Tal Wilkenfeld

That would be pretty hilarious if I was sensitive about bass techniques, but not about love.

I slap less, a lot less, almost never actually. It has a very distinctive sound and does a very distinctive thing to a song that is not something I hear needed very often in music today. But in certain styles, like funk, it sounds awesome and it makes sense. It was something that was a bit overused at one point. For instance, like my mentor, Anthony Jackson, he refused to slap.

I slap less, a lot less, almost never actually. It has a very distinctive sound and does a very distinctive thing to a song that is not something I hear needed very often in music today. But in certain styles, like funk, it sounds awesome and it makes sense. It was something that was a bit overused at one point. For instance, like my mentor, Anthony Jackson, he refused to slap.

I slap less, a lot less, almost never actually. It has a very distinctive sound and does a very distinctive thing to a song that is not something I hear needed very often in music today. But in certain styles, like funk, it sounds awesome and it makes sense. It was something that was a bit overused at one point. For instance, like my mentor, Anthony Jackson, he refused to slap.

Like he actually said, if you want me to slap, I'll leave this gig. So I'm not like that.

Like he actually said, if you want me to slap, I'll leave this gig. So I'm not like that.

Like he actually said, if you want me to slap, I'll leave this gig. So I'm not like that.

Because he's sensitive about it.

Because he's sensitive about it.

Because he's sensitive about it.

And then, I mean, I'm playing electric bass. So generally speaking, you don't particularly want to hear electric bass on straight ahead jazz anyway. You want to hear an upright bass. But if I was to play jazz on electric bass, I might even kind of like palm mute. You know, like instead of going like, I might go.

And then, I mean, I'm playing electric bass. So generally speaking, you don't particularly want to hear electric bass on straight ahead jazz anyway. You want to hear an upright bass. But if I was to play jazz on electric bass, I might even kind of like palm mute. You know, like instead of going like, I might go.

And then, I mean, I'm playing electric bass. So generally speaking, you don't particularly want to hear electric bass on straight ahead jazz anyway. You want to hear an upright bass. But if I was to play jazz on electric bass, I might even kind of like palm mute. You know, like instead of going like, I might go.

Anything to kind of make the notes shorter and less resonant and like kind of fade away quick because the upright does that naturally. And I have like a different bass, like a hollow body harmony that sounds closer to an upright that I'll use.

Anything to kind of make the notes shorter and less resonant and like kind of fade away quick because the upright does that naturally. And I have like a different bass, like a hollow body harmony that sounds closer to an upright that I'll use.

Anything to kind of make the notes shorter and less resonant and like kind of fade away quick because the upright does that naturally. And I have like a different bass, like a hollow body harmony that sounds closer to an upright that I'll use.

Like on my song Under the Sun that I put out, that was on a harmony bass and it has like kind of an upright acoustic kind of tone to it, but with more sustain.

Like on my song Under the Sun that I put out, that was on a harmony bass and it has like kind of an upright acoustic kind of tone to it, but with more sustain.

Like on my song Under the Sun that I put out, that was on a harmony bass and it has like kind of an upright acoustic kind of tone to it, but with more sustain.

Again, you can have both. You can have either on anything. There's no like real rules.