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Posts posted by TrevorR

  1. 2 hours ago, 4000 said:

    Just listened to Run With The Fox twice again. Same effect both times. Weird.

    Huge thanks to Visog for posting, as it had somehow passed me by. It’s absolutely wonderful. 

    And has anyone’s tone ever been so representative of the player? Big, exuberant....just like Chris. 

    I have to confess that one of the biggest attractions of getting the Fish Out Of Water deluxe expanded reissue was that it had the original version of this and the B-side on it on CD for the first time!  Sorry, Jakko it wasn’t because of your remix!

  2. 18 hours ago, MS93 said:

    Thanks for the input, so there not all doomed then I take it? What strings would you suggest as an upgrade to the phosphor bronze, as that is exactly whats on mine?? As I say I really enjoy playing mine, even though it is nothing special. But I think when the budget allows it, it is nice to know that something better can be had.

    I put some La Bella Black Tapes on mine. Really like the sound and feel. Tried Whites... they were far too floppy. 

  3. I’ve actually got 2. A custom one I had made 30 odd years ago by the Welsh luthier, Tony Revell, which is now a bit too fragile to take out of the house...



    And a Faith Titan Neptune which sounds and feels great and works nicely fo “unplugged” style events...



    Here’s the Faith in action (apologies for the very mildly God-botheringness of the tune’s lyrics). Love the Celtic vibe to this song and the bass (resplendent in black tapes) comes through nice and clearly in the mix!


  4. Just put this together on my FB page...

    The tree’s up. There’s Christmas music in the car... cue Noddy... IT’S CHRISTMAAAAAS!!! Time for a personal top 10 of my fave Christmas pop and rock songs...

    1. I Wish It Could Be Christmas Every Day - Roy Wood: let’s face it, this one’s just Wizzard! 😉🙄🤦‍♂️
    2. That’ll Be Christmas - Thea Gilmore: the stereotypical British Christmas to a “T”.
    3. A Merry Jingle - The Greedies: 60% Thin Lizzy, 40% Sex Pistols, 100% Jingle! Who could ask for more?
    4. In Dulci Jubilo - Mike Oldfield: total earworm. I end up humming it all over the Christmas period.
    5. I Believe In Father Christmas - Greg Lake: cynical but still wonderful.
    6. Jesus What A Wonderful Child - Maria Carey: cue the lady getting her car serviced meme but played this tune on the bass a load of times and it’s always fun, especially when it goes full on gospel at the end.
    7. Carol Of The Bells/What Child Is This  - Point Of Grace: I think this was an M&S advert one year but I’ve played bass to this one a couple of times with the orchestral backing track. So fabulously OTT that even for a girl-band it’s practically prog-rock!
    8. Ring Solstice Bells - Jethro Tull: speaking of prog, this one’s in 7/8... not strictly a Christmas tune but fab nonetheless... I dare you to clap along with it. Dare ya!
    9. Jingle Bells & Run Rudolph Run - The Brian Setzer Orchestra: I’m going to claim a twofer for this one. A Rockabilly/Swing Band Christmas, love it and especially the horn section’s backing vocals on Jingle Bells... hilarious!
    10. Run With The Fox - Chris Squire & Alan White: got this on single years ago. Fabulous song. Actually, maybe THIS should be at No 1?


  5. My only bitsa is my Frankenjazz. Body and neck bought from a guy on eBay called “Build-a-bass”, Hipshot tuners, Graphtech saddles, Audere preamp. Turned our to be a monster Jazz. Was going to swap the pickups but once the Audere was in never felt the need to. Maybe one day I’ll add some split “single coil” humbuckers? Similarly was going to add a high mass bridge but I like the old BBOT  bridge plus graphite saddles fine as is!








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  6. 16 hours ago, fleabag said:

    I might have to join that, as i have a Pro SB 900 that i'm planning to sell at some point

    Ooooooh, so wish there was any way I could justify taking it off your hands. Always had a little hankering for an SB900! Loved Neil Murray's back in the day when I was starting out on my SB700.

