drTStingray

Another good example of the chucking technique http://youtu.be/Sd8qWjwufEE

[quote name='Twigman' timestamp='1452719157' post='2952921'] 4:12.....how did they let that one through? That's the kind of timing mistake I would make...remarkable that he didn't overdub it. [/quote] I have never seen that as an error - rather as an over - exuberant fill. On the single it appears in the fade out - very similar to Nate Watts ever more extreme high register slides at the end of I Wish. I learned it as part of the bass part in 1978 - I learned it and always played it finger style - this along with Happy Man and Dance Dance Dance are songs where I think he uses that 'chucking' style with his thumb - although I never realised until more recently. I wonder if those drummers who struggle with the timing are obsessing over the high hat close sound/timing - it sounds reversed to me (just one of many clever Chic techniques - check out the reversed hand claps on Le Freak). More like they're chasing the bass pattern - forgetting funk and soul rely on steady drum timing, amongst other elements. I hope the audition goes well.

[quote name='Roland Rock' timestamp='1452456923' post='2950135'] Do you mean Sir Duke? [/quote] Yeah I meant Sir Duke (now corrected) - brain fade I'm afraid - I Wish is also in Eb as is Superstition.

[quote name='RhysP' timestamp='1452432937' post='2949856'] He's a good player, and was a good player from the first track on the first album. He's used lots of different basses over the years (Ricks, Wals, Kubickis, Peaveys) but was favouring Aria SB models at the time, which are very toppy, aggressive sounding basses. Play that line fingerstyle on an SB & that's what it sounds like. [/quote] Agreed - and I think it's fingerstyle and JT. Yes, JT did/does have Bernard Edwards' Stingray - he talked about it in a BGM article a couple of years back and said he'd used it a lot for recording at that time.

The colour's blue dawn - as you say photos don't pick up the subtle shades correctly - the pale blue is more of a turquoise in some lights, and the dark blues have a distinct purple in very bright light. Pacific blueburst is the same colour but translucent, and without the light sparkle. Congratulations on your new bass - I've had an HH 2007 LE since new and it's incredibly versatile - to the extent it's my usual gigging bass.

[quote name='Rich' timestamp='1452265789' post='2948270'] I love Jazz Basses, except for one thing that absolutely drives me up the wall (and has already been mentioned)... [i]TWENTY[/i] FRETS? WHY?? What the hell is the point of a range of E to E [i]flat..[/i]? [/quote] Not sure - but Nate Watts found it useful for Sir Duke - top note on unison riff is Eb!!

Crikey what a great bass part!! My thought on JT was that he played with fingers with the occasional pops. As epitomised on Girls on Film. Not sure whether this is pick or fingers. Very gnarly sound. I like his playing - had certain elements which gave him a unique style. On an Aria?

[quote name='Hutton' timestamp='1451898979' post='2944301'] I have also read the literature and would agree with you for the period up to 82. However, The basses produced after that were much better as Smith & Schultz were endeavouring to make good instruments once again. The standard basses were being built alongside the reissues and receiving the same attention to quality control. It was very much a period for Fender coming out of the doldrums and making a big effort to do so. It is therefore just not right to describe 80s Fenders as naff. My bass is not an exception to the rule. Give me an 82-85 bass any day over what was offered in the late 70s and yet look what prices a mid to late 70s bass will command. [/quote] I was a busy semi pro musician back in the early 80s. The point I was making concerned the desirability in the UK of a new Fender bass in the early 80s and the juxtaposition of that with the current sought after nature of some models. The only players likely to desire a Precision at that time may have been a young punk player or maybe a ska/two tone player. Any player aspiring to be fundamentally of the black R and B ilk (which many did - just look at the pop bands of the time such as Duran Duran etc) would not choose a Precision back then and those basses were really were not popular. Fender went through a sales nadir, as did many guitar manufacturers because pop music changed and keyboard based music became the thing. Many people seem to presume it was based on poor quality. Poor quality may have been an issue but only a small part of the picture. Ibanez Musician, amongst other basses,Trace Elliott amps etc were highly sought after in that period.

In the context of damage to basses, the answer is very little - they are mostly pristine. I'm extremely careful these days as guitars are easily knocked over by the most obvious and sometimes least obvious suspects - I well recall rescuing my SR5 from its stand just before a 2 yr old or so child reached it having made a bee line for it at an outdoor private party. The child's mother also caught up with him just in time as well - he had the choice of various old Gibson or Fender guitars but chose the natural finish SR5 - he must have liked the sound at sound check!! I make a point to always have my bass in its case and out of the way before anyone starts dismantling or moving metal work (such as drum kit), PA leads, Mike stands, cabinets etc. One or two basses have minor dings from being knocked over by clumsy fellow musicians (usually drummers or singers - the latter whilst fiddling with PA mixers usually) - it's really irritating when you get those minor dents in the side of the fretboard as a result - or odd headstock dings from being accidentally bashed by me on very low pub ceilings. However my Bongo, unusually, has a ding free headstock, and despite suggestions it could be possible, that particular headstock has never had anybody's eye out!! The worst incident I ever had was at a jazz quartet rehearsal in a small church hall with a parquet floor - I dropped my SR4 fret less on the floor completely off its strap and it landed flat on its back - the only damage was a very slightly bent and subsequently rattling G string tuner which I've since replaced. I only usually take one bass at a time to gigs nowadays - I used to take two to some gigs but really can't be asked anymore unless it's really essential.

