jonsmith

Or they might just stick with Billy Sherwood, Chris's choice to dep for him while he was having treatment. He has been part of the Yes camp on and off for more than 20 years and has played a bit of bass live with them before (on the Talk tour).

Alan White has actually been with Yes for over 40 years! During the Union tour (which was great, unlike a lot of the album), Rick Wakeman said he saw Yes as something tha could continue for decades, albeit with different players (almost like an orchestra). The music is the important bit, not who plays it, he implied. However it's hard to imagine Yes without CS's basslines (ABWH suffered a bit without it, however good Tony Levin was - and as for Jeff Berlin...). There's also something special about the way Chris & Jon's voices worked together, that has already been missing since Jon went. I did go and see them with Jon's first replacement, who actually seemed to make a good fist of it on the night, but was less impressive to hear on the recording of the show. However, for a band that always seemed so energetic and "close to the edge" in the older days, it just lacked any sense of adventure, which saddened me and I never went to see them again. Edited to remove spellcheck sabotage.

One I heard about a few years ago - first dance: I Still Haven't Found What I'm Looking For. On a related note, believe it or not, I played a few weddings with the Dire Straits tribute I was in. Most went ok, some were great. During the last one we did, a gentleman approached the wife of our frontman and asked if she was with the band. When she said she was, he said he wanted to make a complaint. His complaint was that we only played songs by Dire Straits/Mark Knopfler. When she explained that this was because we were a DS tribute band, he said "that's no f'ing good for a wedding". He might well have been right, but he was pointed in the direction of the bride and groom, who had specifically chosen us. He was up dancing for the second set...

[quote name='Meddle' timestamp='1432333452' post='2780688'] If you are feeling brave, the identities of his Ricks are out there on Rickresource. The double neck is an original Rick and not the work of a luthier or ghost builder. [/quote] Are you saying the double neck is as it left the factory? Is there a link to that on RRF? All I've read on there says it's Dale Fortune's restoration, which started out as the mapleglo with headless six string neck that I included a photograph of in my post. It's now quite different to how it was beforehand (has a new 12 string neck that's swappable with a 6 string neck also made as part of the restoration, full width inlays, checkered binding, gold pick guards and TRCs, FG refinish), so has had a lot of great work by a luthier.

Replying to my own post...but I've found a photo of my 4080/12 next to the one I am sure Geddy is using and I can see that even back then (2008) the horseshoe is already gone from the restoration doubleneck. Note the very narrow walnut wings on the bass headstock, same as in the photo of Geddy Lee's doubleneck.

[quote name='Bassassin' timestamp='1431256364' post='2769222'] Now this is interesting, if you're a spotter like me: It's one of 3 things - a Rickenbacker one-off, a Rickenbacker Geddy Lee Sig prototype, or (shock, horror!) a COPY!!! Proper Rick tailpiece (as never before seen on a bass played by Geddy), full-width inlays, wavy Grovers, gold scratchplates, looks like bolt-on or set necks - & I bet it's got checked binding. Proper early 70s tribute, that is. This, more than anything else, makes me a little sad they ain't coming over here. Jon. [/quote] Set/bolt-on necks are normal on 4080s (guitar necks are bolt-on, bass necks are set, but also have a plate). I am almost certain that this doubleneck Geddy is using once belonged to the guy who very kindly helped me find both my Rick doublenecks. It was a restoration by Dale Fortune, complete with full width inlays (which Rickenbacker hadn't started doing again at the time) and, yes, checkerboard binding. It was in a bad way before and had a nasty headless six string guitar neck. Before & After pics below. I know the person it was restored for took the horseshoe out and put it in another bass - everything else looks identical to the bass Geddy is playing. Having seen the setlist, I can't help myself & I'm off to Vancouver in July.

I love mine too. One in particular feels just right. I don't know why and I could imagine that another player would pick it up and wonder what I saw in it, but it's right for me and that's what counts. It's been wonderfully versatile for me - in the past twelve months it's been equally at home on a punk EP and a country album.

[quote name='51m0n' timestamp='1419210508' post='2637704'] If you wanted an example of perfect 80's production the it has to be this, nothing else cones close, Bruce Swedian is a God..... [url="http://www.youtube.com/watch%3Fv%3D5-405Vvn3OU&ved=0CCIQtwIwAQ&usg=AFQjCNGerhZAj1kBGMT793dBmmcPLqubbQ"]http://www.youtube.c...793dBmmcPLqubbQ[/url] [/quote] What is the link to? I keep getting a terms of use violation message when I click on it.

Assuming you've already got the sounds on a synth or sampler, Roland PK5 pedals sound like what you need. I used to use them when I was doing the Rush stuff and I'm about to bring them back for my originals band. I'm triggering a Roland Fantom XR with them.

I was, until someone became quite delusional...oh well, let's just say that none of us are in that band anymore, but three of us are in the process of forming a new one.

Well the basic premise of the programme was supposed to be how one band had not only had success together, but spawned so many solo careers as well. As Steve has had a prolific and quite often artistically successful solo career I can understand him being a little peeved about the final edit, which seemed to imply that he just wandered off into the sunset some time in the 70s, never to be seen or heard again until now. While commercially not up there with PC's, PG's or even MR's, It could be argued that Steve Hackett has had a far more successful solo career than Tony Banks, with several top 30 albums and a few even getting into the top 20. Despite Mr Banks claiming that his first solo album made the top 20, the accompanying visual said otherwise...yet his solo career got quite a bit more air time than Mr Hackett's (not hard as Steve's got zero coverage). Seemed a bit odd to me to have not mentioned it at all, especially as Steve was the first one to record a solo album (which actually caused a bit of resentment within the Genesis machine, despite two of them appearing on it). The conversations with the five of them in the room were very interesting though, especially some of the looks and body language. Even Mrs S clocked some of the stuff that wasn't said (verbally at least). Would have liked to see more of those discussions and less prattling, mainly from non-entities with little of consequence to say. I don't need someone who probably doesn't even really know that much about the band to help me understand - just show me the story, let the band talk and I can make up my own mind - but such is the nature of these types of programmes. Good idea, dreadfully executed.

