Video summary

đź’Ą5 Myths bout Metal Bass! - The Real Reason You Waste Money On Gear! (Metal Bass Monday Ep.69)

Main summary

Key takeaways

Educational

Main ideas, concepts, and lessons

Gear spending and the “gear myth” mindset (why people waste money)

The recurring problem isn’t bad equipment—it’s that buyers haven’t defined their own sound.

When people shop, they often:

  • Chase whatever sounds good in YouTube demos
  • Assume the demo tone is “the sound,” when it’s actually engineered for someone else
  • Ignore that they also won’t be able to play like the person who made the demo

This creates a cycle: buy → sell → buy again, because they’re looking for a magic box instead of learning how to shape tone.

Core prescription:

  • Define your target sound in your head first
  • Use gear as a tool for the job, then build/integrate the parts you like (amp, pedals, EQ, etc.) into your setup
  • Learn to dial gear properly so you’re not replacing it every time something doesn’t instantly sound right

“Not much is new” in metal bass gear/amps

Many amps, processors, and pedals are portrayed as repackaged versions of older concepts, with small refinements.

The argument:

  • Companies often market “new magic”
  • But the underlying circuits/tones are largely familiar

Example cited:

  • A Boss SD-1 compared to a much more expensive modern overdrive (Fortin Grind)
  • The point is that tone nerds can be convinced to pay far more for what may be the same core idea

Practice time beats buying time (sound already exists; you need skill)

The speaker argues the “next solution” rarely fixes things 90% of the time.

The real gap is training yourself to dial in:

  • amps
  • processors
  • compressors/EQ
  • and overall technique

That should improve sound quality and reduce unnecessary purchases.

Technique Myths (Metal Bass Monday “Mythbusters” / “calling BS”)

Myth #1: “To play faster, you must dig in / use more attack”

Claim being attacked: speed requires heavy pressure, more “attack,” and mashing the instrument.

Reframed principle:

  • Speed comes from learned control and lightening up
  • Focus on triggering notes cleanly without constant hard impact

Supporting argument:

  • Visual motion doesn’t equal force/pressure
  • Example referenced: Steve Harris is said to use a graceful, light approach, even though the movement looks intense

Method implication:

  • Practice relaxed mechanics while keeping attack consistent and clear

Myth #1 conclusion: You cannot “beat the hell out of” the bass and expect speed and good tone.

Myth #2: “To get metal grind, you must hit harder (because it’s about tone/grind)”

Claim being attacked: for grind/aggression, you need to dig in with force.

Reframed principle:

  • Much of the aggressiveness/grind comes from setup and playability, not just pressure

Speaker’s setup demonstration (instructional mini-method):

  1. Keep the same bass/string and play an open string with action set higher than usual
  2. Then lower the neck/string position effectively (lower action) while playing the same string

Result claimed: lower action produces more grind, aggression, rip/tear without changing how hard the player “punches.”

Additional setup/technique factors mentioned:

  • High action can make fretting feel sluggish and reduce the “reflex” needed for attack
  • Very heavy strings and poor action can lead players to mute/compensate instead of getting natural aggression

Myth #2 conclusion: Lower the action and lighten your attack while keeping control—you get grind/accuracy/speed more effectively.

Myth #3: “When tapping, you should lead with your index finger”

Claim being attacked: common tapping method uses index finger leading (Eddie Van Halen-like approach).

Speaker’s alternative:

  • Use the middle finger for tapping in most non-multi-finger cases

Reasons given:

  • Middle finger is thicker, potentially stronger, with more resonance
  • Anatomy/mechanics: middle finger aligns more directly into a joint position that gives better “tightening power”
  • Better positioning and muting: the middle finger naturally lays/mutes strings effectively
  • Easier transitions to multi-finger techniques due to more efficient hand positioning

Myth #3 conclusion: Middle-finger tapping is positioned as better mechanics, muting, and speed/efficiency.

Myth #4: “Not every bass can do metal”

Claim being attacked: “Can this bass do metal?”

Reframed principle:

  • The instrument isn’t genre-limited; the player’s ability to create the sound defines metal

Arguments:

  • “Jazz bass” doesn’t limit it—naming isn’t a genre prison
  • There isn’t a single “metal bass” type; any bass can be used if you write/perform metal with it

Example used by speaker:

  • Mentions owning a specific bass (a TL made for a named session player) and states it does metal

Myth #4 conclusion: Stop asking whether a bass is “built for metal”—ask whether you can make it deliver the metal sound you want.

Myth #5: “You can’t be as accurate with fingers as with a pick”

Claim being attacked: fingerstyle is inherently less precise than picking.

Reframed principle:

  • It’s a personal choice, but the “can’t be accurate” part is false

Supporting argument:

  • Many fingerstyle bassists are known for clean, precise playing
  • Modern setup options (lower action, better pickups like EMGs, active circuitry) make precision achievable

Additional note:

  • Both approaches can achieve aggressive, articulate tone with proper setup and practice

Myth #5 conclusion: Fingers can be just as precise/aggressive as a pick; tone depends on setup, technique, and practice—not rules.

“Five Myths about Metal Bass” — organized recap

  1. Myth: Speed requires digging in / heavy attack.
    • Truth: Learn control; lighten up; consistent attack matters more than force.
  2. Myth: Grind/metal tone requires hitting harder.
    • Truth: Tone/grind comes largely from setup (especially lower action) + disciplined lighter technique.
    • Method: Compare the same playing while changing action height; lower action should increase perceived grind/aggression.
  3. Myth: Tapping should be led with the index finger.
    • Truth: For most tapping, lead with middle finger for better strength, resonance, muting, positioning, and transitions.
  4. Myth: Some basses can’t do metal.
    • Truth: Any bass can do metal if you can produce the sound; it’s player + technique + tone building.
  5. Myth: Fingers can’t match picks for accuracy.
    • Truth: Fingerstyle can be as accurate and aggressive as picking; it depends on setup, practice, and tone dialing.

Speakers or sources featured (as mentioned in the subtitles)

Speakers (people speaking in/for the video)

  • Rodney (referred to as “Rodney” by another speaker; the main host addressing myths)

Featured referenced musicians/figures (sources/appearances mentioned)

  • Alfie (host/partner for an upcoming podcast; “Metal-based Monday” branching into a metal-specific channel)
  • Rudy Sarzo
  • Michaela Pond
  • Steve Harris
  • Eddie Van Halen
  • Steve Warren d Martini (mentioned in connection with the Boss SD-1 in the 1980s)
  • Dave Ellis (referenced as a “great” pick player)
  • Frank Bello
  • Alex Webster
  • Mike Fortin
  • Tim Landers (session/instrument credit for a bass mentioned)

Gear/brands mentioned (not speakers, but referenced as sources)

  • Kemper (profiles mentioned)
  • Marshall
  • Mesa
  • Boss SD-1
  • Fortin Grind
  • EMG (pickups referenced)

Others

  • “old guard / old dogs” (general group referenced; not a specific named person)

Original video