Pilot Talk 2 Bass

November 8, 2011  |  Blog, songs, video  |  Share

Here are descriptions of some of my favorite bass lines I did for Curren$y’s Pilot Talk 2

Airborne Aquarium.

I recorded this line at the dojo when we used to have the studio in the basement. Ski had the beat ready but was pretty much bare, just the synth and drums so I knew I had to fill it up with some funk and more melodic content. The whole song is just G-7 to EbMaj7 but I played through the whole thing using a good deal of variation. I also took into account his lyrics, kind of dancing between his words rhythmically at points. If I remember correctly I did two takes and took the second. On my fretless Modulus Quantum 5 String (as always).

Real Estates.

This was recorded after we moved upstairs at the dojo. The song has pretty interesting chord changes, which is characteristic of Ski Beatz and Curren$y. This line I actually thought about for a while and really constructed rather than freestyle. When the song resolves to A major near the end of the vamp I arpeggiate the chord in a weird rhythm and fashion. The rhythm for that line is actually from a Jay Z verse. I often use rap phrasing in my solos and basslines (no longer a secret). Next time you solo try to rap a verse in your head that you know well (for example Big L “Platinum Plus”) and translate the words to notes under your fingers. Definitely takes practice but will open up dope ideas…

Montreux.

This one was pretty straightforward. Mainly just layin it down funk groove kinda thing. But real fresh beat.

Michael Knight.

I recorded this song in the basement studio at the dojo. We didn’t expect it to be a single at all really. The chord changes are pretty weird, but once Curren$y got on it it definitely transformed. My homie John Cave came up with the initial guitar part and melody. Me and him are really into African music, thats actually how we met. A main characteristic of African music is call and response which we definitely used here. John occupies the first two beats of each bar then I come in the second two with a line that really reenforces the minor 9 quality of the chords.



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