iainbass

Mr G is a dead ringer for Bowie... extraordinary.

I kinda agree about his tone with those strings but Im pretty sure given the way he leads the band he wouldnt have the stamina to use anything heavier... could be wrong but thats my take. Anyway great to see him still at it.... legend.

As an extremely 'amateur' classical string player I cant help thinking CB has missed a trick. He's an insane bassist but its just bass. Im sure if he'd pursed a stringed instrument he could be coining it like Hauser for example. (Hausers a solo cellist but is a bit of a pinup for the instrument). Anyway each to their own I guess. But there's no denying CB's an exceptional musician.

Never really thght about it..My primary objective tho is to sit in my own sonic space whatever Im playing and that is basicly, dry mid forward tone thanks to a light touch, dead Chromes, thru Ampeg with the bass rolled off. Always sounds tight out in the room/vid playback.

Just plugged the bass in and had a bash... FIYTIO....et al...Yes he was a very good blues player but Im a sucker for his slushy stuff... sooo well written. Classics all of em.

On 22/07/2016 at 08:19, wateroftyne said:

lot of engineers seem to EQ flats as if they were rounds, which is a shame

This. Playback of a festival I did with dead chromes making my usual burpy mid tone and you'd think Id been playing an Alembic with fresh rounds....Clangy and thin... how do they do that?

Havent really the time to watch it. Pray Jamerson and Carole Kay are mentioned somewhere?

20 hours ago, Wolverinebass said:

It's because bass isn't valued

100%, Ive been playing for 45 years. Bottom line nobody cares about bass or the bassist unless the tunes are literally a stand alone bass line, (Riders on the storm for eg or, 'A Forest' etc ) But if the singers mic goes south?... Its pistols at dawn and a court appearence for some unsuspecting sound dude....and yes Im exaggerating simply to make the point.

Been to several theatre shows/gigs recently and the bass was just an indestinct mush, tells the story.

Cool thread. I'd add one more ingredient to this. 'Ghost notes'. Ghost notes are like ligaments, they bind rythmns together. 

Havent seen it yet, I may have a look. On a purely recognisable and musical level I hope Rio and, A Forest are discused. Two eg's of old, powerful, melodic and in your face highly influential basslines.

My SQ P bass wears 20 yr old dead Chromes. Pretty amazing. A light touch just behind the PU and its like a J bass bridge PU wth a bit more heft, incredibly dry and in a funny way kinda dull....but, sounds glorious out front. Cant ever imagine playing fresh rounds again.

Interesting. Wonder if hes the same guy who imported all those CIJ's back in the mid 2000's, as you rarely see them for sale.. and to have so many? 

Delete

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.

11 hours ago, Rick's Fine '52 said:

Or a £45m Pollock painting, which, as an artist I could replicate in 45 mins

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. 

10 hours ago, BigRedX said:

This sounds just like a P-bass

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.