Shaggy

Thanks fellas, really useful stuff here. I’d really love Higgie’s Mutron – always prefer the old and authentic option with gear (or as Mrs Shaggy prefers to call it; festering pile of old junk), but hard to justify that amount of dosh – I guess it may be the Pod after all, especially as I’ll no doubt think of some other effect I can’t possibly live without. Hmmmmmmmmm……….

In 31 years of bass-playing I’ve only ever had one effects pedal – a Boss bass flanger, briefly used it for covering “Dancing in the Moonlight”, and gave it to a mate. However, always fancied a decent envelope filter for doing some funk, the only one I’ve heard of is the Mutron. Any recommendations for a tidy pedal or rack unit? Don’t really want a multi unit like the Pod XT etc as I’d probably only use 0.0000000001% of its functions, but if that was the best solution then fine. Sorry if this has been covered before!

He's "the man" as far as I'm concerned, and the reason I bought Shockwaves' Eagle NT as I really coveted BE's one back in the day. I had a discography for him I'll try and dig up, this is the piece from "Bass Player"; Bernard Edwards of Chic, Part 1 By Marco Passarelli | August, 2006 It’s the conundrum of many bassists, but in Bernard Edwards’s case it’s particularly poignant: How can a person create grooves so massive that they become emblazoned in our cultural consciousness, yet his name remains largely unknown? With Chic, Edwards brought a new sophistication to late-’70s disco with hits like “Le Freak” and “Good Times,” songs propelled by his stylish funk lines and guitarist Nile Rodgers’s signature chicken-scratch sound. Rodgers and Edwards, who co-founded the group, went on to write and produce hits for others, including the 1979 smash “We Are Family” for Sister Sledge and “I’m Coming Out” and “Upside Down” for Diana Ross. After Chic disbanded, Bernard produced tracks for Robert Palmer, the Power Station, Duran Duran, and Rod Stewart. Despite such an illustrious track record, Edwards’s name usually elicits a collective “Huh?” from non-bassists. But hum one of his signature bass lines and that blank look may quickly morph to a knowing grin. For bassists, though, Edwards—who died ten years ago after collapsing onstage—is an icon. He elevated the role of bass with articulate, well-thought-out parts, deep musicality, and a distinctive playing style that became an integral part of the band’s unique sound. Rodgers says Chic worked hard to create that sound. “We analyzed the Brothers Johnson and Rufus with Chaka Khan, and we decided we needed to have a sound that people knew was Chic when they heard it. We spent a great deal of time working on that.” For inspiration, Bernard would also turn to Motown’s James Jamerson, Atlantic session great Jerry Jemmott, and Larry Graham, Sly & the Family Stone’s slap-and-pop pioneer. “He thought Larry Graham was unreal,” says Nile. “He just couldn’t believe that technique.” But Rodgers also remembers other musicians checking out Edwards’s unusual playing style. “When we were on the tour with the Brothers Johnson, I used to see them standing at the side of the stage staring and going, ‘How the hell is he doing that?’” Rodgers explains: “Bernard was a guitar player before he played the bass, but the last thing that he wanted to be was a bass player who used a pick. So he played with his forefinger and thumb, like he was holding a pick. He’d strike the string with the bottom and top of his finger. The strength of the low end comes from his thumb on top and the other three fingers curled up underneath, so he had the fattest pick you could ever imagine!” Bear in mind that it takes considerable time to build up the strength necessary for this technique. As Nile warns, “Bernard’s fingers would often bleed. If we played a two- or three-hour show, the blood would be dripping down the bass! But he was used to it; that’s how he played.” Are you up for the challenge? Don’t worry; you can cop much of Edwards’s style with a soft pick or with regular fingerstyle playing. Examples 1a and 1b illustrate the main parts to Chic’s breakout hit, “Le Freak.” Nile Rodgers explains the song’s origins: “One night we were denied entrance to Studio 54, so we went around the corner to my place and started jamming. I came up with the riff because I was singing, ‘f*** off!’ to vent our frustration. Bernard just starting accenting the ‘f*** off!’ part.” Ex. 1a illustrates the expletive-laden line in question, which evolved into the chorus’s “Freak out!” Note how the part alternates between staccato downbeats and slide-offs. To usher in the verse line (Ex. 1b), Edwards plays an ultra-cool octave riff followed by a clever chromatic walk-up to the tonic. Relentlessly repetitive eighth- and 16th-note octaves were the disco norm of the time, but Edwards employed the octave as a stylish flourish. In the verse riff itself, Edwards used hammer-ons to mirror and embellish Rodgers’s scratch-guitar part, while continuing to incorporate the “Freak out” motif in his approach to the downbeat. Ex. 2a shows the main chorus riff in Sister Sledge’s “We Are Family,” one of the biggest hits written and produced by Chic for another artist. Bernard’s catchy part accentuates how the chord changes anticipate each downbeat, while stressing the roots with slick beat three octave jumps. In Ex. 2b’s altered version, dig Bernard’s tasty, syncopated hammer-ons to the A7 chord tones. Ex. 2c shows the song’s verse bass line. The part’s busy bar 1 figure ushers in the vocal part, which starts on the “and” of three. In bar 2, Bernard’s crafty part provides rhythmic contrast to the bar 2’s syncopated vocal. Next: Duran Duran’s John Taylor tells why Bernard Edwards was his hero, and the bass line that launched hip-hop.

