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leroybasslines
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Mystery solved.
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This dude just released a version which is definitely more accurate than mine. He nails the bit I struggled with in the solo section. Very impressive, fair play - I’ve never seen him on YouTube before but he’s a player! Still, I’m happy to have been the first geek to do a version of the full tune on four string. And I reckon I do the Meshuggah bit tighter and harder than him because I can guarantee that listen to more Meshuggah than he does…🤘
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Thanks man! I’m jealous that you get to start your crazy Knower journey from scratch now…
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I don’t know that…is it a band or a tune?
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Very, very much recommended! Their latest has some incredible bass action throughout.
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Afternoon all! When Knower Forever came out on Bandcamp it absolutely blew my mind. I’ve loved them for years but this record went to the next level. One song in particular stood out for me - Do Hot Girls Like Chords. I obsessively tried to work it out by ear from the record - no easy task given the amount of stuff going on - two keyboards, bass and guitar doing all kinds of stuff sorta/kinda in unison. I knew they’d recorded it live so I thought it would be interesting to compare what I’d worked out by ear with what Sam Wilkes was actually doing when I could see the YouTube video. Needless to say, as soon as I saw it I had to go back to the drawing board. Wilkes is a brilliant player and although Mononeon gets a lot of the attention for his performances on the record, Sam’s stuff is absolutely incredible. Anyway, I did a YouTube cover mainly to give myself a target to aim for and a bit of accountability to help me keep working at it. Have a look and let me know what you think - I’m currently able to play the verse chromatic riff right about 80% of the time on a good day which I’m ok with, but any tips on how in god’s name to play Wilkes’ fill out of the solo section will be most gratefully received. Anyone else enjoy trying to learn stuff way out of their comfort zone, obsessing to the point where you neglect family, personal hygiene etc? ✊
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leroybasslines changed their profile photo -
Up for very reluctant sale is my Stentor Conservatoire 3/4 sized double bass. As the PJB combo you can see I’m the pics has just died and I need a replacement, and my 13 year dalliance in upright bass has resulted in tendinitis due to my lack of effort at learning proper technique, I need to sell this ASAP. I’m open to sensible offers! I purchased this bass in 2009 from a young lady who was upgrading to an instrument more suitable for a professional orchestral player. She played classical music so the bass is set up for arco playing - it has Spiro Weichs on it now but the action is perhaps a touch higher than most jazz/folk players would go for. I just got used to it and liked the big sound! The Conservatoire is a fantastic instrument for the price with a fully carved body. This one has a lovely big, warm sound. I’ve gigged this bass a lot and it has a few cosmetic scuffs. However, in the interests of full disclosure there are a couple of key things that I want to point out… 1) On the VERY FIRST GIG that I played it, I laid it down carefully on the stage only for a punter to kick it over onto its bridge. This caused a serious crack in the back of the bass near the sound post. I thought it was a goner, but the geniuses at Bristol Violins performed key hole surgery and used small patches to fix the crack. It’s been absolutely stable for 13 years and it’s almost invisible on the outside. 2) There is also a small crack in the heel of the neck that was present when I bought it. Again, thus has been completely stable and hasn’t expanded in the 13 years I’ve owned it. 3) Finally, the end pin is a bit sticky and I sometimes need to use pliers to get it out. I’ll throw the pliers in for free! Other than that, it’s been a totally reliable workhorse of an instrument for me for over a decade. Also included in the price are the installed David Gage Realist pickup which works brilliantly, the French style bow which I’ve barely used, the stand and a Will & Tom soft case which is tatty and well-used but does a job. I’ve tried to explain as best I can and get photos of the details, but if you have any questions please do get in touch! Collection only (obviously!) and feel free to come and have a look and a play if you’re genuinely interested. You can hear me playing the bass here: And see it and hear it here: And, it case you’re still interested, also here: Cheers, Liam -
Thanks everyone. I think you're all right - time to move onto something new. I did speak to a tech local to me and he said he wouldn't be able to help much. Thanks for all the suggestions...time to hit the shops!