I have 8 basses - they all get used in an ill-defined rotation but read on:- 2003 Stingray 5H 2007 Stingray 4HH 2010 Classic Stingray 4H 2014 Classic Sabre (Neptune blue, Mahog body, roasted maple) 1993 Stingray 4H fretless 3 band 1993 Stingray 4H 3 band 2003 Stingray US 5 Sub 2008 Bongo 5HHp Of these, the 2007 SR4HH is used most as it's the most versatile 4. The Sabre is very very rare, beautiful and I would hate to ding. The Bongo is the least used. Although the 93 SRH is a rare blueburst it's not pristine so is the bass used at jams where I have to provide the bass. If it gets bashed I'm less bothered. The 2 bands are often chosen for outdoor gigs as I don't have to fiddle with mids on the fly to deal with a combination of room acoustics - overloud guitars (on stage volume) and loud drummers. I love outdoor gigs!!! I do use the SR5 and Bongo 5 but they are my heaviest basses and also I don't play 5s enough for it to be totally intuitive. I'm comfortable using them whereas a four feels absolutely like home. I don't need 8 guitars, and yet I still get attracted to more - I have resisted so far in the last couple of years. Oh and I'm primarily a Musicman fan (stating the obvious), but also Fender, Wal and Ibanez Musician.

[quote name='GrammeFriday' timestamp='1451728172' post='2942742'] I’m not sure what you are trying to say, here. If you are saying that you have a photo that makes it look like the strings on your SR5 are no closer to the edge of your fretboard than my Sandberg, then I’ve no reason to doubt you. [/quote] This.

[quote name='GrammeFriday' timestamp='1451666235' post='2942253'] Sticking to the OP’s question (which was about design flaws in our [i][b]favourite[/b][/i] basses, not about what we consider to be design flaws in basses in general), two immediately spring to mind for me: 1. As others have already noted, pickup placement on the Precision is the wrong way round. It should be nearer the neck under the D and G strings. Solution: [url="http://s1333.photobucket.com/user/grammefriday/media/Sandberg%20VM5/photo_zpslla6q7ik.jpg.html"][/url] Sandberg do ‘reverse P’ placement as standard. 2. The G string on the Stingray 5 is too close to the edge of the fretboard. No, Stingray Fanboys, there is nothing wrong with my technique - it is a design flaw in the bass. Solution: [url="http://s1333.photobucket.com/user/grammefriday/media/Sandberg%20VM5/photo_zpslla6q7ik.jpg.html"][/url] OK, it doesn’t sound exactly like a Ray, but it’s close enough for me, and the G string stays firmly on the fingerboard at all times. [/quote] Funnily enough I have a photo of my SR5 showing the strings no closer to the edge of the fretboard than your Sandberg (nice looking bass btw). I can't post the photos unfortunately.

[quote name='Hutton' timestamp='1451684943' post='2942530'] I would like to extend to you an invitation to come and play my 1984 Precision. It is a wonderful bass. You could then compare it with all the other 80s Fenders you have played which has allowed you to form your OPINION. My OPINION is that I would not wish to own an Ibanez Musician as I find them too complicated, heavy, and not pleasing to look at. Mind you this is only my OPINION. [/quote] indeed and fine. I'm sure your Precision is just fine but I simply wouldn't have dreamt of choosing one back then. I would definitely have done so in 1972 Though - but music was different then. I presume you've you played an Ibanez Musician to form a view on their complexity. I can understand the point in weight - in my experience they are heavy (but my experience may not be typical).

[quote name='casapete' timestamp='1451689492' post='2942600'] Mmm, that Hokey [i]Cockey[/i] sounds an interesting variation...... [/quote] Sorry - auto correct, possibly, lol!!!

Played a Golf Club with two events - both with live music. Ours started at 930, two 1 hour sets stopping at 0015 promptly - the other was on similar timing but consisted of a duo (guitarists) with bass playing and drumming emanating from a box next to them. Seemed to go down as well as a proper band though. Was great fun and went very well - unfortunately the Classic Sabre disgraced itself being dead of battery at tune up - quick change and back to normal (I always carry spares but the first time they've ever been used). I noticed the Mark Bass 2 X 10s flapping my trousers when I got close to them.... I haven't played the Hokey Cokey for at least 30 years!! Great fun!! Excellent pay!! Back home just after 1 am.

