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What Makes me go WOW: Not Slappety, But You Doing You

What Makes me go WOW: Not Slappety, But You Doing You

Slappety NAMM main stage

slappety NAMMSlappety-Slap Mania

Last week the exuberant spectacle known as the NAMM show occurred in Anaheim, California. (I wrote about what the NAMM Show is here). I had a fabulous time, got to meet up and catch up with bass besties from all over the US and the world and enjoyed playing several concerts and performances with the amazing Muriel Anderson and the German Flamenco Duo Tierra Negra with Raughi Ebert and Leo Henrichs. Raul Ramirez holding down the percussion. We played the main NAMM stage and Muriel had put together several great events outside of the show as well. Awesome musical times playing beautiful songs!

Now, most of the time on the NAMM show floor you spend steeped in an amazing wall of sound. In the “bass department” it’s mostly a waterfall of E minor thumping. Fast and furious licks. bombasticness you’d typically not hear in a song. Just loud, fast, and often void of musical context, so it’s not really grooving or making the heart sing either.

Here is a sample of the sound carpet at NAMM – we measured 100 dB – which is majorly asking for trouble:

I stopped for a moment to realize that a lot of it was tiring, exhausting to listen to.

Not just because it was so loud. It felt pretty meaningless.

But then…

once in a while, someone’s playing would draw me in. Because it had an individuality to it or had an arc to it. It could have been a fast thing but it had a goal or a direction, was set in the context of a story, so it had meaning and touched me in some way.

Granted, it is NAMM and in order to even hear yourself at all, you are going to need an amp that goes at least to 11. But that does not mean no music can be made.

The funny thing is,

you will hear everyone moaning and bitching about how loud the slappety-slap carpet at bass events often is. We all agree, yet, at the same time, slappety-slap seems to be the imaginary ticket to belong to “The Club” or something. A rite of passage one must go through.

I remember a Bass Player Live event a few years ago – I and a good friend (who is a phenomenal bassist!) were standing in the corner lamenting the lack of musicality and thumping offense we were exposed to. A few minutes later my buddy grabs a bass to test it out and proceeded to – you guessed it – thump a funk in E with the same fast and furiousness we had just lamented against.

There is something about this environment that makes not attempting to perform musical pyrotechnics a hard proposition. Yet, it does raise this interesting question: What is it that truly draws us in musically? What draws us in not because of some technical flashiness, but because it truly touches us. And that is not to say that fast can’t touch us. I think it very much can. Fast is not bad. It just needs to be embedded right.

I am constantly searching for this special thing

that makes my heart skip a beat. And I have noticed that even players with limited facility can do that for me.

  • when they sound authentic,
  • seem to be effortlessly connected to the music,
  • when there is no fight against the instrument that would distract from the music,
  • and it almost feels like the instrument is not there,
  • and they show themselves.

I think that’s where it’s at. Theory, technique, knowing the fretboard are all tools to that end. Tools that give you the facility to bring the music into this world. I do believe that this telling of our story and cultivating our own selves (musically and beyond) can be practiced just like permutations are practiced: from the food you eat to your very personal habits of thought, to the music you listen to, the books you read, the friends you hang with. It is all there. Victor Wooten says to be a good person before you even try to be a good bassist. I relate to that and am developing teaching materials to that end which will be integrated with our Pattern System method.

Stay tuned. I think everything can be learned and practiced!

And here are a few NAMM photos for your enjoyment.

Phil Mann and me – cheers for Scott’s Bas Lessons!!
That’s the incredible Rudy Sarzo, yall, testing out a Marleaux Bass!
My book going to Guatemala!
Raughi Ebert and Leo Henrichs from Germany. Check out Tierra Negra’s lush flamenco sound!
Main Stage with Muriel Anderson, Tierra Negra, and Raul Ramirez!
Corey and Kevin of notreble.com! And Sam Montooth on the right! (from Facebook)
Where oh where is Steve Lawson? Sam and me wondering (we missed you, Steve!)
Peace THrough Music – International Guitar Festival LaVerne
Nalani Clisset, Lynne Davis and Keiko Gutierrez – bass sisters!
Nalani and Keiko
Divinity Roxx at a panel on Women in Music and Business
My good friend Victoria Theodore – check out her enormous keyboard skills. Super musical!
With the super groovy Robin Bramlett!
Much enjoyed this!

Learn Music Theory for the Bass Player, theory, grooves and much more…

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0 Replies to “What Makes me go WOW: Not Slappety, But You Doing You”

  1. Amen! I agree wholeheartedly with everything you said, Ari. I worry that the whole slapping “movement” has actually set the bass backwards in some respects, because it has shifted focus away from fundamentals and musicality. I too, much prefer a well thought out, subtle bass line to a rapid fire slap assault. Thanks for the much-needed perspective.

  2. Hahahaaa, it’s the same everywhere! People act that way because they “want to matter too” or they’re afraid they won’t get the recognition they think they deserve.
    It’s the same with most of the Bass-teachers on YouTube… Two wonderful exceptions:
    You Ari and Jim Stinnet (Real Bass Lessons). It’s a kind of instinctive drive to showcase one’s ability’s. It seems to me most of them are men 😉

  3. I’m guilty of this syndrome, too, the slap-fest on bass. It is an endless study and can be very amazing when done well and tastefully, such as when Marcus Miller does it. But he blends it into a musical and emotional context. What slap-bass often lacks is emotional connection to the player and audience, a spectacle for its own sake. More mature players will show off less because they have matured.

  4. NAMM to me is like going to Disneyland(next door) ; very cool, but long, tiring, & in many instances LOUD. If anyone wants to ck out someone who NEVER slaps, see Jimmy Johnson or Mike Mannring. It is unique & very impressive, but gets old if it’s all a player does…..

  5. Thanks Ari for Your article. I agree about that slappety-slap dilemma. When watching bass reviews from Youtube I find most of them performing fiery slapping 95% of the time. Even with 5- and 6-string basses they very seldom even touch the B-string. It is just slapping in e-minor.
    I have played over 40 years in countless gigs, many music styles. Maximum 2% of the time slapping is reguired.

  6. I was never interested in learning to slap, as I don’t enjoy listening to it. I know it has it’s place for many folks. I find it to be a trick and a crutch, especially when soloing. Audience members are often impressed by it in a solo. I understand. It’s flashy. I do enjoy listening and playing fast, finger style runs, which can fall in the same boat for many.

  7. I remember attending a Bass Day event with a friend back around 2006 when it was still held in NYC. We heard such a cacophony of slapping that we made the six hour drive home in complete silence. No radio, no talking, we were completely numb.

  8. Ari, for those “who have ears to hear”, you have just shared what the elusive “IT” is. You hear this comment all of the time. She has “it”or he doesn’t have “it”. Musicians and non musicians all recognize when someone is playing with or without “it”. “IT” makes all of the difference in the world. Thank you for sharing from your heart.

  9. Good article. This is something I do think about. As I continue to hone my slapping skills I am aware that such playing can be a self indulging boredom fest for the audience if over used. I think listening to songs where slapping fits well, has purpose and is musical helps remind me that the goal is to enhance the song and get people to feel the groove.

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