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4000

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Everything posted by 4000

  1. Never really understood that as although Wals are often heavy, mahogany generally isn’t that heavy really IME. I’ve played many mahogany-only bodied basses that were pretty light. I think size and thickness of body are a big factor. I believe Chris favours heavier ash rather than lighter, although I’m sure he uses both.
  2. That’d be no use at all for me. I’m at the dusty end at least as much as anywhere else. 😉
  3. I really enjoyed my Korean Squier P. Sold it because I was having some issues with my left hand when playing it, and ideally it needed a fretstone, but would happily have it back. In a band it was better than some boutiques I’ve had. I think it was £120, plus a new scratch plate and wiring loom.
  4. Oh I know Dave, I said as much in an earlier post. I was just responding to that particular post about why people are so concerned about weight.
  5. There was a time when I wanted to learn everything and be as good as anybody at everything. Then I grew up.😉 Seriously, I didn’t often need to slap, and although I was not bad at it was never going to be Mark King (which would be pointless anyway unless you were in Level 42), so that pretty much fell by the wayside. My fingerstyle (and the slap to be honest), suffered badly when I started having problems with my right arm, although I was always more of an Entwistle than a 16th/32nd note groove machine. I was never interested in tapping, or certainly tapping whole tunes, which on bass I always thought sounded a bit pointless, so never bothered much with that. Thankfully my pick playing was always very good. I did wrestle for long periods with trying to play other people’s styles, but eventually grew to realise that many of them didn’t feel natural and/or I wasn’t great at them. I play best when I’m being me, and the more I accepted that, the happier I became. I remember Dave Gilmour saying something similar. One pivotal moment for me was playing before Martin Turner at a festival. I played the gig and sat and watched his set. I loved what he was doing in the context he was doing it, the band was great and his sound was great, and I suddenly realised that I actually approach things in a not dissimilar way with a not dissimilar sound. I then realised that if I’d been watching me, I’d have liked what I was doing, which for someone who has always been very self critical was something of an eye opener.
  6. I have a problem with weight because I have a bunch of prolapsed discs in my back. If I put on a 5kg bass I would get nerve pain (feels like electric shocks) through my abdomen and my legs would go numb. Then I would have all sorts of other issues I won’t go into here for the next several weeks at the very least. I’m about an inch away from surgery as it stands. Not everybody has a healthy back. Especially bass players! Personally I’ve often also preferred the sound of lighter basses, which is lucky really!
  7. I guess it must be about the combination of player and instrument. I’ve used all sorts of things, Alembics, Warwicks, Jaydees, Seis, Wals etc etc and everyone always says my Rics sound best. In fact one old band member once said, quite bluntly, “I dont know why you bother using all these other basses because that one sounds miles better than the others”, pointing to my Fireglo ‘72. Another commented on my newly-bought Roadworn Jazz, “that sounds really weak and nasal”, which is the story of me and Jazzes, sadly. They really liked my 8 string Ric though. Great bass.
  8. To be honest I don’t think they do generally sell for a ridiculously low price. No different really than Seis, Shukers, Jaydees Etc. I used to spend a fair bit of time at Overwater, years back. Chris is a lovely, lovely man. Showed me round the whole place once. I’ve always been reasonably indifferent to their basses though. From the conversations I had with Chris, it was plain that the sound they were generally after was a neutral one, hence why many session guys favour them (and also their championing of EA, which I hate). Unfortunately that’s the opposite of what I like. Also, I like “guitar action”, as Chris put it, which doesn’t match their general setup principles. I suppose really I’m a guitaristic bass player, rather than a “real” bass player, so not really their demographic. Many Overwaters are very heavy, but they’ll build you something lighter if you ask and the instruments are very well made. I respect their ethos and product a great deal, the instruments just don’t really grab me; which isn’t to say they couldn’t build something that would.
  9. I sometimes wonder about the people in other people’s bands. In mine, if I bring a different bass, or change my sound, it’s almost always commented upon. They certainly noticed the 8!
  10. Spoken like a man who has never experienced the sonic hugeness an 8 can provide. Think a 12 string guitar but enormous.😉
  11. FWIW, as someone stated above, there’s not likely to be any more 4005 basses while JH is around. He really doesn’t like them and refers to them as tuna boats. I’ve only ever played one. It was ok but the bridge pickup was too near the bridge for me. My 4003s8 on the other hand was awesome.
  12. It’s usually referred to as the potatohead. Just so’s you know. I first saw one about 40 years ago. 😉
  13. Lana Del Rey. It strikes me that apart from when I delve into my old Prog faves, much of the music I listen to these days is very much not about the bass.
  14. I think the E on my Stanley wasn’t so much dead as different in response to what I was used to. Strangely, given the Stanley connection, it was however the best dub bass Ive ever played. Cheers for the offer, I might take you up on that sometime. I’m not getting to a London much currently - still belatedly paying for driving lessons - but I do get down from time to time. I can play 5s and 6s, although my damping will be rubbish these days having not played one for yonks, and I would probably be pretty rusty (to put it mildly) generally.
