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As the original bassist for the seminal death metal band Cannibal Corpse, author Alex Webster offers invaluable insight into the realm of metal bass guitar. So, I preordered Extreme Metal Bass by Alex Webster of Cannibal Corpse from site in July, and today, it arrived! It was supposed to get. "Cannibal Corpse's Alex Webster has authored a new bass instructional book, released this week. Extreme Metal Bass is a book and CD.
Instructional books with advanced material are generally written by jazz-fusion players or really good session guys.
That was one of the motivations. Also, I just like working with books. I would rather have done a book than a DVD. DVDs are cool, but you can throw a book in a gig bag and go practice it in your room.
Welcome to Reddit,
What do you hope players will get out of the book first and foremost? I wish I had a book like this when I started, because we just learned everything by trial and error. I was thinking, What do you do when a guitar player is tremolo-picking?
Do you play exactly what he plays? Do you play half-time? What do you play when a blast beat is happening? What about a thrash beat? Is there a way you can cut things in half without it sounding corny?
How important is theory for metal bass players? Probably more important than people think. It also can spur your creativity. The guys who know theory are the ones who end up experimenting more and having music that sounds a little more out there, which I like. The more you know, the more you can mess around. What separates Torture from Evisceration Plague  and Kill ?
I feel like we managed to capture an old school death metal vibe.
Alex Webster: To The Extreme
When you play bass with a pick, you can keep things a little tighter with rhythm guitar. Quite simply, the attack of fingers and the attack of a pick are different.
So there are times when my playing is not identical to the rhythm guitar. People played this music—not a robot.
Hate Cannibal Corpse lots and lots, but I can't deny that he's a monster bassist. I may have to pick this up.
Ardez , Sep 30, Kurkkuviipale , Sep 30, I had this pre-ordered and received an email from site saying it is no longer being released: Berserker , Sep 30, I don't like his whole mimic guitar thing aka he is not inputting style, very few metal bassists are stylistically interesting , but he is damned fast, maybe I'll pick it up and see if it can bring my right hand back up to snuff. Really I just need an excuse to keep on myself as I have a tendency to not practice my bass playing music nowadays, as even at its worst it is pretty rocking.
Being a touch faster never hurts though, albeit speeds in death metal well exceed what I use typically.
SirMyghin , Oct 1, As offered in the past, Adam Neely has created a very intriguing video critique of this method. A small write-up of it can be found at the bottom of this post.
All of the initial exercises use two or three strings.
String-skipping is included, with the caveat that, once these exercises are mastered, normal scale patterns will seem easy. My understanding of it is that a string is struck and then multiple notes are played on the same string without attacking the string again for any of the subsequent notes. Caution is advised to avoid injury and to slowly build up hand strength for the technique.
Tapping: Alex opens the tapping chapter with the disclaimer that these techniques were introduced to him via instructional materials from other bassists including Billy Sheehan , Stu Hamm , Beaver Felton and Wally Voss. Notes on how to execute each technique are included as well as exercises which include arpeggios and other chordal and scalar patterns.
Part 2: Application about 37 pages 5. Rhythm Exercises: This chapter begins with a short discussion about the importance of a strong sense of rhythm in the plucking hand vs. Alex advises practicing each exercise using both two- and three-finger technique, as well as combinations of both and listening to how the resultant sounds are affected.
He also says that many of these exercises can even be practiced without having a bass, by tapping out the rhythms on a hard surface. He also explains how some of these exercises feature polymeter and gives advice on how to listen for this and how to practice it.
Alex Webster – Extreme Metal Bass
Triplet Grooves: In this chapter, three riffs based on triplets are explored. The 2nd introduces a new rhythmic unit — a triplet containing an 8th note, two 16th notes and another 8th note.
Alex notes that this unit creates a gallop feel within the triplet. He also mentions the importance of knowing the scale in which the guitar parts are written in, so that basslines with harmonic interest can be created which branch out from what the guitarist is playing.
Like with most of the book, he lets the reader know what scale the exercise is written in, so that experimentation can be more easily conducted.It's good for what it is. Upcoming SlideShare. So there are times when my playing is not identical to the rhythm guitar.
We don't sing about religion Awesome, I don't even play bass and I'll probably end up downloading this. We want the songs to be that way, too.