  7. I’ve always been in the “signature bits as they should be/other bits, recognisably the song and in the spirit of the line” camp like many others. It strikes me that this whole debate never existed (and certainly not to the polarised degree you see in some other places) before the interweb gave the “self-appointed universal law creators” a platform to criticise people. 

    A couple of anecdotes from my wedding/covers band days... We were a really entertaining band who always put on a great show which got a fantastic response each night from the punters (whether bridesmaids, the corporate management team or denizens of the Ferret and Sack). But the main line up was: 

    • Singer/Acoustic or Electric Guitar (depending on set/song)
    • Bass/Backing Vocals
    • Drums
    • Sax
    • Female Vocalist
    • Sometimes second electric guitar

    But we were doing songs by, for example, The Jam (EG/Bass/Drums), The Doobies (3 EG/Bass/Percussion/Horns/2 Drums), Motown (Funk Brothers), James Taylor (AG/EG/Keys/Bass/Drums), Lynyrd Skynyrd (3 EG/Bass/Drums/Piano/Honkettes), Elvis (AG/Archtop EG/Double Bass/Close Harmony Quartet)... and so on and so on across a pretty diverse party set. 

    When the format of cover band and the original artist are that far removed from each other the question of whether the bass player was playing exactly every note and nuance as per the original recording seems a little moot - and, frankly, potentially counterproductive.

    Despite wanting to get the lines as mostly right or, at the very least, fitting with the spirit of the original there was one song where this was impossible. Going Underground by The Jam - the only song in the set where the lead singer/guitarist fundamentally changed the key to suit his voice - shoving a capo on. That either moved the signature bass riffs so key notes were either down below the nut (if played in the proper shapes) or way up the neck where they really just didn’t sound right. Plus he and the drummer played a funny rhythm which clashed with the bass riff somehow. Bruce Foxton’s classic line just didn’t work. So in the end I just made up a sympathetic bass part which kept some feel, energy and spirit of the song. And boy, did we ever give that song welly, attitude and energy - it was great to play! And you know what... in the 10 years I played in that band can you guess which tune more than any other had punters coming up after the set telling us we’d totally nailed it just like the record? Yup - Going Underground, just about the one that was further from the recording than any other. So when anyone says in an internet debate that “Unless you play it note perfect you’re letting the punter down any they’ll hate it!” just remember this story! So long as they can sing along with tunes they love, jump around, dance and have a good time feeding off the energy of the band the punters couldn’t care less.


    • Like 1

  8. On 29/10/2020 at 14:40, chris_b said:

    I'm jealous, I would love to be in a band playing Alan Spenner bass lines. He was a great bass player. I used to see him playing the pubs and clubs in Kokomo. Apparently he was Bryan Ferry's favourite Roxy bassist.

    Playing the Gustafson basslines isn’t a bad job either! Two of my all time favourite bass players. Very jealous you got to see Alan Spenner before he passed away. 

    • Like 1

  9. 4 hours ago, Kevsy71 said:

    I can well believe that - to my ears, the '85 olive ash Wal I all too briefly owned direct to desk via XLR was both my favourite tone and one with zero noise - amazing electronics!

    Oooooh olive ash top. They look so gorgeous...

  10. 47 minutes ago, Kevsy71 said:

    Brilliant Trevor! 

    Our tech guy is a legend, he thinks my Bruce Thomas Profile through a SansAmp VT 'SVT' setting is the best bass tone he's had in the worship room and cranks it up. You almost don't need a monitor!

    Very tempted by those Bass Collection basses - sadly no reason to justify one (hmmm... never actually owned a P bass though... hmmm). For many years we had a great sound guy who cut his teeth working doing engineering on albums by OMD, Queen, Steve Hackett, Gary Moore etc. He always made things sound great and rocky and he loved the combo of my Wal and MarkBass amp. 

    • Like 1

  11. On 22/10/2020 at 20:09, LukeFRC said:

    I was once accused of both overplaying and having too much bass in the amp when I had the volume off! 

