visog

I live in Leamington, like Hadrien and am keen to support Bass Direct but had a Mug Shot and a Caramac instead. Was he good?

He's doing a social club in Leeds. Hope the members turning out for a pint of mild with a couple of comics, a drag act and then a few strippers are prepared for Stanley's face-melting fusion...

Basschatterers, So... 4 finger pluck propels me up a scalar line nicely up this pentatonic line: E-string: C (RH T), D (RH 1); A-string: F (RH 2), G (RH 3), G# (RH T), A (RH 1); D-string C (RH 2), D (RH 3) All one in two nice RH T123 sequences. What's the best way of coming back down? I'm using: D-string: D (RH T), C (RH 1); A-string A (RH 2), Ab (RH 3) G (RH T), F (RH 1); E-string D (RH 2), C (RH 3) That's seems to carry through the 4 finger RH patter but you have to separate your left hand direction mentally from your right hand. What would Matt Garrison do? What do you do?

What about a Heineken with Hadrien? http://www.bassdirect.co.uk/bass_guitar_specialists/Home.html So many fusion bass players and nights out, and beers... what's going on?

I did say I was a newb on this... I have my looper before my Triple-delay to generate content for the soundscape. That's why even if I switch my looper out, the delay is effecting my real-time playing.

So Effect-enabled BC'ers, I'm new to the world of effects beyond stomping on a chorus or an octaver. Recently I've been getting into creating echo-driven soundscapes with a looper and delays. Currently I record these and then play over/under them. What's standard practise to do this in real-time? I.e. disconnect from the soundscape generating effects, letting them play on whilst switching over to my Two Notes LeBass grit tone for bass/solo duties? Would the new Boss MS-3 be good (expensive!) solution which could give me more options? Please advise...

Andertons peeps review including bass - clean and grunge: https://www.youtube.com/watch?v=q8AQeY3_t9c&t=1566s And some other reviews here too: https://www.youtube.com/watch?v=fqxxfPTnH48 https://www.youtube.com/watch?v=x3c8sL72b_Q https://www.youtube.com/watch?v=-JNy5L3yVQY&t=32s Plus some the first couple of a series of set-up guides... https://www.youtube.com/watch?v=rBaXLCMHt7E https://www.youtube.com/watch?v=aX2WB6fUkwg&t=4s

There are some formulas out there... I don't think 'Mustang Sally' is catchy so much as it's familiar and dare I say it even expected of live bands. One formulaic hook I'm hearing all the time at the mo (Katy Perry especially) is the 'yeah - eh -ay - eh' across the 5th and 3rd of a major alternately. See 'California Gurls' Catchy to me is Pharrell Williams' 'Happy' or Daft Punk's 'Get Lucky' which are both seriously good songs. An analysis of the latter here: http://alexbaileywriter.com/why-daft-punk-get-lucky-is-catchy/

So all due respect to some wonderful music brought forward in this thread. Teen Town a special mention. So I get the groove aspect - Patrice Rushen's 'Forget Me Nots' being a great example. What about a longer form line - much, much longer: one that develops into a stunning crescendo against the prevailing music backdrop, one that has humbling musicality that alas we'll never get back: https://www.youtube.com/watch?v=J6QJ-z6fDEQ

OK so not matching all your options precisely but in the spirit of your question I post this... https://www.premierguitar.com/articles/25611-bass-oddipreamp-pedal-roundup

Prog! Glorious great gobs of righteous melodic and harmonic music: Chris Squire, Geddy Lee, John Wetton; Greg Lake; all the greats... Also Allan Holdsworth; Keith Emerson...

Wow! is there still a musicians union!?

EDIT oops sorry - just read the critical word 'set' so I can't help directly. But try the Strings Direct site as they seem to have pretty-much everything!

Yes stunning guitarist - seem to remember him on Rockschool demonstrating his technique of riffing whilst highlighting certain strings to accent parts of chords. Apparently Bernard suggested it to him. Anyway he took it to immense levels on things like 'Le Freak'. That is a great guitar part and I can't imagine it's easy to play. One thing that gets overlooked with Chic besides their great bass/guitar skills is the chord sequences and string arrangements on the Chic hits (e.g. 'Everybody Dance') which they took with them to other artists when they produced: Sister Sledge's 'Forbidden Lover' and Carly Simon;s 'Why'. Not sure if that's Nile or Bernard or both?

He also had the rather challenging role of dep'ing for Jeff Berlin with Bill Bruford's band... Caught on the OGWT here: https://www.youtube.com/watch?v=UrExNIyA3lk

I'm sensing that the Cali will most help me with the Urei inspired 70's rock grit-o-tone of the Squire/Lake/Wetton variety... I think I want that slight colouration as well as squelch?

OK Basschatters, Indulge me a little as I know this is an oft covered subject but I've reached the conclusion that amongst tier-1 compressors, the Darkglass SS and Cali are legendary then we have the Keeley, TCs etc. What's the verdict - is it one of these top-two or is the a cheaper giant-slayer? (After a crunchy distorted tone with a squelchy attack, softer notes boosted and the peaks pulled baick.) Let me know opinions...

So there's two sets of memorisation here: you can probably get the finger memory for the parts quickly, especially playing along with track. Then there's the broader memory of the song for and changes between the different sections. I wouldn't like to commit to your timings but it depends on you and the tune: Ramones or Pink Floyd... very different.

[quote name='GuyR' timestamp='1492447333' post='3280311'] Add Stanley Clarke to that illustrious list with an appearance and fab solo on "if this bass could only talk" [/quote] Oh yes - 'Stories to tell'. The way AH comes in at the start is hilarious. It's like he's butchering a cat. Stanley, Stuart Copeland and AH almost formed a band 'Electric Rush Hour' but I don't think AH would commit and it morphed into 'Animal Logic' with Deborah Holland.

Agreed with all of above. I'd add the production was excellent too - punchy and clear.

Judge him by the company he kept basswise - I've got: Alphonso Johnson Paul Carmichael John Wetton Jack Bruce Ernest Tibbs Gary Willis Jeff Berlin Jimmy Johnson Skuli Sverrison Anthony Crawford Jimmy Haslip Evan Marien

Tragic! He was my harmony-super hero! So sad. This and Chris Squire. Loved his records. Couldn't get into them for a while but when you did... nothing else came close. Non Brewed Condiment a classic, But Sand's Pud Wud probably the best guitar solo ever!?

- Do your research - Go with a specific objective in mind - Mark and the team have always been ready to set-up a 'shoot-out' of what I'm looking for, and the best alternatives. Have gone away with either a purchase or confident non-purchase - both good results. BD not good for 'no idea' and 'no budget' browsers. They're not there to entertain!

The Cali comes up a lot. One to look at. What about a SuperSymetry? Any recommendations for this style of playing with notes driven from the left hand and as a consequence, a volume discrepancy between hammer-ons and pull-offs and strong/weak fingers? (I know my technique should be better - don't judge me.)

Hi all, This may possibly morph into another compressor thread but I'm trying to find an effect that will boost the quieter notes of legato lines. So I'm getting a sweet tone out of a Two Notes Le Bass but I'd like to boost the quieter notes of a legato line say from a hammer-on from the 3rd to the 4th finger which is markedly lower in volume in say, a hammer from the 1st to the 3rd finger, or the whole range of pull-offs. I suppose the solution could be a booster pedal but I'd be keen to hear from the tone and pedal connoisseurs out there. Any suggestions? Visog