The Bass Side of Supercell’s WORLD IS MINE Feat. Hatsune Miku

Table of Contents

If you like Japanese pop, Vocaloid music, or basslines that sit right underneath a big melodic arrangement, WORLD IS MINE by Supercell feat. Hatsune Miku is a fun one to explore from the bass side.

This article takes a practical approach to the song. Instead of treating the TAB as a bunch of numbers to memorize, we'll look at the tuning, fretboard movement, timing, note length, muting, low-D control, and a few practice tricks that can make the part feel much more natural under your fingers.

The song is also an interesting snapshot of the early supercell and Hatsune Miku connection. The official supercell site notes that ryo created THE WORLD IS MINE using Hatsune Miku during the group's early internet-born period. 

The bass arrangement featured on this page is an independently created transcription and bass performance prepared for practice and educational purposes. The original composition, recording, artist names, character, and related intellectual property remain associated with their respective creators and rights holders.

WORLD IS MINE Bass Setup at a Glance

Detail	Setup
Song	WORLD IS MINE
Artist / Creator	Supercell feat. Hatsune Miku
Bass	4-string
Tuning	D A D G
Main Practice Focus	Timing, low-D control, articulation, movement, muting
Playing Goal	Clean, controlled, rhythmically consistent bass

Why This Song Is Worth Learning on Bass

At first glance, a song like WORLD IS MINE can seem more focused on its vocal melody and overall pop arrangement. That's exactly what makes it useful for bass practice.

The bass has to support the musical picture without fighting everything else happening around it. That means your timing, note length, and dynamics become seriously important.

You can learn plenty of notes from a TAB, but the bigger lesson is learning how to make those notes sit inside a busy arrangement.

That's a skill you can carry into J-Pop, anime music, Vocaloid arrangements, rock, pop-rock, and basically any style where the bass has to stay locked without taking over the entire mix.

Getting Comfortable With D A D G Tuning

The arrangement featured here uses D A D G tuning. Compared with standard E A D G, only the lowest string changes: the 4th string moves from E down to D.

That sounds simple, but your muscle memory may disagree.

If you've spent a long time playing standard tuning, your hand automatically expects familiar notes in familiar places. Once that lowest string becomes D, some of those instincts need a quick reset.

String	Standard	WORLD IS MINE	What Changes?
4th	E	D	Lower pitch and different fretboard reference
3rd	A	A	Same
2nd	D	D	Same
1st	G	G	Same

Quick Low-D Reset

Before playing the actual bassline, spend a minute getting used to the open D. Play it slowly, stop it cleanly, then play it again.

Next, compare that open D with the D found on the neighboring A string. This is a great little ear-and-fretboard exercise because you're training yourself to recognize the same pitch in two different physical locations.

That kind of awareness is much more useful than simply memorizing where a number appears in the TAB.

The Low D Is More Than Just a Lower Note

Dropping the lowest string to D isn't only about getting a lower pitch. It changes the way the instrument responds and how you can approach certain movements.

The open low string can become a convenient anchor. Instead of constantly jumping around the neck, you can sometimes use the low D as a reference point before moving toward the other strings.

For practice, try this:

1. Play the open D.
2. Stop it completely.
3. Play a nearby fretted note.
4. Return to the open D.
5. Repeat slowly with a metronome.

The point isn't speed. You're training your ear and hand to recognize the low-D environment before dealing with the complete arrangement.

Think in Phrases, Not Individual Notes

One thing that can make TAB practice feel unnecessarily difficult is trying to memorize every note separately.

Instead, group notes into small musical phrases.

A phrase might contain a repeated rhythmic idea, a short movement between strings, or a particular ending that leads naturally into the next section.

Once your brain recognizes the shape, the TAB becomes easier to recall because you're remembering a musical idea instead of a random sequence of numbers.

A Useful Question to Ask

Whenever you reach a new section, ask:

“What is this phrase trying to do rhythmically?”

Is it pushing forward? Sitting back? Repeating a pattern? Connecting two sections?

That question can completely change the way you approach the bassline.

Timing Is Where the Groove Lives

You can hit every correct fret and still have the bassline feel wrong.

Usually, the problem is timing.

Bass is incredibly sensitive to where a note lands. A note played slightly early or late can change the entire feel of a phrase, especially when the bass is interacting closely with drums and other rhythmic elements.

Start with a slower tempo than the original recording and focus on making every note land in the same place.

Once the timing feels stable, increase the tempo gradually.