Most of my basses are sort of mid-price to relatively expensive and I've grown quite attached to them. A recent trip to the US had me worried that whatever bass I took might have an accident in transit or go missing. Thinking I'd be rather upset, I bought a Squier Affinity PJ for £190 to use on the trip. When it arrived, I got the toolkit out ready to adjust the action and intonation, only to find it was perfectly intonated and I was quite happy with the action. I ran it straight through the PA for a couple of gigs I did before we left and it sounded great. I've done about a dozen gigs with it so far and it's more than paid for itself. I loaned it to a young bass player nearby who was really impressed by it so I ordered one for him which he loves. If I'd one complaint, it would be that the tuners are a little too easily upset by being put in the case etc., but that's being picky. For the money, I can't believe how good it is and I'll be keeping it for similar trips. The airline managed not to damage it, but they did push one of the feet in on the case I used for it.

[quote name='bartelby' timestamp='1410528013' post='2550413'] This is like a simplified version of the Critical Listening course from Belfast uni that you can do online. [/quote] I started that, but in the end there were just too many exercises for me to fit it in to the rest of my life. Pity, as I was finding it useful for mixing recordings. Some pretty tough exercises - trying to pick out a 1dB lift at 12kHz (especially with my hearing being how it is these days).

I downloaded it out of curiosity, especially as they were claiming they'd gone back to their roots and also claiming to be paying homage to The Clash. Not really upset about what Apple have done - I can have a listen and then delete it. I think it's Apple who have lost out here by paying for this - on first listen I genuinely think the album should be given away for free anyway. If it wasn't U2, I don't think anyone would even be interested in it.

Years ago, at a gig in Holland, a tribute band I was in was supported by a Dutch CCR tribute band. They were extremely good - if truth be told, I think I actually preferred their set to ours. The punk band I'm about to depart from does a sort of punk version of Fortunate Son. People are always surprised it's in our setlist, until they hear it and realise it fits in really well.

[quote name='wateroftyne' timestamp='1404242286' post='2490773'] This is what I was alluding to earlier. Prepare to be surprised... [url="http://www.scribd.com/doc/16571113/BVbass2"]source[/url] [url="http://www.talkbass.com/threads/bassist-on-black-velvet-cool-fretless-stuff.120693/page-3#post-8196982"]Source[/url] [/quote] Reading both those sources though, it seems it was a sampled bass, so I guess you can still feel it's how a bass should sound. (AM's info seems vague enough for me to believe that the guy who says his bass was sampled is correct.) Oh & plenty of older songs than that in many covers band setlists, so an awful lot of stuff needs to be dropped if we need to move on from that because of its age (including 75% of the stuff the band that I did it with still does).

Played this for a while with one of my bands & the singer could certainly do it justice, although she'd have preferred it if we'd dropped it a semitone, like the original. I'm a bit ambivalent about it, but it always went down really well.

I've got a Rick 4080 (and a 4080/12 as well). They do get a bit heavy after prolonged playing, so I ended up just using them on the songs they were required for. I had a "Steinberger" Spirit 4/6 for a few years, until it got stolen from my old house in Ealing. It was fine and a bit lighter than the Rick (I still preferred the Rick, but that's me!). Like bertbass I also used bass pedals when I was on 6 or 12 string.

I spent 5 years playing Dire Straits songs in a[size=1] tribute[/size] band. I had a lot of fun playing the songs. Not the most complex of basslines, but always good for the song and the songs really are all about feel more than technical ability. (Live at least) a Precision was the early bass of choice, then a Musicman. The Wal appeared around the time of Love Over Gold - JI claimed sound engineers told him it was easier to mix. Later stuff was done on a Jazz. From what I can remember, I don't think he changed his strings very often, but I think he might have for the BBC sessions!

[color=#37404E][font=Helvetica, Arial,]BASS, BASS, BASS! The Scalextrics need a new bass player. [/font][/color] [color=#37404E][font=Helvetica, Arial,]We play classic tunes of punk, new wave and ska from the 70's and 80's.[/font][/color] [color=#37404E][font=Helvetica, Arial,]From The Clash to The Specials.[/font][/color] [color=#37404E][font=Helvetica, Arial,]Anyone interested please forward an e-mail to [email protected].[/font][/color][color=#37404E][font=Helvetica, Arial,]uk[/font][/color] [color=#37404E](List of recent songs attached - Microsoft Word document)[/color]

The Black Album is superb (just pips MGE in my opinion), with some great playing from Paul Gray & a brilliant Rick tone. Working on getting Wait for the Blackout into The Scalextrics set at this very moment...

Mains in laboratories (at least the ones I've worked in) and medical establishments is often conditioned and regulated though, so it ought to be more stable and interference free than what most people have in their houses. Not convinced that a different mains cable would have much effect on this though. In the past, I have experimented with different speaker cables and interconnects & I can hear some slight differences. I wouldn't say that more expensive = better (I think this is fairly subjective anyway), but cables can make a slight difference, at least in the non-digital world. I can also hear differences between some instrument cables.

I use the RH750 these days (with my 450 as a backup) and I don't find it underpowered. I am a bit heavy handed though & the TC approach probably evens that out a bit (to my benefit). I did share the bill last year with a band where the bassist used an MB setup of a similar size. Don't know whether it was the cab, the amp, or the eq settings, but it was very slightly superior in terms of low end solidity in my opinion - not a lot, but it was apparent.