It was produced by the electromagnetic rumblings of a black hole at the center of the Perseus Cluster. The 1.6e-15 Hz note is a B-flat 57 octaves below middle C (252 Hz).
That's some serious low-end. As a musician who struggles to find new dimensions of heaviness, introducing black hole bass into my compositions could drop them to a yet uncharted Level of Hell.
Theory has its limits, though. The lower bound of human hearing is about 20 Hz. Frequencies below this threshold are known as sub-bass. Though inaudible, their pressure waves pack a solid thump, which is why they are popular in EDM genres.
Unfortunately for Perseus' prospects as a hit maker, its wavelength is 1.87e+23m. For comparison, the average distance from the Sun to Pluto is a mere 5.91e+12m. Talk about a slow jam...
The good news for terrestrial musicians is that bass is more than just pitch.
Take a close listen to this Motown classic for an example of how bass changes everything, even in a light number.
This super-funky bass line was laid down by Motown session ace, James Jamerson. Considered one of the greatest electric bass players of all time, Jamerson's playing was fearless and inventive at a time when common practice was to turn it down and sheepishly plug away on roots and fifths.
Unfortunately, the legacy of James Jamerson is hard to find on the charts today. Derivative four-on-the-floor rhythms rule Top 40. Modern rock bass is watered down to: 1) Buy a 5-string. 2) Tune it down. 3) Sling it low. 5) Bang away like no one can here you (because they can't). Musical sophistication in hip-hop and R&B has been undermined by decades of sampling, and the emergence of crude 'beats' over real instrumentation.
At this point it's only fair to mention the exceptions. Here is a list of some great contemporary bass players who make the last paragraph look stupid: Victor Wooten, Billy Sheehan, Gary Willis, Richard Bona, John Myung, Sharay Reed, Bryan Beller. There are many others, but this will get you started. No Stu Hamm and Marcus Miller, you don't make the list, because bassists with shaky timing are useless.
All this said, I still haven't solved my original problem: how to develop heavier music. Bass guitar isn't the only route. As a natural baritone, my own voice presents an answer, but my limited vocal fundamentals make for erratic results.
My working hypothesis is that the answer is in rhythm. Much as James Jamerson countered Little Michael's high, smooth vocals with churning eight and sixteenth notes, my own goal as an arranger is to flesh out the rhythmic spaces in the song, and the let the harmonies develop from there. It's not a new insight, but pulling original jams from ancient ideas is the backbone of great music. At least until we can harness the power of a black hole.
If I ever do record the heaviest song ever, you, my readers will be the first to hear it.
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