Stage	Goal	What to Listen For
Slow	Learn the movement	Clean fretting and relaxed hands
Medium	Stabilize the groove	Consistent note placement
Near Original	Build endurance	Relaxation and consistency
Full Speed	Play musically	Dynamics, articulation, and groove

Don't Ignore Note Length

This is one of those little things that separates “I know the notes” from “I can actually play the part.”

A note isn't finished just because you played it. You also have to decide when it stops.

If a note should be short but you let it ring, the next note can become muddy. If a note should sustain but you choke it too early, the line can lose its weight.

Practice each phrase while paying attention to the space between notes. Sometimes the silence is doing just as much work as the bass itself.

Muting: Your Secret Weapon

D A D G tuning makes muting especially worth paying attention to because that low string can produce a lot of unwanted energy.

You don't want the open D ringing underneath every other note.

Use a combination of:

• Fretting-hand muting
• Picking-hand muting
• Controlled release of each note
• Smaller finger movements
• Consistent right-hand attack

A good exercise is to play the phrase very slowly and deliberately stop every note. Then gradually let the intended notes ring longer.

This gives you control over the bassline instead of letting the strings decide what happens next.

String Crossing Without Losing the Pocket

Moving between strings can become messy when the right hand gets too aggressive.

Instead of thinking about each string change as a separate technical challenge, keep your picking or plucking motion compact.

For fingerstyle players, alternating index and middle fingers can help keep the attack consistent. For pick players, focus on economical movement rather than digging too deeply into the strings.

Technique	Main Challenge	Practice Cue
Fingerstyle	Uneven attacks	Keep both fingers similar in volume
Pick	Overly hard attack	Use a lighter and more controlled stroke
Either	String noise	Mute unused strings immediately

Use the TAB as a Map

TAB becomes much more useful when you stop seeing it as the final answer and start using it as a map.

Look at where the phrase begins, where it moves, and where it lands. Then try to play the same phrase while looking less and less at the page.

Eventually, your hands should begin recognizing the shape of the phrase automatically. That's the point where you're actually learning the bass part rather than just reading it.

Three Layers of Practice

1. Visual: Understand the TAB and fretboard positions.
2. Physical: Make the movement comfortable and repeatable.
3. Musical: Make the timing, dynamics, and note length feel right.

Don't skip the third layer. That's where the part starts sounding like music instead of an exercise.

A Better Way to Practice Difficult Phrases

When a phrase keeps falling apart, don't automatically play the entire section again and again. That can accidentally train the mistake.

Instead, isolate the smallest part that causes the problem.

1. Identify the exact difficult movement.
2. Play it slowly five times.
3. Stop and relax your hands.
4. Play it again without looking constantly at the TAB.
5. Connect it to the note immediately before it.
6. Finally, connect it to the note immediately after it.

That last step is important because transitions are often harder than the actual phrase.

The “Three Clean Runs” Rule

Here's a simple challenge you can use with this song.

Don't increase the tempo until you can play the difficult phrase correctly three times in a row.

Not two. Not “almost three.” Three clean runs.

If you make a mistake, reset the count.

It sounds a little brutal, but it works because you're training consistency instead of relying on one lucky attempt.

Dynamics Matter More Than You Think

Bass doesn't have to be played at the same intensity from the first note to the last.

Try practicing the same phrase at three different intensity levels:

Level	Practice Goal
Light	Control and relaxed movement
Normal	Balanced groove
Strong	Controlled attack without tension

This helps you discover how much physical force you actually need. A stronger attack doesn't automatically mean a better bass sound.

Try Practicing Without the Full Song

Once you know a phrase, mute the original track and practice it with a metronome or simple drum groove.

This can feel weird at first because the full recording normally gives you a lot of context. But removing that context forces you to become responsible for your own timing.

After that, return to the original recording. You may notice that the part suddenly feels easier because your internal pulse is stronger.

Ear Training: Find the Bass Before You Find the Fret

Here's another useful challenge. Listen to a short section of the song and try to hum or sing the bass movement before touching your instrument.

You don't need perfect pitch. Just try to recognize whether the bass moves up, down, repeats, or stays around the same area.

Then pick up your bass and find that movement.

This trains the connection between your ears and hands, which is one of the most valuable skills a bassist can build.

Fingerstyle vs. Pick for WORLD IS MINE

Either approach can be useful for practice. Rather than obsessing over which technique is “correct,” use the song as a way to compare how your attack changes.

With fingerstyle, pay attention to how evenly your index and middle fingers speak. With a pick, experiment with a lighter attack and keep your movement compact.

The goal is simple: whichever method you use, the bass should remain controlled and rhythmically stable.

