visog

Sorry just remembered - Quartz supporting the Rush?

I saw the Moving Pictures tour and the Stafford/Brum show was the NEC I think. I attended it and it was so exciting...

I did too! Permanent Waves tour... Awesome! Saw Yes there too a little after on the Drama tour. Great gig.

Gas mark 7 and rising!

Catchy name... "SREQM 400 DEB" It's got a real ring to it. What's the fingerboard made from? Will it provide a good playable and tonal surface?

To answer the OP, I'll pitch in with another vote for Chris Squire. But rather than sound lke him, or anyone for that matter, I'd rather develop a sound of my own that is distinct and embodies my musical voice. (I haven't BTW - I'm just citing the aspiration.)

Don't think a name is important - it's just a label you grow into. Agree with the second above too. Good example, 'Yes' which in itself is not particularly important in itself, compared with the pomp of 'Orchestral Manoeuvres in the Dark' say, but took on meaning as the band developed and Roger Dean designed the logo... Consistent presentation is important - however 'Rush' - good name managed with different logos each time. I like 'Elbow' but their name is ridiculous...

Don't know the answer to this. But to add to the debate I get the USB 'whistle' when editing and playing. Can't get rid of that so I edit on the unit too. Loads of fun otherwise. Criticisms would be that the tuner is all over the place and likewise with the amp/cab sim' volumes

That orange D-bird is saucy beyond belief... Here's one at the Bass Gallery: https://thebassgallery.com/collections/bass?_=pf&sort=created-descending

How much Richardd?

+1 here for EJ - glorious ecstatic playing and tone. Re. the singing... go with it. Allan Holdsworth's catalogue has some distinctly 'iffy' singing but it doesn't detract from the other musicians. Even got used to the clunk of 'the secrets of life in his attache'!

After looking at the sources cited... I can't tell if it's dodgy or a genuine tribute. The fact that it's fretted and has shiny pick-up covers doesn't help. So I'll sound in with the rather obvious advice that if you're considering buying one, try to hear and play it first.

OK I see re. the old stock but I think they'e been making "identical" replacement bridges for a little while now.

This doesn't swing... (Sorry)

Erm... think this is old news with several YouTube bassists promoting Allparts as the spiritual successor for a while now. However one of their main advocates, Jeff Berlin going with Babicz....

Erm I confess I don't know his oeuvre but I did enjoy Eric Clapton's 'Rainbow Concert' album which I think might have been a benefit for him? Prepared to be corrected on this...

What a shame. Always try before you buy. How a bass looks is always secondary to sound & playability...

I want to fat-shame your bass. Bet it sounds good though?

Back to the OP - for me Jaco was like a technical upgrade in bass playing from 16-bit to high definition: rhythmic subdivision and authority harmonic sophistication melodic phrasing and articulation tone and timbre It was a revelation...

If you watch the full vid, they comment on how this works in conjunction with distortions - amp or pedal. Very saucy.

Not my experience. When awesome Mr Shuker set-up my ramped-GB, I went back to my Warwick sans ramp and it was like walking on a net where you keep slipping through. For me it's a different experience: without a ramp it's a bull-fiddle for getting physical where as a ramp turns it into more of a classical guitar. You might justifiably ask how does that fit with the traditional role of a bass but there we are... that's my take.