for preamplification and equalization, and innovative construction techniques such as multi-laminate neck-through-body construction and graphite necks. In the mid-1970s, Alembic and other boutique bass manufacturers, such as Tobias, produced four-string and five-string basses with a low "B" string. In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to a six-string bass tuned (low to high) B0, E1, A1, D2, G2, C3.

1980s–2000s
In the 1980s, bass designers continued to explore new approaches. Ned Steinberger introduced a headless bass in 1979 and continued his innovations in the 1980s, using graphite and other new materials and (in 1984) introducing the Trans-Trem tremolo bar. In 1987, the Guild Guitar Corporation launched the fretless Ashbory bass, which used silicone rubber strings and a piezoelectric pickup to achieve a "double bass" sound with a short 18" scale length. In the late 1980s, MTV's "Unplugged" show, which featured bands performing with acoustic instruments, helped to popularize hollow-bodied acoustic bass guitars amplified with pickups.

During the 1990s, as five-string basses became more widely available and more affordable, an increasing number of bassists in genres ranging from metal to gospel began using five-string instruments for added lower range&mdash;a low "B" below the standard "E" string. Some bass players who performed a lot in a solo setting used five-string basses to get a higher range by adding a high "C" string as the fifth string. As well, the onboard battery-powered electronics such as preamplifiers and equalizer circuits, which were previously only available on expensive "boutique" instruments, became increasingly available on modestly priced basses.

In the first decade of the 21st century, some bass manufacturers included digital modelling circuits inside the instrument to recreate tones and sounds from many models of basses (e.g., Line 6's Variax bass). Traditional bass designs such as the Fender Precision Bass and Fender Jazz Bass remained popular in the first decade of the 21st century; in 2006, a 60th Anniversary P-bass was introduced by Fender, along with the introduction of the Fender Jaguar Bass.

Design considerations
Bass bodies are typically made of wood, although other materials such as graphite (for example, some of the Steinberger designs) have also been used. While a wide variety of woods are suitable for use in the body, neck, and fretboard of the bass guitar, the most common type of wood used for the body is alder, for the neck is maple, and for the fretboard is rosewood. Other commonly used woods include mahogany, maple, ash, and poplar for bodies, mahogany for necks, and maple and ebony for fretboards.

Other design options include finishes, such as lacquer, wax and oil; flat and carved designs; Luthier-produced custom-designed instruments; headless basses, which have tuning machines in the bridge of the instrument (e.g., Steinberger and Hohner designs) and several artificial materials such as luthite. The use of artificial materials (e.g., BassLab) allows for unique production techniques such as die-casting, to produce complex body shapes. While most basses have solid bodies, they can also include hollow chambers to increase the resonance or reduce the weight of the instrument. Some basses are built with entirely hollow bodies, which change the tone and resonance of the instrument. Acoustic bass guitars are typically equipped with piezoelectric or magnetic pickups and amplified.

Instruments handmade by highly skilled luthiers are becoming increasingly available. Exotic materials include woods such as bubinga, wenge, ovangkol, ebony and goncalo alves. Graphite composite is used to make lightweight necks Exotic woods are used on more expensive instruments: for example, Alembic uses cocobolo as a body or top layer material because of its attractive grain. Warwick bass guitars are also well-known for exotic hardwoods: most of the necks are made of ovangkol, and the fingerboards wenge or ebony. Solid bubinga bodies are also used for tonal and aesthetic qualities.

The "long scale" necks used on Leo Fender's basses, giving a scale length (distance between nut and bridge) of 34", remain the standard for electric basses. However, 30" or "short scale" instruments, such as the Höfner 500/1 "violin bass" played by Paul McCartney, and the Fender Mustang Bass are popular, especially for players with smaller hands. While 35", 35.5" and 36" scale lengths were once only available in "boutique" instruments, in the first decade of the 21st century, many manufacturers have begun offering these lengths, also called an "extra long scale." This extra long scale provides a higher string tension, which yields a more defined tone on the low "B" string of five- and six-stringed instruments (or detuned four-string basses).

Fretted and fretless basses
Another design consideration for the bass is whether to use frets on the fingerboard. On a fretted bass, the frets divide the fingerboard into semitone divisions (as on a guitar). The original Fender basses had 20 frets, but modern basses may have 24 or more. Fretless basses have a distinct sound, because the absence of frets means that the string must be pressed down directly onto the wood of the fingerboard as with the double bass. The string buzzes against the wood and is somewhat muted because the sounding portion of the string is in direct contact with the flesh of the player's finger. The fretless bass allows players to use the expressive devices of glissando, vibrato and microtonal intonations such as quarter tones and just intonation.

