Excellent, the session went stellar. Funny thing is though ... the NS/Stick was specifically asked for but the 5 string Precision bass got used. HOWEVER Once a Stickist always a Stickist. There were some passages and lines that are just impossible on bass unless...... you know how to tap well enough (like us Sticksters) to keep the sound consistent, driving and smooth when transitioning back and forth from standard pluck to Tap and back again.
Bass sounds get decided several ways by producers and in this case it is a matter of what instruments are already laid down and what tone flatters the vocal and drum kit. The NS always delivers the deep and rich high pro glow bass sounds. In this case a more 'loose' and youth oriented sound was most flattering to the vocal. The classic P bass is most associated with that description. Personally I'll make anything work but I'm hired to play not foresee the whole project down the road which is an arduous task and a producers job. "Me" I'm just happy to deliver.
It takes a lot more finger muscle and finesse to make my basses tap and pluck evenly. Nothing I would want to do for a whole song but you pick your sweet moments. You know you hit it when the producer turns to you and says, "Wow I didn't see that comin'" then laughs appreciatively. 10ths are easy to accomplish on bass. The 10th (or 3rd octave up) is a very melodious interval and says a lot... the deluxe trick is to use it as a counter melody line to the next chord, in this case my bass notes moved lower and my melody (10th) moved up higher. To big of a finger stretch to me so to make this sound smooth and seamless I opt for two hand tapping then anchor the line at the end of the phrase with a good deep plucked note
As Stickist's we hear and think beyond where a hand can stretch. It really sweetens the bass lines to do so.
Magic on any instrument, expected on NS/Stick... out of left field on bass. Great ear candy and bonus "Cool" points when pulled off.
Tip: When tapping to plucking, keep a surface area of either hand available to 'mute' open strings. The 'resonating' unwanted notes add rumble and unclarity to the line. Your 'minds ear' will sense it and lay your hand down automatically (over time). I would rather mute open strings with my hand rather than use the 'damper' on my NS so that I always have the open string options available. On my basses... no mute device so the 'open available" mute hand works wonders.
Lol, the next session will probably request bass then end up with the NS. When going into a studio date, take choices for the producer, it makes a difference and the session goes faster when you have the tone they want. (Start with the NS...
.
Take care,/Don