iainbass

Its Sky Arts which I do like a lot, but which also means its producing content which is easily understood by everyone. This means there idea of a "Greatest bassline " will discuss work that the general public can easily understand.. ie something like Pink Floyds Money...or the Cures A Forest. Not necessarily clever in the bass sense but immediately recognisable as a very good ....'Bassline'.

How many of her friends are actually playing guitar? If she's playing with more than one and then an inevitable drummer then she will need some volume. Not my thing but a 100 watt Rumble would be a very good start and they are everywhere.

Love Pollock. Ive seen some have a goes of Pollock and they were woefully lacking. But if you think you can then well done.

Probably the easiest Fender to replicate. As an eg, a Bravewood with the right tuners is pretty much indestinguishable from an original. Just saying.

I had an original DS with two K140's and it was useless. I think they were originally guitar cabs.

I like Yamaha a lot tho Ive never owned a bass. Unlike the majority of 'Luthiers' they're a legacy engineering company first and forememost and I guess approach every project from that angle, and as I think we all agree it shows in the quality of their stuff.

It was kind of decided for me. Increasing problems with my ears have meant Ive pretty much given up playing live. Even playing my cello without significant muting is difficult, tho it comes and goes. Seems yrs of loud music has basically destroyed them, and the weird thing is it creeps up on you without you even realising.

Not hate but relentless disappointment. Up until I decided enough was enough, every single Jazz bass I ever bought or tried out, including a super light and resonant Mex RW which seemed very good but I just cannot get on with the shape and the constant knob twiddling looking for that P bass thump which for me just isnt there.

Link? Would, very much like to have a listen.

The brilliant Wilton Felder played on one big hit, the Jacksons IWYB and a stonking groove it is to, but he was primarily a highly sought after saxophonist. For my money there's a whole tranch of little known post Jamerson players from that period worthy of consideration including Scott Edwards, Philly souls Ronnie Baker and Henry Davis who played on Love Hangover.. etc. All top flight studio guys who very few people have even heard of.

Yep. That lush bedroom tone is lost at the gig without FOH support. Without FOH you need a dry mid forward tone to be heard in the room unless the effect is to produce a boomy wash under the band, but that's very hard to hear on stage.

With an active bass this could be literally anything in the matrix and once you start messing you can create additional probs. Probably best to let a tech have a look.

Depends really. You have to work a P bass, they don't sound that great out of the box so to speak... but once you get it then there is nothing like it. I have several playback vids of my tone from various shows/festivals and I sound like Im playing the bridge PU on a Jazz but with with more grunt. I wouldn't swap that tone for anything, but it took a good few years to reach that point.

Yep really great amps but not with the EQ set the way it is that photo. Loose the bass and push the low mids then let the magic begin.

Yep. Superb quirky writing, arrangements and melodies. Great bass playing. Often click the play list and have a playalong.

Yep all sorted and I was simply asked, 'do you know this stuff'. As for "arrangements"? We played everything as per the recording unless there was an obvious vamp where you could have fun. Back in the 80's there was only ever one version of a tune unlike today when you look online and are bombarded by a thousand different versions. Plus if your all good you can now and again change things in the studio, tho I don't really remember it happening much.

I'll always remember the moment I went playing in pub bands to joining a semi-pro function band. The difference in prep was huge. With horns, two keys and everyone singing backing vox I was terrified of not knowing what I was doing so worked like mad prior to the first rehearsal which for them was a just a refresh before an important event. It was really satisfying playing with guys who were note perfect.

Yep. Nothing irritates more than trying to work with people who are lazy and who haven't put the hrs in at home. Its up to the BL to make sure everyone has the right versions for them to learn.

John Taylor Paul Denman Mick Karn

Cant see anything surpassing my CV 70 for 250 quid. Its got the thickest 70's neck Ive seen on any repro.

My goodness only just seen this. It's like he's always been around. Legend.

There's ur problem. As the band get louder you need to reduce bass and push mids, almost to the point where it sounds weedy and crap on stage...however out there in the room it'll be punchin thru.

Happened to me. I call it the pop/rock plateau, and the cure for me was to get serious about Jazz/Big band and get out there and play it. It completely upended and improved the way I do bass 100%. Fifteen yrs on and Im a far better, more accomplished player.

Definitely not. I just like playing tunes written by people with talent. If said tunes have pleasing bass lines embedded them it's a bonus and has nothing to do with me being creative. Even adding an extra run here and there would be stretching the point a bit, Im just doing what I've trained for.

Yep. Reading ur post reminded me, back in the day you switched it on at sound chk then it would be left on standby until show time which cld be hrs later.. they always sounded better toasty hot.