Some bassists use both fretted and fretless basses in performances, according to the type of material they are performing, as with Pino Palladino, whose performance on the fretless bass during the 1980s made him a highly desirable session player backing high profile musicians that included Eric Clapton and David Gilmour. However, the late 1990s showed a shift toward fretted basses as well, as he branched out into a wide variety of genres. While fretless basses are often associated with jazz and jazz fusion, bassists from other genres use fretless basses, such as metal bassist Steve DiGiorgio and Colin Edwin of modern/progressive rock band Porcupine Tree.

The first fretless bass guitar was made by Bill Wyman in 1961 when he converted an inexpensive Japanese fretted bass by removing the frets. The first production fretless bass was the Ampeg AUB-1 introduced in 1966, and Fender introduced a fretless Precision Bass in 1970. In the early 1970s, fusion-jazz bassist Jaco Pastorius created his own fretless bass by removing the frets from a Fender Jazz Bass, filling the holes with wood putty, and coating the fretboard with epoxy resin. Some fretless basses have "fret line" markers inlaid in the fingerboard as a guide, while others only use guide marks on the side of the neck.

Tapewound (double bass type) and flatwound strings are sometimes used with the fretless bass so the metal string windings don't wear down the fingerboard. Some fretless basses have epoxy coated fingerboards to increase the fingerboard' durability, enhance sustain, and give a brighter tone. Although most fretless basses have four strings, five-string and six-string fretless basses are also available. Fretless basses with more than six strings are also available as "boutique" or custom-made instruments.

Strings and tuning
The standard design for the electric bass guitar has four strings, tuned E, A, D and G, in fourths such that the open highest string, G, is an eleventh (an octave and a fourth) below middle C, making the tuning of all four strings the same as that of the double bass. This tuning is also the same as the standard tuning on the lower four strings on a six-string guitar, only an octave lower. String types include all-metal strings (roundwound, flatwound, halfwound, ground wound, and pressure wound); as well as metal strings with different coverings, such as tapewound and plastic-coatings. The variety of materials used in the strings gives bass players a range of tonal options. In the 1950s and early 1960s, bassists mostly used flatwound strings with a smooth surface, which had a smooth, damped sound reminiscent of a double bass. In the late 1960s and 1970s, roundwound bass strings similar to guitar strings became popular, though flatwounds also continue to be popular. Roundwounds have a brighter timbre with greater sustain than flatwounds.

A number of other tuning options and bass types have been used to extend the range of the instrument. The most common are four, five, or six strings:
 * Four strings with alternative tunings to obtain an extended lower range. Tuning in fifths e.g., CGDA gives an extended upper and lower range.[[Image:Bassguitarnotes.jpg|thumb|right|400px|Note positions on a right-handed four-string bass in standard EADG tuning. The dots below the frets are often inlaid into the wood of bass necks, as a visual aid to help the player find different positions.]]
 * Five strings usually tuned B0-E1-A1-D2-G2, which provides extended lower range. Five string basses tuned to B-E-A-D-G (and sometimes A-D-G-C-F) are often used in contemporary rock and metal alongside seven string guitars, baritone guitars, and otherwise downtuned instruments. Another common tuning used on early five-string basses is E-A-D-G-C, known as "tenor tuning". This is still a popular tuning for jazz and solo bass. Other tunings such as C-E-A-D-G are used though rare. The fifth string provides a greater lower range (if a low B or A is used) or a greater upper range (if a high C string is added) than the four-string bass, and gives access to more notes for any given hand position. The earliest five string was created by Fender in 1965. The Fender Bass V had the E-A-D-G-C tuning, but was unpopular. The common low B five string was created by Alembic for Jimmy Johnson as a custom instrument, and later Yamaha offered the first production model as the BB5000 in 1984.
 * Six strings are usually tuned B0-E1-A1-D2-G2-C3. The six-string bass is a four-string bass with an additional low "B" string and a high "C" string. While much less common than four- or five-string basses, they are still used in Latin, jazz, and several other genres, as well as in studio work where a single instrument must be highly versatile. Alternative tunings for six-string bass include B-E-A-D-G-B, matching the first five strings of an acoustic or electric guitar, and EADGBE, completely matching the tuning of a six-string guitar but one octave lower allowing the use of guitar chord fingerings. Rarer tunings such as EADGCF and F#BEADG provide a lower or higher range in a given position while maintaining consistent string intervals. The original six-string bass was created by Danelectro in 1958, as a guitar tuned down an octave (EADGBE). In the 70s, Anthony Jackson worked with Carl Thompson and (later) Fodera in cooperation with Ken Smith to create the Contrabass guitar, which evolved to the modern six-string bass (BEADGC).
 * Detuners, such as the Hipshot, are mechanical devices operated by the thumb on the fretting hand that allow one or more strings to be quickly detuned to a pre-set lower pitch. Hipshots are typically used to drop the "E"-string down to "D" on a four string bass.