    Been there with a previous (sometimes tetchy) worship leader. We kept getting this low frequency boom/feedback type sound on stage in rehearsal which was annoying the Leader. He told me to turn down a couple of times. I did until I could just hear my amp over the drums. It kept happening and I realised it was the keys amp resonating the acoustic guitar into low frequency feedback.It happened again and the worship leader was actively annoyed (at me) by now.  I told him what I thought the problem was and he, effective told me to shut up, stop making excuses and just turn my amp down. 

    Having had enough by now I quietly removed my bass, placed it on its stand, turned off the amp, unplugged the cable and coiled it neatly on the floor in front of me, turned to the drummer, winked and tapped the side of my nose and stood with my hands in my jeans pockets. The band started to run through the song again and the low frequency noise started again. The worship leader was furious by now and yelled while starting to turn around to confront me, “OH FOR GOODNESS SAKE TREVOR WILL YOU JUST DO AS I ASK YOU AND TURN YOUR AMP D...” I sweetly smiled at him, shrugged and said, “You really do need to do something about the acoustic guitar feeding back.” He never said sorry though...Bit of an ego issue, that guy.

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    • Haha 3

  12. Setting the bass peak at 40hz seemed bonkers to me. Do most active circuits do that? Seems unlikely. Thought I’d have a look at my Audere preamp’s spec... I do love how that preamp sounds!



    In the Pro JZ3 preamps you can select either a 2, 3 or 4 band tone controls.


    All active tone control pots contain a center detent where the response is flat, giving you the uncolored bass voice.

    Our tone controls are different than most preamps in the following ways:
    1) The boost/cut amount changes slowly at first off the center detent and then the action speeds up as the knob is rotated farther from the detent.
    2) Mid-range controls use wide bandwidths - the issue with narrow bandwidths is the phase shift changes too fast vs. frequency and they sound artificial while our wide frequency mid-range controls makes them sound more musical.
    3) The Bass and Treble controls are shelving which extend to lower and higher frequencies than other preamps. The shelving control makes our specs look very different than most preamps. Our spec is at the 1/2 boost or cut frequencies. You can think of our specs as all the frequencies below 180 Hz or above 3.2KHz (for a 4 band example) have a significant level of boost or cut range.

    The frequency response points:

      4 Band 3 Band 2 Band

    Bass shelving Hz - dB

    180 +/- 16 dB 200 +/- 16 dB 200 +/- 18 dB
    1st Mid Peak Hz - dB 250 +/- 10 dB 500 +/- 10 dB  
    2nd Mid Peak Hz - dB 750 +/- 10 dB    
    Treble shelving Hz - dB 3.2K +/- 18 dB 2.5K +/- 16 dB 2.0K +/- 17.5 dB


    In summary, we design very musical tone controls that are easy to use and give you lots of control of your sound.


    • Like 1

  13. Yup you read it right. Now you can get your own little mini Lemmy  to make sure you get no sleep ‘til Hammersmith.



    Just make sure you buy yours quickly before Mr Hall and his m’learned friends kick the door in and slap an injunction on it for selling fake Rickies, infringement of trademarks and trying to pass of the teeny plastic accessory as the real thing!



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  14. Her trio work is pretty stunning. She’s got such a great feel as a player. She certainly has the bass chops but she always strikes me as so much more melodic and tuneful than a lot of the shreddy jazz bassists out there. Worth checking out some of her live gigs on YouTube...



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  15. Already mentioned but for me my “Do” doubles are:

    • Jeff Wayne’s Musical Version of War of the Worlds, and
    • Out of the Blue, ELO

    Probably cheating but I’ll add it anyway:

    • Star Wars - Original Soundtrack, John Williams and the London Symphony Orchestra.

    Got it for my birthday in August 1977. Loved it then, still love it now.

  16. 3 hours ago, 4000 said:

    Well, I’d class that as an oddity, if not the only one.😉

    We refer to them as “transitional Custom series” or “transitional Pro” basses - when zeal we’re still tying down the Custom design. Other than the Pro neck it’s a standard Custom series in all other ways. They made quite a few like that around 1981..

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