  15. At my time of life a super-intimate gig sounds like bliss. I still go to gigs but most of the time the audience irritates the crap out of me and I really could care less about big production for most of the artists I like. And the big-production bands I do love are generally no more, sadly. Saw one of my current favourite artists, Lissie, in a bar year before last and it was one of the best gigs I’ve ever been to. Food for thought this, food for thought! EDIT - my band actually did a free surprise birthday gig (really only a few tunes) at a fan’s house a few years back. It was weird, but kind of cool. I’d happily do that sort of thing again, with a bit more planning.
  16. He stated in an interview that he used specifically used a Fender on To Be Over because he wanted a somewhat more supportive, traditional bass sound on that (or words to that effect), so you are correct. He does sound great on his Jazz though. Parallels is a superb sound, as is the low part on The Fish (apparently also the Jazz).
  17. Early JD Thumb isn’t it? Actually, I think we’re all missing the point. Given that Chris said he went out and bought a a Ric, Marshalls and Rotos because that’s what Entwistle was using at the time and he liked his sound, it’s obviously all Entwistle’s fault.😉
  18. I suspected that this was the problem, that they're all "gritty growl" and therefore much the same. And I do feel much the same about the millions of "back pickup burp" guys, but not really for those reasons; I have a good enough ear to separate them, and I have listened to a lot of jazz and fusion (which is what I grew up with, before I ever discovered Prog), but that approach, bass-wise, has just never really grabbed me, with a few exceptions. I have never, for instance, listened to Jaco and thought "what a great sound!"; in fact I remember listening to "Jaco" (1st solo album) for the first time and thinking his sound was just a blurry mess (yes, I know!). To give some context, I also remember hearing Jack Bruce on the OGWT many years ago and thinking "that bass sounds like a fart!". Ironically I rather like that sound now. I think, for me at least, how a band or instrument or player sounds, in terms of the actual noise being made, rather than just the notes being played, is extremely important to me. If I don't like the sound someone is generating I find it very difficult to listen to them, and even more difficult to enjoy them. Getting back to the original point, I think because most (although by no means all) of my favourite players come under the gritty, trebly heading, its easy for me to see the differences, as it will be for most who have the same leanings. Geddy Lee is absolutely influenced by Chris, and openly admits it. But to me they have very different sounds, just as Chris, who was openly influenced by Entwistle, sounds nothing like Entwistle at any stage of his career. To me, they sound at least as different as Marcus and Stanley; again, whilst Marcus is obviously influenced by Stanley, to me his sound is very, very different. But everyone hears things differently, and I'll admit to being somewhat anal about these things. And of course its all about context.
  19. Oh I know you’re a fan from comments you’ve made. I was just wondering if you had any examples of Squire-a likes? I’m not really hearing any, but as I say, I’m maybe out of the loop a bit. Obviously bands like The Musical Box and Hackett (also Howe in Yes and Lee Pomeroy with the other Yes!). I love the crunchy Ric sound. It’s one of my all-time favourite instrument sounds, from Roger Glover on Machinehead, through Rutherford, Camp, Squire and Lemmy Etc. Many, if not most, of my favourite-sounding bands have a variation on that sound (I’ll also include Made in Europe and almost anything by The Stranglers for a P-Bass variation of the same thing, as well as much of Entwistle’s output). Oh, and Martin Turner on Ric & TBird. I guess I always gravitated towards it. Ironically Chris was probably the last well-known player I heard using that kind of sound, although he instantly became my favourite. I was already using a variation on that sound years before I heard him. But all of the players mentioned above, including others like Geddy, sound different to me. Yes, they’re all trebly & have that grit, and for the most part they’re busy, melodic players, but to me at least, they don’t sound the same at all. l mentioned Jaco and the millions of Jaco disciples before. I hear far more back pickup favouring, 16th playing ghost noted players than anything else. And of course the Marcus-Wannabees....
  20. I saw ‘em with a Nick Beggs and he didn’t. But then Rutherford used one up to and including Selling England, so a Ric makes sense in context.
  21. See to me neither have any sort of Squire approach. A trebly bass sound (e.g. Beggs) does not a Chris Squire clone make.
  22. Of course the other thing I have to say is that for a lot people Chris has the best tone ever, so it’s hard not to want to pinch a bit of it.😉
  23. I don’t think any of the more recent Prog bands I’ve seen have Rics or sound like Chris (although I use Rics and have a version of “that” Ric sound - not the same as Chris’s though - we’re not a Prog band, although we have some Prog influences). What have you been listening to? I’ll admit I’m not up to date on Prog bands, really; as discussed in previous threads, most of the modern Prog bands veer too much into metal territory for my liking (Not that I don’t like metal, but I like my Prog old-school and uplifting, acoustic guitars and Mellotrons). Obviously older bands like Druid and Renaissance have a Squire thing going on, but I can’t really think of anyone modern. Last thing I can think of would probably be Spock’s Beard. I’d be grateful to hear any suggestions. One thing I would say is that you could argue the same about Jaco and certain types of Jazz.
  24. Cool, thanks for the answer. I’d love to know how Alan arrived at 31.5”! I have to say, maybe because I learned to play on a slightly shorter scale length than the typical 34”, I’ve never really found any benefit from 34”, and less still from anything longer. The only disadvantage of the various 30”s I’ve played have typically been a bit of a dead E, but I’m sure that’s just a feature of the individual basses. I guess the most interesting for me have been the medium and short scale Alembics, which I’ve generally preferred to the longer scales. I’d really like to try a 31.5”, I’d be really interested to see how it felt and sounded.
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