Alternative range approaches
Some bassists have used other types of tuning methods to obtain an extended range or other benefits such as providing multiple octaves of notes at any given position, as well as a significantly larger tonal range. Instrument types or tunings used for this purpose include basses with fewer than four strings (one-string bass guitars, two-string bass guitars, three-string bass guitars (E-A-D);) alternative tunings (e.g., tenor bass, piccolo bass, and guitar-tuned basses) and 8, 10, 12 and 15-string basses, which are built on the same principle as the 12-string guitar, where the strings are grouped into "courses" tuned in unison or octaves, to be played simultaneously.

Extended Range Basses (ERBs) are basses with between six and twelve strings&mdash;with the additional strings used for range rather than unison or octave pairs. A seven-string bass (B0-E1-A1-D2-G2-C3-F3) was built by luthier Michael Tobias in 1987. This instrument, commissioned by bassist Garry Goodman, was an early example of a bass with more than six single course strings. Conklin builds eight- and nine-string basses. The Guitarbass is a ten-string instrument with four bass strings (tuned E-A-D-G) and six guitar strings (tuned E-A-D-G-B-E).

Luthier Michael Adler built the first 11-string bass in 2004 and completed the first single-course 12-string bass in 2005. Adler's 11- and 12-string instruments have the same range as a grand piano. Sub-contra basses, such as C#-F#-B-E ("C#" being at 17.32 Hz (C♯0)) have been created. Ibanez had released SR7VIISC in 2009, featuring a 30" scale and narrower width, and tuned as B-E-A-D-G-C-E; the company dubbed it a cross between bass and guitar. Yves Carbonne developed 10 and 12 string fretless sub-bass guitars.

Pickups and amplification

 * For more information on pickups, see Pick up (music technology).

Magnetic pickups
Most electric bass guitars use magnetic pickups. The vibrations of the instrument's metal strings within the magnetic field of the permanent magnets in magnetic pickups produce small variations in the magnetic flux threading the coils of the pickups. This in turn produces small electrical voltages in the coils. These low-level signals are then amplified and played through a speaker. Since the 1980s, basses are often available with battery-powered "active" electronics that boost the signal, provide equalization controls to boost or cut bass and treble frequencies, or both.

Less commonly, non-magnetic pickups are used, such as piezoelectric pickups. Piezoelectric pickups don't interact directly with the string like a magnetic pickup, but convert any mechanical vibration to a signal. They are typically mounted under the bridge saddle, or near the bridge, and require a preamplifier for optimum sound.


 * "Jazz" pickups (referring to the original Fender Jazz Bass), also referred to as "J pickups", are wider eight-pole pickups that lie underneath all four strings. J pickups are typically single-coil designs, although there are a large number of humbucking designs. As with the halves of the P-pickups, the J-pickups are reverse-wound with reverse magnetic polarity. As a result they have hum canceling properties when used at the same volume, with hum cancellation decreasing when the pickups are used at unequal volume and altogether absent when each pickup is used individually. 'J' Style pickups tend to have a lower output and a thinner sound than 'P' Style pickups making it perfect for most rock music. Many bassists choose to combine a 'J' pickup at the bridge and a 'P' pickup at the neck, to be 'blended' together for a unique sound.
 * "Precision" pickups (which refers to the original Fender Precision Bass), which are also referred to as "P pickups", are actually two distinct single-coil pickups. Each is offset a small amount along the length of the body so that each half is underneath two strings. The pickups are reverse-wound with reversed magnetic polarity to reduce hum. This makes the 'P' pickup a [humbucking] single coil pickup, something almost unique to the 'P' style pickup. Less common is the single-coil "P" pickup, used on the original 1951 Fender Precision bass.
 * "Dual Coil" (Humbucker) pickups, also known as "DC pickups", have two signal producing coils that are reverse wound around opposed polarity magnets (similar in principle to the two individual J-pickups). This significantly reduces noise from interference compared to single coil pickups. Humbuckers also often produce a higher output level than single coil pickups. Dual coil pickups come in two main varieties; ceramic or ceramic and steel. Ceramic only magnets have a relatively harsher sound than their ceramic and steel counterparts, and are thus used more commonly in heavier rock styles.
 * A well-known bass humbucker is the pickup used on the Music Man series of basses; it has two coils, each with four large polepieces. This style is known as the "MM" pickup for this reason, and many aftermarket pickup manufacturers and custom builders incorporate these pickups. The most common configurations are a single pickup at the bridge, two pickups similar in placement to a Jazz Bass, or an MM pickup at the bridge with a single-coil pickup (often a "J") at the neck. These pickups can often be "tapped", meaning one of the two coils can be essentially turned off, giving a sound similar to a single-coil pickup.
 * "Soapbar" Pickups are so-named due to their resemblance to a bar of soap and originally referred to the Gibson P-90 guitar pickup. The term is also used to describe any pickup with a rectangular shape and no visible pole pieces; most of the pickups falling into this category are humbucking. They are commonly found in basses designed for the rock and metal genres, such as Gibson, ESP Guitars, and Schecter. 'Soapbar pickups' are also called 'extended housing'.

