JJTee

C'est Chic.

Be playing along to this track...am now wondering whether Bernard was using his "chucking" techniqiue (the one use in Dance, Dance, Dance, and Everbody Dance - where he used his index finger as a pick) during this song - particularly during the octave 16th notes, and the outro...2:50 onwards. Thoughts? Cool song anyway...whatever technique.

6th Form Folk Evening, probably late 1992.... Enter Sandman on a Aria Pro II Spirit, though a Carlsbro B-150w 15" combo.

Great stuff - this is really useful. I'm definitely (one day) after a Stingray with that old-school Bernard Edwards sound (rather than a more modern zingy tone - I have a Fleabass for that). Sounds like the classic is the one! Cheers!

Having seen The Prodigy on the Fat of The Land tour, 1997/98 in Brighton, I can vouch for the level of bass their old PA system could generate. Without a doubt, the heaviest, deepest, most powerful bass I have ever heard occurred when Smack My Bitch Up kicked in. I could feel the front of my eyeballs vibrating - rather unnerving...

1) Bernard Edwards 2) Rutger Gunnarsson 3) Pino Palladino 4) Flea 5) Chris Wolstenhome Probably.

Here's a vid of Chris's current gear.... [url="http://www.youtube.com/watch?v=YSsE-skFkv4&feature=related"]http://www.youtube.com/watch?v=YSsE-skFkv4...feature=related[/url]

Mine arrived this morning. I'm about to move into a flat and want to isolate the speaker from the floor to minimise the amount of bass transmitted into the floor below. First impressions: bloody brilliant. Really tightens things up and allows mids and top frequencies to stand out a little more. Very impressive. I 'm thinking of getting two of the big ones to form a platform for my little Roland HD-1 drumkit and me to sit on - I'm worried the sound of the foot pedals will go straight through the floor - I think this could be just the ticket.

Just ordered this: [url="http://www.amazon.co.uk/Iron-Maiden-Anthology-Recorded-Versions/dp/1423420454/ref=sr_1_2?ie=UTF8&s=musical-instruments&qid=1282832144&sr=8-2"]http://www.amazon.co.uk/Iron-Maiden-Anthol...2144&sr=8-2[/url]

[quote name='niceguyhomer' post='933080' date='Aug 22 2010, 09:06 PM']...I've had a TC Comp Nova, [b]Demeter [u]Copulator[/u][/b] and owned 2 Multicomps - they all did the job beautifully...[/quote] Now that sounds an interesting pedal...!!!

I bought my first Maiden album (well, a compilation - Somewhere Back in Time) this week at the age of 34! Bloody good it is too - can't stop playing it.

I have a transcription for it somewhere. Will try and remember to scan it. It's played on a fretless stingray btw, but sounds pretty good on a fretted with healthy dose of mid-range growl.

Some insight into the ABBA sound

I thought it was drop-D on the bass, to get that low open D note and octave above at the beginning. However, I'm sure there's a low C# in the chorus, so I think it may be drop-D detuned half a step. Maybe. Or maybe he has the bass set up BEAD.

And this is how NOT to play the intro... Poor Duff, must have been a heavy night...

Cheers guys - I think I'll start off by e-mailing Fender UK and see where that gets me.

Any ideas? One has mysteriously gone missing...

I'd like to get two of the Great Gramma, so I can put my electric drum kit and stool on there. I'm worried that the footpedal noise will go through the floor when I move into my new flat, so this could be just the ticket.

I had some work done by Martin Phelps in Croydon, which was very impressive. [url="http://www.martinphelpsmusic.com/workshop.htm"]http://www.martinphelpsmusic.com/workshop.htm[/url] Also has pickup changed on my Aerodyne - I went for the Bassline quarter pounders. Very good results.

By the way, PM me if you would like a full transcription (including tab) of the bass line for Dancing Queen, and partial transcription of Knowing Me Knowing You. I'm sure I have a scan somewhere from an ancient magazine, which was spot-on for accuracy.

Done a bit more research and found at some more info on the "other" ABBA bass player, Mike Watson. All from here: [url="http://www.abbasite.com/the-story/people/musicians/mike-watson"]http://www.abbasite.com/the-story/people/m...ans/mike-watson[/url] "[i]Born in Sheffield, England, bass player Mike Watson has been in show business since the age of eleven. He came to Sweden in 1964 as part of the Hi-Grades, American singer Larry Finnegan's backing group during his Sweden tour of that year. Subsequently, Watson became a member of various Swedish bands, most notably Lenne and the Lee Kings (who scored two Number Two hits in 1966 with Stop The Music and L.O.D.), and Lasse Samuelsson's Dynamite Brass. Mike started working as a session musician in 1969, and did his first known ABBA-related session in July 1971 when he played bass on a Frida single, produced by Benny. Watson also contributed to People Need Love, the very first recording issued under the name Björn & Benny, Agnetha & Anni-Frid. Although Rutger Gunnarsson was to be ABBA's most frequently used bass player, Mike Watson played on notable tracks such as [b]SOS, Mamma Mia, If It Wasn't For The Nights, The Winner Takes It All, and Super Trouper[/b]. He is also the man dressed up as Napoleon on the cover of ABBA's Waterloo album. Today, Mike Watson is best known as a singer and performer in his own right. He was the leader of the cover band Little Mike and the Sweet Soul Music Band, who were very popular as live entertainers in the mid-1980s." [/i] So you can cross SOS, Mamma Mia, If It Wasn't For The Nights, The Winner Takes It All, and Super Trouper from Rutger's work.

Fantastic bass player - effortlessly cool, musical bass lines. There are too many great lines to list. I love those strange notes he plays at 3:11 to 3:14 in Knowing Me Knowing You. They shouldn't work, but they do. There was another bass player for ABBA - an English chap called Mike Watson (I think). I'm sure I read somewhere that he played bass on Mama Mia and The Winner Takes It All - both great bass lines. Anyone know any more on this?

[quote name='Mr.T' post='705223' date='Jan 8 2010, 10:22 AM']I am going to stick my neck out and say that I don't think there is a 'Trace sound'..... as such. Unless we are talking about the 'pre-shape' button, which in my experience with my bass, would sound great solo but get me lost in the band mix. The strength of old Trace gear (for me) was it's ability to get any sound that I needed. From warm to clanky.... It's all there by the bucketload. The 11 and 12 band EQ sections are extremely powerful, and if set-up well can offer a huge range of sounds. However, if set-up badly can be made to sound crap. I struggled for nearly a year to get 'my sound' back after selling my SMX.[/quote] Couldn't agree more. I had a AH600SMX for about 10 years. Set flat, the amp sounded...well...flat - a pefectly usable sound that didn't make me think "ah, this is THE Trace sound". A bit of tweaking with the 12-band eq and there was quite a palette of sounds available. Pre-set 1 (on the SMX range) was the mid-scoop sound - as said above; great on it's own, but gets lost in a band context. Have a GK amp now - turning the contour control fully up brings a very similar sound to the TE pre-set 1.

I see they're looking for a new guitarist... [url="http://news.bbc.co.uk/newsbeat/hi/music/newsid_10000000/newsid_10003500/10003514.stm"]http://news.bbc.co.uk/newsbeat/hi/music/ne...00/10003514.stm[/url]

I have a few tabs from Bassist magazine from a few years ago. Can always scan them for you. House of Fun is fantastic in particular.