Recording Yourself Is Surprisingly Useful

You don't need a studio setup. A phone recording is enough.

Record one full attempt and listen back without playing along at the same time. That separation makes small problems much easier to hear.

Listen for:

• Notes that rush ahead of the beat
• Notes that arrive late
• Uneven attack between strings
• Unwanted open-string noise
• Notes that ring too long
• Notes that stop too early
• Transitions that sound tense

Fix one problem at a time. Don't try to repair everything in one session.

A 30-Minute WORLD IS MINE Practice Plan

Time	Exercise	Main Goal
0–5 min	Tune to D A D G	Get comfortable with the low D
5–10 min	Low-D and fretboard exercises	Reset muscle memory
10–15 min	Difficult TAB phrase	Accuracy
15–20 min	Metronome practice	Timing and groove
20–25 min	Play with the recording	Musical context
25–30 min	Record one complete take	Self-review

Watch and Listen to the Reference

If you want to hear the musical context while working through the bass arrangement, you can use the reference video below. The video is provided as a listening reference; the main focus of this article remains the original bass practice material and guidance on this page.

VIEW BASS TAB PDF

Ready to put the ideas above into practice? The independently prepared bass arrangement for WORLD IS MINE is available through the Bass TAB PDF link below.

VIEW BASS TAB PDF →

Use the PDF together with the practice ideas in this article rather than trying to memorize the entire arrangement in one sitting.

Common Problems When Learning the Part

“My fingers keep playing the standard-tuning notes.”

That's normal when you're new to D A D G. Spend a few minutes playing the open D and comparing it with familiar notes on the neighboring strings. Give your hands time to adjust before increasing the tempo.

“The notes are right, but it doesn't sound tight.”

Focus on timing and note release. Try the phrase with a metronome at a slower tempo and listen carefully to where each note starts and stops.

“The low string sounds messy.”

Work on muting. The lower tuning can expose unwanted ringing, especially when your right hand gets aggressive. Try playing softer and gradually increase your attack while keeping the unused strings quiet.

“I can play the phrase slowly but lose it at full speed.”

Don't immediately jump back to full speed. Use a tempo ladder and increase the speed in small steps. If the phrase falls apart, go back one step and rebuild the consistency.

What This Song Can Teach You as a Bassist

WORLD IS MINE isn't only useful because it's a recognizable Hatsune Miku and supercell song. It can also be a compact lesson in several skills that apply far beyond this one arrangement.

• Alternate tuning awareness: Get comfortable adapting your fretboard thinking.
• Rhythmic discipline: Learn to place notes consistently inside an arrangement.
• Muting: Control unwanted resonance instead of relying on luck.
• Phrase recognition: Remember musical shapes rather than isolated numbers.
• Dynamic control: Learn how attack changes the character of a bassline.
• Ear-to-hand connection: Hear the movement before searching for the fret.
• Recording feedback: Use simple recordings to identify weaknesses.

One More Challenge: Play It From Memory

After you've practiced the arrangement several times, put the TAB aside.

Try playing the section from memory. If you forget something, don't immediately look at the page. First try to hear the next movement in your head.

Then check the TAB and see whether your instinct was correct.

This little habit can turn a transcription into genuine musical knowledge. You're no longer depending completely on the page—you're building your own internal map of the bassline.

About the Bass TAB on rikytone

The bass transcription and performance presented on this page were independently created for bass practice and educational use. The purpose of the article is to provide a bass player's perspective on the arrangement, including tuning, technique, timing, fretboard awareness, and practice strategies.

The original song, composition, recording, Hatsune Miku character, Supercell name, and other related intellectual property belong to their respective creators and rights holders. This page does not claim ownership of those works or imply an official affiliation with Supercell, Hatsune Miku, or their rights holders.

Because copyright and licensing rights can depend on the specific use and jurisdiction, this article should not be interpreted as a statement that an independent transcription automatically has permission to reproduce or distribute the underlying musical work.

Keep Practicing Beyond This Song

The coolest thing about learning a bassline isn't finishing one song and moving on. It's stealing the useful skills from that song and carrying them into the next one.

If WORLD IS MINE helps you get more comfortable with lower tuning, controlled muting, phrase-based practice, or tighter timing, those skills are already paying off the next time you pick up your bass.

The Hatsune Miku Bass TAB collection on rikytone will continue to grow as more independently prepared arrangements are added.

Explore The Bass Side of Hatsune Miku →

Explore Anime Bass TABs →

Explore J-Pop Bass TABs →