Many basses have just one pickup, typically a "P" or soapbar pickup. Multiple pickups are also quite common, two of the most common configurations being a "P" near the neck and a "J" near the bridge (e.g., Fender Precision Bass Special, Fender Precision Bass Plus), or two "J" pickups (e.g., Fender Jazz). A two-"soapbar" configuration is also very common, especially on basses by makes such as Ibanez and Yamaha. A combination of a J or other single-coil pickup at the neck and a Music Man-style humbucker in the bridge has become popular among boutique builders, giving a very bright, focused tone that is good for jazz and thumbstyle.

Some basses use more unusual pickup configurations, such as a soapbar and a "P" pickup (found on some Fenders), Stu Hamm's "Urge" basses, which have a "P" pickup sandwiched between two "J" pickups, and some of Bootsy Collins' custom basses, which had as many as 5 J pickups. Another unusual pickup configuration is found on some of the custom basses that Billy Sheehan uses, in which there is one humbucker at the neck and a split-coil pickup at the middle position.

The placement of the pickup greatly affects the sound. A pickup near the neck joint emphasizes the fundamental and low-order harmonics and thus produces a deeper, bassier sound, while a pickup near the bridge emphasizes higher-order harmonics and makes a "tighter" or "sharper" sound. Usually basses with multiple pickups allow blending of the output from the pickups, with electrical and acoustical interactions between the two pickups (such as partial phase cancellations) allowing a range of tonal effects.

Non-magnetic pickups
The use of non-magnetic pickups allows bassists to use non-ferrous strings such as nylon, brass or even silicone rubber, which create different tones.
 * Piezoelectric pickups (also called "piezo" pickups) are non-magnetic pickups that use a transducer crystal to convert the vibrations produced by the string into an electrical signal. They produce a different tone from magnetic pickups, often similar to that of an acoustic bass. Piezo pickups are often used in acoustic bass guitars.
 * Optical pickups are another type of non-magnetic pickup. They use an infrared LED to optically track the movement of the string, which allows them to reproduce low-frequency tones at high volumes without the "hum" or excessive resonance associated with conventional magnetic pickups. Since optical pickups do not pick up high frequencies or percussive sounds well, they are commonly paired with piezoelectric pickups to fill in the missing frequencies. LightWave Systems builds basses with optical pickups.

Amplification and effects
Like the electric guitar, the electric bass guitar is often connected to an amplifier and a speaker with a patch cord for live performances. Electric bassists use either a "combo" amplifier, which combines an amplifier and a speaker in a single cabinet, or an amplifier and a separate speaker cabinet (or cabinets). In some cases when the bass is being used with large-scale PA amplification, it is plugged into a "DI" or "direct box", which routes their signal directly into a mixing console, and thence to the main and monitor speakers. Recording may use a microphone setup for the amplified signal or a direct box feeding the recording console. The performer or producer may also use a blend of the miked and direct signals.

Various electronic bass effects such as preamplifiers, "stomp box"-style pedals and signal processors and the configuration of the amplifier and speaker can be used to alter the basic sound of the instrument. In the 1990s and early first decade of the 21st century, signal processors such as equalizers, overdrive devices, and compressors or limiters became increasingly popular. Modulation effects like chorus, flanging, phase shifting, and time effects such as delay and looping are less commonly used with bass than with electric guitar, but they are used in some styles of music.

Sitting or standing
Most bass players stand while playing, although sitting is also accepted, particularly in large ensemble settings, such as jazz big bands or in acoustic genres such as folk music. Some bassists, such as Jah Wobble, will alternate between standing or seated playing. It is a matter of the player's preference as to which position gives the greatest ease of playing and what a bandleader expects. When sitting, right-handed players can balance the instrument on the right thigh or like classical guitar players, the left. Balancing the bass on the left thigh usually positions it in such a way that it mimics the standing position, allowing for less difference between the standing and sitting positions. Balancing the bass on the right thigh provides better access to the neck and fretboard in its entirety, especially lower frets.

