iainbass

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? 

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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.

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.

30 minutes ago, TimR said:

Were you coming along to a band where the arrangements were already sorted? Did they give you charts or a recording of the band playing their versions? 

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.

15 hours ago, chris_b said:

Play with guys who don't need to be told

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.

22 hours ago, Suezee said:

vintage button pressed in

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.