All Activity

Yes, interesting coincidence, although I do generally like things to be shiny, new and well looked after. Maybe they both spent their childhoods in bedrooms full of broken toys..? At least with these reliced basses, you're definitely not worried about scratching them! 🤣

“But it was about the intent of making music as a band, without that digital safety net. It’s a wonderful thing to have limitations in your creative process, because you have to decide, in the moment: ‘Is it played well enough? Do we move on? Do they play it again, or do we cut those pieces together?’ I just think working in analogue is such a beautiful way to make art. It is a romance, because it’s a physical medium. The joy of tape editing is that you’re making something, in the truest sense of the word.”

From those two choices I'd go for the Fender simply because it's easier to tell which is the transmitter and which is the receiver.

It's funny that two of the most well liked Fender signature basses are from rocks bassists from the 90s (or late 80s if you will) and are both roadworn/reliced. Might be nothing in those two coincidences but just crossed my mind there.

This was a long time ago, but then, my struggle when leaning the craft was not the pitched notes, but the rhythms (or the maths behind it). The book(s) were when the 'penny dropped' moment. So yes, hugely valuable.

Agreed. With the right set of strings, the Pure Vintage 64's are just about the richest sounding Fender single coils. The American Original has the same set. I couldn't get PV64's for silky999's prototype Daphne Blue Nitro Jazz, so I've ordered a set of the newer Pure Vintage 66's from the Am.Vintage II to go in that one.

Shall I pull out just one button of the battery and measure the current from the open contact and from what other point?

Alternatively intrigued to know why you need any additional pedals.

Which is essentially what most bass cabs are doing, and why I have given up on them for all my Helix Patches. Most of the time I can get a sound that is more suitable for the band mix just using EQ. The only cab sim I'm currently using is a guitar one that is part of a guitar combo model.

Take the other half of the battery from the contact, and measure the current from the open contact. Should be zero.

In the article, Mr Flea says that he "showed up, rocked out, and split". I must say that sounds terribly painful, and I hope the studio staff were able to administer suitable first aid until the paramedics arrived.

I would second @neepheid in terms of Artec's 'bang for the buck'. I can't think of any Artec product I've used or fitted that hasn't hit way above its weight and I've certainly used their lipstick pickups in my own guitars in the past.

I guess there might be a very specific reason these were suggested (?), but there's plenty of other hum-cancelling J-PUPs out there that are easy to get hold of in the UK, and many/most of which people here will probably have far more experience with 👍

If you listen to Jamerson's stuff isolated, it is not always pretty. We are, by now, used to playing to the grid. I have recently put a track together using a prerecorded drum track. It is very odd. The drum track is played live and bubbles along very nicely. I played the rest of the instruments using the drum track as a guide. Soloed, the bass sounds horrific - what we "know" as timing is deeply offended by what I played. But along with the drums it is just fine and dandy.

I've always assumed it's really driven fretless, digging in that hard there'd surely be a lot more fret noise, plus the intonation sounds inconsistent for a fretted bass?

Also - there are 2 takes available. The regular release and the alternate take that has higher drive and aggression levels. Apparently from really over driving a rack compressor with anything they could throw at it. I'm fairly sure it was the same bass on both versions, just played even harder with more dirt on it.

There's a lot of online speculation about what bass he used. Some thinking Alembic, others a Stingray. A large amount think it was either a fretless jazz or a fretless Stingray - with the clank being from the strings hitting the pickup and not the non-existent frets. He does play very hard. My old band used to play it and I studied it a lot and I think it's a fretless too but I didn't have one so I played it on the Status I had a the time. The drive is very much like the input drive on an old Reel to Real recorder with loads of cut on the deep lows and highs. These days I get the tone with my JPTR Jive pedal and then EQ and it's bang on with a bass with a bridge pickup. It's a great line and it's also really annoying that AM's current bassist doesn't play Flea's line.

They’re standard rhythm reading texts and hugely valuable I found. How about you? Reading music is really two things pushed together, reading from the stave and understanding the rhythm. I find the rhythm stuff harder so I put a lot more effort on that side.