Performing techniques
In contrast to the upright bass (or double bass), the electric bass guitar is played horizontally across the body, like an electric guitar. When the strings are plucked with the fingers (pizzicato), the index and middle fingers (and sometimes with the thumb, ring, and pinky fingers as well) are used. James Jamerson, an influential bassist from the Motown era, played intricate bass lines using only his index finger, which he called "The Hook." There are also variations in how a bassist chooses to rest the right-hand thumb (or left thumb in the case of left-handed players). A player may rest his or her thumb on the top edge of one of the pickups or on the side of the fretboard, which is especially common among bassists who have an upright bass influence. Some bassists anchor their thumbs on the lowest string and move it off to play on the low string. Alternatively, the thumb can be rested loosely on the strings to mute the unused strings.

The string can be plucked at any point between the bridge and the point where the fretting hand is holding down the string; different timbres are produced depending on where along the string it is plucked. Some players are known for plucking near the bridge where the string is most taut, such as jazz fusion bassist Jaco Pastorius, whereas other bassists prefer the "looser" part of the string nearer to the fingerboard.

Bassists trying to emulate the sound of a double bass sometimes pluck the strings with their thumb and use palm-muting to create a short, "thumpy" tone. The late Monk Montgomery (who played in Lionel Hampton's band) and Bruce Palmer (who performed with Buffalo Springfield) use thumb downstrokes. The use of the thumb was acknowledged by early Fender models, which came with a "thumbrest" or "Tug Bar" attached to the pickguard below the strings. Contrary to its name, this was not used to rest the thumb, but to provide leverage while using the thumb to pluck the strings. The thumbrest was moved above the strings in 1970s models and eliminated in the 1980s.

"Slap and pop"
The slap and pop method, or "thumbstyle", most associated with funk, uses tones and percussive sounds achieved by striking, thumping, or "slapping" a string with the thumb and snapping (or "popping") a string or strings with the index or middle fingers. Bassists often interpolate left hand-muted "dead notes" between the slaps and pops to achieve a rapid percussive effect, and after a note is slapped or popped, the fretting hand may cause other notes to sound by using "hammer ons", "pull offs", or a left-hand glissando (slide). Larry Graham of Sly and the Family Stone and Graham Central Station was an early innovator of the slap style, and Louis Johnson of The Brothers Johnson is also credited as an early slap bass player.

Slap and pop style is also used by many bassists in other genres, such as rock (e.g., J J Burnel and Les Claypool), metal (e.g., Eric Langlois, Martin Mendez, Fieldy and Ryan Martinie), and fusion (e.g., Marcus Miller, Victor Wooten and Alain Caron). Slap style playing was popularized throughout the 1980s and early 1990s by pop bass players such as Mark King (from Level 42) and rock bassists such as with Pino Palladino (currently a member of the John Mayer Trio and bassist for The Who), Flea (from the Red Hot Chili Peppers) and Alex Katunich (from Incubus). Wooten popularized the "double thump," in which the string is slapped twice, on the upstroke and a downstroke (for more information, see Classical Thump). A rarely used playing technique related to slapping is the use of wooden dowel "funk fingers", an approach popularized by Tony Levin.



Picking techniques
The pick (or plectrum) is used to obtain a more articulate attack, for speed, or just personal preference. Although the use of a pick is primarily associated with rock, picks are also used in other styles. Jazz bassist Steve Swallow uses a pick for upbeat or funky songs while Pink Floyd bassist Roger Waters uses one for a heavier tone. Picks can be used with alternating downstrokes and upstrokes, or with all downstrokes for a more consistent attack. The pick is usually held with the index and thumb, with the up-and-down plucking motion supplied by the wrist.

There are many varieties of picks available, but due to the thicker, heavier strings of the electric bass, bassists tend to use heavier picks than those used for electric guitar, typically ranging from 1.14 mm–3.00 mm (3.00 is unusual). Different materials are used for picks, including plastic, nylon, and felt, all of which produce different tones. Felt picks are used to emulate a fingerstyle tone.

Palm-muting techniques
Palm-muting is a widely used bass technique. The outer edge of the palm of the picking hand is rested on the bridge while picking, and “mutes” the strings, shortening the sustain time. The harder the palm presses, or the more string area that is contacted by the palm, the shorter the string’s sustain. The sustain of the picked note can be varied for each note or phrase. The shorter sustain of a muted note on an electric bass can be used to imitate the shorter sustain and character of an upright bass. Palm-muting is commonly done while using a pick, but can also be done without a pick, as when doing down-strokes with the thumb.

One prominent example of the pick/palm-muting combination is Paul McCartney, who has consistently used this technique for decades. Sting also uses palm-muting; but often does so without a pick, using the thumb and first finger to pluck.

The pick/palm-muting combination is also commonly used on guitar.