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Hi there. You know when you plug in your amp for a bit of a play and after 5 mins smoke starts pouring out of it and you decide that, all things considered, it’s probably best to turn it off and not turn it on again? Yeah, that. It’s a PJB Suitcase, the original model. I’ve had it for a good 15 years and it’s worked hard - loads of gigging - so I’m not surprised that it’s feeling it’s age. I now need to decide whether to repair or go for a new amp. I’ve just finished reading a thread on here where a basschatter had a serious headache dealing with PJB and Selectron, their UK distributor. I was wondering if anyone else has dealt with PJB and Selectron and had any tips? Or advice on whether to stick or twist with the Suitcase? I’ve got a busy summer of gigs coming up so time is a factor. Any wisdom most gratefully received! Thanks, Liam
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I've got a Lakland Skyline 55-60 into which I put my J Retro which was on a Fender Jazz. It fits pretty close but not exactly - the scratch plate and the bell plate don't exactly line up. It's close enough for me to not be bothered, but some might be driven crazy by it! Depends on your tolerance for such things. I *think* the J Retros that used to be an option on the Skylines have a slightly different bell plate or scratch plate to make them fit. If you're thinking of adding something like a J Retro, I'd say go for it - it'll be close enough and pretty easy to cheat it. Just took some pics for reference. It's pretty hard to tell from any kind of distance but close in you can see that they don't quite fit.
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Listening to Street Life now, and it's definitely a Fender Precision - the P 'woody' sound is pretty upfront - and I'm guessing flats. I'd like to echo those on this thread that have emphasised practising and technique over the equipment though. A Precision-style bass with flats will have a sound, but so much of the sound on that record is to down to how Wilton Felder plays. To me, it sounds like he's playing quite hard, digging in to get the sound of the strings on the fretboard with big attack. However, he uses his left hand really well to mute strings, let them ring and vary note length. For me though, the biggest thing is his natural sense of timing, how he plays with the drum pattern. He's really listening to the hi-hat and locking in with the pushes as well as the more usual kick-drum/bass combo. Sometimes he's playing quite ahead of the beat too, especially in the solo sections which gives the whole thing a light, uplifiting feel with a lot of forward momentum. I'd also agree that this tone is more of a disco, late 70s funk vibe; when most people talk about a vintage tone they're talking about Motown, James Jamerson, Bob Babbitt etc which is quite a different vibe. Again though, it's down to their playing technique and approach more than anything: they're pretty much all playing Fender Precisions with flats but it all sounds different because of HOW more than WHAT they're playing. Hell, Steve Harris plays a Fender P strung with flats but I think we could all agree that he sounds a bit different to Felder and Jamerson. I've tried and failed to find video clips of Wilton Felder playing bass (he's usually on sax live) but I'd recommend just listening to as much of his playing as you can if it's his sound that you like. I Want You Back is the obvious next step in the Felder canon. Try and work out what he's doing and the choices he's making and just try stuff playing along until you sound similar, but make sure your really listening. Gear is great and helpful, but you'll be amazed what you can do with what you've got just by thinking about your hands and being a super-critical listener. And don't forget how much of your sound comes from your left hand! I'm rambling now, sorry. Good luck!
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Ha! I used to beak loads as a lad when I used to hammer it, but it’s almost unheard of now. These had been on this particular bass for years - I tend to put them on, play them in and leave them there forever. The E string just went under the slightest of touches: it was its time. I just feel sad to be losing the set - they’re like old friends!
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Picked up my bass for a play earlier and with the very first note the E string broke. Immediately, the darkness descended as I realised I’ll have to change them. Am I the only person out there who feels genuine grief at losing a set of strings? I mean, we’ve been through so much together...it took so long to play them in...they were almost a part of me. And now I’ve got to raise a new set up from scratch. 😢
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The stuff on travel expenses etc on that doc is really useful. Thanks!
