visog

Video edit thing doesn't do much for me. But it's a great tune with the same time signature as 'Take 5' and he's done a really nice jazz arrangement.

And some nice Chris Squire on 'Sun Dance'. However I am currently enjoying my just delivered Allan Holdsworth 'Frankfurt '86'. As if someone would name a city after a sausage! Tchh.

First example I've seen of the 6er and it's pretty musical!

Well his Status looks nicer than this...

I'd imagine Guy Pratt probably does.

Bonus fun vid - Nathan East playing Sir Duke at a trade show when... Stevie Wonder shows up! Awesome.

I don't have any knowledge or experience of the courses you mention. And I don't have any experience of the people as 'educators'. I do have a lot of experience of these people as musicians and they're both monsters (and coincidentaly Yamaha endorsers). NE is probably one of the most successful bassists of all time, behind Paul McCartney and Sting obvs but in terms of a session guy. John Patitucci is an astonishingly accomplished jazz player who laid waste to my sensibilities at many an Elektric Band gig. So my suggestion would be go for NE if you want more general pop, Motown style direction or JP for Jazz. Remember though, Jazz tends to be a super-set of music which informs many other styles. My recommendation: go JP based on the fact he's huge, he's Jazz and you like his teaching style.

Good Heavens! Trevor Bolder would be proud!

I'm reporting this, 'Simplifier' under the Trades Description Act. +1 for the Two Notes Le Bass - also not simple for a Richard like me but with squelchy limiting afor-hand, acceptable Geddy/Squire tones abound. Can't speak for other idioms previously cited, i.e. Mowtown, etc. **Edit: I have the limiter in the Le Bass effect loop**

I remember them. Saw a picture of what was essentially a brown Trace rig. Looked pretty industrial. Blurb mentioned something about being digital. However, surprisingly I can't find a picture of it online.

Well it depends. I think they were continuing online but that for me is limited success. I want shops where I can got to try before I buy. If the re-open some high street outlets that would be success but post-corona I can't see it. Hard fact is once you're online, without any 'experience' it comes down to price so than means Thomann or Amazon. And you can't play 'Smoke on the Water' in either of them. PS I should note Andertons, BassDirect and the Bass Gallery still do sterling service if you can get to them.

Or 'Duddle-duh!' Nice. Great. Keep 'em coming. All permutations please...

Snip at £30k....

It's arguably true in context, i.e. in 1972 when CttE came out, artistically and criticaly it was a triumph. Squire extended the profile of the bass in longer form compositions picking up John Entwistle's mantle from 'Tommy'. Squire innovated in tone with bi-amping and effects; singing complex harmonies and adding sub-bass. The man was a walking church organ and choir. Notably he also had a wider rhythmic sensitivity - odd time signatures and harmonic vocabulary - full diatonic beyond Entwistle's more traditional pentatonic perspective. Today, nearly 50 years later, I agree with your point. Squire vs. Hadrien Feraud - no contest! But then Hadrien humbles us all. But unfortunatley I've only paid Hadrien for his work on Chic's 'Vigil' record and his show at Ronnie Scott's. In contrast, I've willingly paid Squire for the entire Yes repetoire over several formats and many shows. Which ultimately is the biggest compliment you can pay an artist.

Sorry, forgot Holdsworth's forms being samey.

Geddy did a great job alongside an imploding Yes. I like Bilbo's posts too but he does get himself in the position of granting authorty chops, swing, etc. And his usual swinging judgement is that no-one measures up: Squire - technique, Pastorius - swing. I wouldn't mind but Jeff's as dull as ditchwater plumbing the functional harmony of yesteryear and Michael Manring playing with the harmonic sophitication of Busted.

The very word ('difficult') Geddy Lee used when describing his experience of copping Squire's line to 'Roundabout' for his R&RHoF performance with Yes. Don't understand why you're wilfully subjugating his playing as like Dobbie Dawson's? When you make these comments about Squire's parts I assume you're factoring in your ability to sing harmony vocals and add bass pedals too? Like Dobbie Dawson didn't. PS nothing against Dobbie Dawson. Enjoyed '747 Strangers in the Night'.

Hmmm, we've never really considered compressors before. What do they do again?