Fretting techniques
The fretting hand&mdash;the left hand for right-handed bass players and the right hand for left-handed bass players&mdash;is used to press down the strings to play different notes and shape the tone or timbre of a plucked or picked note. The fretting hand can be used to change a sounded note, either by fully muting it after it is plucked or picked to shorten its duration or by partially muting it near the bridge to reduce the volume of the note, or make the note die away faster. The fretting hand is often used to mute strings that are not being played and stop the sympathetic vibrations, particularly when the player wants a "dry" or "focused" sound. On the other hand, the sympathetic resonance of harmonically related strings may be desired for some songs, such as ballads. In these cases, a bassist can fret harmonically related notes. For example, while fretting a sustained "F" (on the third fret of the "D" string), underneath an F major chord being played by a piano player, a bassist might hold down the "C" and low "F" below this note so their harmonics sound sympathetically.

The fretting hand can add vibrato to a plucked or picked note, either a gentle, narrow vibrato or a more exaggerated, wide vibrato with bigger pitch variations. For fretted basses, vibrato is always an alternation between the pitch of the note and a slightly higher pitch. For fretless basses, the player can use this style of vibrato, or they can alternate between the note and a slightly lower pitch. While vibrato is mostly done on "stopped" notes&mdash;that is, notes that are pressed down on the fingerboard&mdash;open strings can also be vibratoed by pressing down on the string behind the nut. As well, the fretting hand can be used to "bend" a plucked or picked note up in pitch. To create the opposite effect, a "bend down", the string is pushed to a higher pitch before being plucked or picked and then allowed to fall to the lower, regular pitch after it is sounded. More rarely, a bassist may use a tremolo bar-equipped bass to produce the same effect.



In addition to pressing down one note at a time, bassists can also press down several notes at one time with their fretting hand to perform a chord. While chords are used less often by bassists than by electric guitarists, a variety of chords can be performed on the electric bass, especially with instruments with higher ranges such as six-string basses. Another variation to fully pressing down a string is to gently graze the string with the finger at the harmonic node points on the string, which creates chime-like upper partials. Glissando is an effect in which the fretting hand slides up or down the neck. A subtle glissando can be performed by moving the fretting hand without plucking or picking the string; for a more pronounced effect, the string is plucked or picked first, or, in a metal or hardcore punk context, a pick may be scraped along the sides of the strings.

The fretting hand can also be used to sound notes, either by plucking an open string with the fretting hand, or, in the case of a string that has already been plucked or picked, by "hammering on" a higher pitch or "pulling off" a finger to pluck a lower fretted or open stringed note. Jazz bassists use a subtle form of fretting hand pizzicato by plucking a very brief open string grace note with the fretting hand right before playing the string with the plucking hand. When a string is rapidly hammered on, the note can be prolonged into a trill.

Two-handed tapping
In the two-handed tapping styles, bassists use both hands to play notes on the fretboard by rapidly pressing and holding the string to the fret. Instead of plucking or picking the string to create a sound, in this technique, the action of striking the string against the fret or the fretboard creates the sound. Since two hands can be used to play on the fretboard, this makes it possible to play interweaving contrapuntal lines, to simultaneously play a bassline and a simple chord, or play chords and arpeggios. Bassist John Entwistle of The Who tapped percussively on the strings, causing them to strike the fretboard with a twangy sound to create drum-style fills. Players noted for this technique include Billy Sheehan, Stuart Hamm, John Myung, Victor Wooten, Les Claypool, Mark King and Michael Manring. The Chapman Stick and Warr Guitars are string instruments specifically designed to be played using two-handed tapping.

Popular music
Popular music bands and rock groups use the bass guitar as a member of the rhythm section, which provides the chord sequence or "progression" and sets out the "beat" for the song. The rhythm section typically consists of a rhythm guitarist or electric keyboard player, or both, a bass guitarist and a drummer; larger groups may add additional guitarists, keyboardists, or percussionists. The types of basslines performed by the bass guitarist vary widely from one style of music to another. Despite all of the differences in the styles of bassline, in most styles of popular music, the bass guitarist fulfills a similar role: anchoring the harmonic framework (often by emphasizing the roots of the chord progression) and laying down the beat (in collaboration with the drummer). The importance of the bass guitarist and the bass line varies in different styles of music. In some pop styles, such as 1980s-era pop and musical theater, the bass sometimes plays a relatively simple part, and the music forefronts the vocals and melody instruments. In contrast, in reggae, funk, or hip-hop, entire songs may be centered on the bass groove, and the bassline is usually very prominent in the mix.

In traditional country music, folk rock, and related styles, the bass often plays the roots and fifth of each chord in alternation. In Chicago blues, the electric bass often performs a walking bassline made up of scales and arpeggios. In blues rock bands, the bassist often plays blues scale-based riffs and chugging boogie-style lines. In metal, the bass guitar may perform complex riffs along with the rhythm guitarist or play a low, rumbling pedal point to anchor the group's sound.