[quote name='discreet' timestamp='1451674510' post='2942368'] Ibanez Musician MC-924 in polar white, I believe. Lovely-sounding bass. I want one. [/quote] I'd echo this - my son bought a left hander as back up to his Stingray - it is very good indeed, both recorded and live. I'd love a white one!!

[quote name='Dazed' timestamp='1451673058' post='2942339'] Peculiar bass choice from Mr Swift? An old Ibanez? [/quote] Apparently he's a big fan of Ibanez Musician basses. And why not - apart from being a little (or a lot dependent on your viewpoint) on the heavy side, they were a bass of choice in the early 80s - copping all the sounds of the time - you could even get an Alembic sound. They were quite expensive ($850 at the end of the 70s/beginning of the 80s). Phenomenal range of sounds and at the time p***ed all over Fenders, which were not in vogue. I remember seeing a function band where the bass player used one back then and was green with envy at the sound!! I particularly remember them doing the Whispers, And the Beat Goes On, and the bass sound matched the studio sound perfectly. An unsung classic bass which will cost you a fraction of the price of a similar aged Fender, which is shocking when you think an early 80s Fender was naff of the naff at the time (in the UK at least) - you could certainly get an impressive discount if you wanted to buy one back then!! Casio keyboards were more in demand than guitars also..... I may have a listen on iplayer (was out playing Auld Langs and Hokey Kokey at midnight!!)

Both. Though I favour be bop. Trad reminds me of Kenny Ball and his Jazzmen - the bassist went over to a Gibson Grabber bass (fretless) in those heady days of mid 70s fusion - though they continued to play trad stuff IIRC!

I've just been given two tickets to a Level 42 concert as a Christmas prezzie - I couldn't be happier 😊 Not till next October mind.

[quote name='chris_b' timestamp='1451306662' post='2939411'] Chuck Rainey and Bernard Purdie, the classic Aretha Franklin rhythm section. [media]http://www.youtube.com/watch?v=EXJx2NnnxA0[/media] [/quote] This is one of the only tracks (nice though it is)? Cogbill and Jemmott are quoted as the main bassists with Aretha from the 60s/early 70s - though there may be some debate over this...

[quote name='BottomE' timestamp='1451213706' post='2938788'] There is a wrong way to play this tune as evidenced by most incarnations that have come up in bands i've been in. Everyones playing the right stuff "technically" but the all important groove is missing. I think a lot of the feel is hard to replicate. Depends how self-critical one is. I always thought it sucked when we played it whilst others were more than happy. [/quote] This is exactly what I was getting at. It takes a rythmn section particularly, but a band which is capable of a soul groove to get there. In my estimation the drummers or guitarists are more regularly the ones who 'don't get it'. It's the same with funk. There are many are some who can play it technically, far fewer who can create 'that' groove!!

[quote name='RhysP' timestamp='1451212707' post='2938777'] I could "get out" every day from now until the end of time & I still wouldn't like Motown & Stax stuff. It does absolutely nothing for me, never has, never will. [/quote] That's what I said in the 70s and look at me now lol!! Motown Chartbusters Volume 3 is a good intro to Motown.

[quote name='kodiakblair' timestamp='1451268821' post='2939245'] Blue The man's name is Berry! [/quote] Thank you for this - I thought it was Benny.....

[quote name='chris_b' timestamp='1451179500' post='2938732'] Sorry, my next favourite would be Chuck Rainey. [/quote] I didn't think he played with Aretha? I'm afraid my mind isn't as orderly as that - I just have a big box called favourite bass players - Chuck Rainey's definitely in there and particularly owing to his contributions on Steely Dan albums - at a push I could split them into 'very favourites' and others but like Motown/Stax etc I certainly couldn't rank them in order.

[quote name='chris_b' timestamp='1450955283' post='2937306'] In spite of JJ's unique greatness I still prefer Tommy Cogbill with Aretha Franklin, David Hood with Mavis Staples, Duck Dunn with Sam and Dave and Vernie Robbins with Jean Knight. [/quote] How about Jerry Jemmott with Aretha? (I understood he did famous late 60s albums). I understand the point being made about the rawness of Stax - but the point is it's meant to be a soul genre - getting close to rock is something quite different - I don't think I've ever played with other musicians who have ever played Hard to Handle correctly with a soul feel - the chords in the turnarounds are invariably played incorrectly and the feel often turns into something akin to a rock song. Quite irritating for a soul fan like me as the original is great!! (IMO). (Not that I don't like rock as well - I just don't feel the need to convert every song in existence to that genre).