The bass guitarist sometimes breaks out of the strict rhythm section role to perform bass breaks or bass solos. The types of basslines used for bass breaks or bass solos vary by style. In a rock band, a bass break may consist of the bassist playing a riff or lick during a pause in the song. In some styles of metal, a bass break may consist of "shred guitar"-style tapping on the bass. In a funk or funk rock band, a bass solo may showcase the bassist's percussive slap and pop playing. In genres such as progressive rock, art rock, or progressive metal, the bass guitar player may play melody lines along with the lead guitar (or vocalist) and perform extended guitar solos. Other contemporary musicians such as Edo Castro have taken the electric bass, including 4, 5, 6, 7, 8 & 9 strings, into a new and evolving genre centered entirely around the bass itself.

Jazz and jazz fusion
The electric bass is a relative newcomer to the world of jazz. The big bands of the 1930s and 1940s Swing era and the small combos of the 1950s Bebop and Hard Bop movements all used the double bass. The electric bass was introduced during the late 1960s and early 1970s, when rock influences were blended with jazz to create jazz-rock fusion. The introduction of the electric bass in jazz fusion, as in the rock world, enabled the bass to be used in high-volume stadium concerts with powerful amplifiers, because it is much easier to amplify the electric bass than the double bass (the latter is prone to feedback in high-volume settings). The electric bass has both an accompaniment and a soloing role in jazz. In accompaniment, the bassist may perform walking basslines for traditional tunes and "jazz standards", playing smooth quarter note lines that imitate the double bass. For latin or salsa tunes and rock-infused jazz fusion tunes, the electric bass may play rapid, syncopated rhythmic figures in coordination with the drummer, or lay down a low, heavy groove.

In a jazz setting, the electric bass tends to have a much more expansive solo role than in most popular styles. In most rock settings, the bass guitarist may only have a few short bass breaks or brief solos during a concert. During a jazz concert, a jazz bassist may have a number of lengthy improvised solos, which are called "blowing" in jazz parlance. Whether a jazz bassist is comping (accompanying) or soloing, they usually aim to create a rhythmic drive and "timefeel" that creates a sense of "swing" and "groove". For information on notable jazz bassists, see the List of jazz bassists article.

Contemporary classical music
Contemporary classical music uses both the standard instruments of Western Art music (piano, violin, double bass, etc.) and newer instruments or sound producing devices, ranging from electrically amplified instruments to tape players and radios. The electric bass guitar has occasionally been used in contemporary classical music (art music) since the late 1960s. Contemporary composers often obtained unusual sounds or instrumental timbres through the use of non-traditional (or unconventional) instruments or playing techniques. As such, bass guitarists playing contemporary classical music may be instructed to pluck or strum the instrument in unusual ways. American composers using electric bass in the 1960s included experimental classical music composer Christian Wolff (born 1934) (Electric Spring 1, 1966; Electric Spring 2, 1966/70; Electric Spring 3, 1967; and Untitled, 1996); Francis Thorne, a student of Paul Hindemith at Yale University (born 1922), who wrote (Liebesrock 1968–69); and Krzysztof Penderecki (Cello Concerto no. 1, 1966/67, rev. 1971/72), The Devils of Loudun, 1969; Kosmogonia, 1970; and Partita, 1971), Louis Andriessen (Spektakel, 1970; De Staat, 1972–76; Hoketus, 1976; De Tijd, 1980–81 and De Materie, 1984–1988). European composers who began scoring for the bass guitar in the 1960s included Danish composer Pelle Gudmundsen-Holmgreen (born 1932) (Symfoni på Rygmarven, 1966; Rerepriser, 1967; and Piece by Piece, 1968); Irwin Bazelon (Churchill Downs, 1970).

In the 1970s, electric bass was used by the American conductor-composer Leonard Bernstein (1918–1990) for his MASS, 1971). American jazz pianist Dave Brubeck used bass guitar for his 1971 piece Truth Has Fallen. Russian and Soviet composer Alfred Schnittke used the instrument for his Symphony no. 1, 1972. In 1977, David Amram (born 1930) scored for electric bass in En memoria de Chano Pozo. Amram is an American composer known for his eclectic use of jazz, ethnic and folk music.

In the 1980s and 1990s, electric bass was used in works by Hans Werner Henze (El Rey de Harlem, 1980; and Il ritorno d'Ulisse in patria, 1981), Harold Shapero, On Green Mountain (Chaconne after Monteverdi), 1957, orchestrated 1981; Steve Reich's Electric Counterpoint (1987), Wolfgang Rihm (Die Eroberung von Mexico, 1987–91), Arvo Pärt (Miserere, 1989/92), Steve Martland (Danceworks, 1993; and Horses of Instruction, 1994), Sofia Gubaidulina (Aus dem Stundenbuch, 1991), Giya Kancheli (Wingless, 1993), John Adams (I Was Looking at the Ceiling and Then I Saw the Sky, 1995; and Scratchband, 1996/97), and Michael Nyman (various works for the Michael Nyman Band).

Pedagogy and training
The pedagogy and training for the electric bass varies widely by genre and country. Rock and pop bass has a history of pedagogy dating back to the 1950s and 1960s, when method books were developed to help students learn the instrument. One notable method book was Carol Kaye's How to Play the Electric Bass.

In the jazz scene, since the bass guitar takes on much of the same role as the double bass&mdash;laying down the rhythm, and outlining the harmonic foundation&mdash;electric bass players have long used both bass guitar methods and jazz double bass method books. The use of jazz double bass method books by electric bass players in jazz is facilitated in that jazz methods tend to emphasize improvisation techniques (e.g., how to improvise walking basslines) and rhythmic exercises rather than specific ways of holding or plucking the instrument.

Formal training
Of all of the genres, jazz and the mainstream commercial genres (rock, R&B, etc.) have the most established and comprehensive systems of instruction and training for electric bass. In the jazz scene, teens can begin taking private lessons on the instrument and performing in amateur big bands at high schools or run by the community. Young adults who aspire to becoming professional jazz bassists or studio rock bassists can continue their studies in a variety of formal training settings, including colleges and some universities.

Several colleges offer electric bass training in the US. The Bass Institute of Technology (BIT) in Los Angeles was founded in 1978, as part of the Musician's Institute. Chuck Rainey (electric bassist for Aretha Franklin and Marvin Gaye) was BIT's first director. BIT was one of the earliest professional training program for electric bassists. The program teaches a range of modern styles, including funk, rock, jazz, Latin, and R&B. The Berklee College of Music in Boston offers training for electric bass players. Electric bass students get private lessons and there is a choice of over 270 ensembles to play in. Specific electric bass courses include funk/fusion styles for bass; slap techniques for electric bass; fingerstyle R&B; five- and six-string electric bass playing (including performing chords); and how to read bass sheet music. Berklee College alumni include Jeff Andrews, Victor Bailey, Jeff Berlin, Michael Manring, and Neil Stubenhaus. The Bass Department has two rooms with bass amps for classes and ten private lesson studios equipped with audio recording gear. The 2009 Chair of the Bass Department, Rich Appleman, stated that "It is important to have a balance of traditional skills and repertoire, while staying abreast of new changes and developments. This balance can be found in the curriculum for the four-, five-, and six-string electric bass, the fretless bass, and acoustic bass. Students learn concepts in Latin, funk, Motown, and hip-hop, while maintaining a foundation from earlier styles of jazz, rock, and fusion.".

In Canada, the Humber College Institute of Technology & Advanced Learning offers an Advanced Diploma (a three-year program) in jazz and commercial music. The program accepts performers who play bass, guitar, keyboard, drums, melody instruments (e.g., sax, flute, violin) and who sing. Students get private lessons and perform in 40 student ensembles.

Although there are far fewer university programs that offer electric bass instruction in jazz and popular music, some universities offer Bachelor's degrees (B.Mus.) and Master of Music (M.Mus.) degrees in jazz performance or "commercial music", where electric bass can be the main instrument. In the US, the Manhattan School of Music has a jazz program leading to B.Mus. and M.Mus degrees that accepts students who play bass (double bass and electric bass), guitar, piano, drums, and melody instruments (e.g., sax, trumpet, etc.).

In the Australian state of Victoria, the Victorian Curriculum and Assessment Authority has set out minimum standards for its electric bass students doing their end-of-year Solo performance recital. To graduate, students must perform pieces and songs from a set list that includes Baroque suite movements that were originally written for cello, 1950s Motown tunes, 1970s fusion jazz solos, and 1980s slap bass tunes. A typical program may include a Prelude by J.S. Bach; "Portrait of Tracy" by Jaco Pastorius; "Twisted" by Wardell Gray and Annie Ross; "What’s Going On" by James Jamerson; and the funky Disco hit "Le Freak" by Chic.

In addition to college and university diplomas and degrees, there are a variety of other training programs such as jazz or funk summer camps and festivals, which give students the opportunity to play a wide range of contemporary music, from 1970s-style jazz-rock fusion to first decade of the 21st century-style R&B.

Informal training
In other less mainstream genres, such as hardcore punk or metal, the pedagogical systems and training sequences are typically not formalized and institutionalized. As such, many players learn "by ear", by copying the basslines from records and CDs, and by playing in a number of bands. Even in non-mainstream styles, though, students may be able to take lessons from experts in these or other styles, adapting learned techniques to their own style. As well, there are a range of books, playing methods, and, since the 1990s, instructional DVDs (e.g., on how to play metal bass).