Colliers Arms, Garnant, S,Wales Sat 6/9/08 A cosy pub we’ve played before. Our regular vocalist had to pull out, so local celeb Gary Pickford-Hopkins stepped in as “guest” vocalist / blues harp / rhythm guitar, he was the singer in “Man” and sang on a couple of Rick Wakeman’s albums among much else. Changed the regular set of R&B / rock to back-to-roots pure blues and rock n’ roll, absolute magic and the audience loved it. Working with a “pro” singer makes you realise how they can belt it out – I think he’d have been OK without the PA! NB: Walbassist & Bassbod – yes that’s your old “P” – absolutely unchanged except for a new set of Fodera Diamonds. I use nothing else for this band – does it all, plays like a dream, and always sounds sweet.

[quote name='gary mac' post='277934' date='Sep 5 2008, 03:38 PM']Lovely Day by Bill Withers came on, so I picked up my bass to play along and finding it a bit of a challenge.[/quote] Great song, but Guinness record for the most annoying outro ever. ([i]Enough!!! I get it!! Lovely Day! Now shut up!!!!!!![/i]) On a similar theme; Beautiful Day - U2 Almost anything by the Stylistics Loving you - Minnie Ripperton Sugar baby love - Rubettes Any good funk, disco or Motown. In fact any cheesy '70's stuff, really!

Having recently traded a 360 for a 4001 I think the bass TRC is longer - could be wrong though! Maybe Rickysounds could tell you? Fairly sure the older Ricks had TRC's with painted logos on white perspex anyway, so you could probably do a tidy DIY one. 20+ years ago I used to have a no-name P-bass copy and did a "F*cker" logo in "Fender" script on the headstock - fooled everyone until they looked twice....

[quote name='CHRISDABASS' post='274206' date='Sep 1 2008, 06:51 AM']where is the love?? i dont like all this bullshit! whats the point in dissing everything?? ive owned most of the basses mentioned and i believe each of them has their place! if we all played one type of bass it would suck!! at the end of the day we as bass players and people are all very different and our gear choices reflect how we express our differences! if you like and are happy with your gear then it doesnt matter what other people say! personally i couldnt be happier at the moment! i feel very lucky to have what i have! [/quote] +1 If something gives you pleasure, it’s worth whatever it costs. Everybody elses’ stuff is overrated.

[quote name='mxm' post='273948' date='Aug 31 2008, 06:46 PM']+1 for Shaggy and the SVT300 power amp - it's the business ![/quote] Shw'mae fella! You would say that, you used to have one uncannily just like it! It's a beast alright. What's the mighty Ferrari badge adorning these days? Re the noise; I'd read the same thing although mine is really quiet, problem was occasionally the stock valves I think. Also as with all Ampeg gear, worth looking for the older US-made ones if only for resale value (although the valve gear still may be, not sure).

Brynamman RFC, S Wales - The first gig in over a month I've not had to unpack / pack in the BLEEDIN' RAIN!!! A proper "summer" night at last, everyone outside talking and drinking, great vibe in the air, then the dance-floor bouncing once we were on. Bizarrely, the speed knobs on my RD Artist started glowing bright purple, realised there was a UV light over me. Good gig AND a suntan! Bargain!

[quote name='Rayman' post='273146' date='Aug 30 2008, 02:10 PM']Did someone say mojo'd Highway 1s? Great basses, and I wouldn't mind a P to go with my jazz. Nice P indeed.[/quote] Cool sticker - where did'ya get it????

Haven't met him (purely a postal deal) but seems a great guy, bought a cable & strings of him - just as described and sent really quickly. Recommended!

Excellent bit of kit, you probabaly know it's identical to the pre stage of the SVT II-pro; 5 valves altogether and if the graphic EQ is switched out there's no solid-state circuitry in the signal path at all. I always check the reviews in "Harmony Central" when potentially buying gear - take a look. Variable "drive" control is lush, used sparingly adds a nice harmonic warmth, or if unsubtly up to full dirt. Should work with any decent rack power amp, really - I use the SVT-300 (power stage of the SVT-II) just because I'm a bit of a valve purist but never really push it hard enough to make a difference; all the tone / EQ colouration should come from the pre.

[quote name='Bassassin' post='267713' date='Aug 22 2008, 11:10 AM']I picked this up from a pawn shop for buttons a few years ago, with a view to a bit of Ebay profiteering. I'm not proud: [attachment=12515:CSLoriginal.jpg] However, even with rotten, dead strings, misaligned bridge, banana-shaped neck, and 25 years of filth on it - the moment I sat down & played it - [i]everything[/i] felt right. I've owned & played some really nice instruments over the years, but this thing has something indefinable that nothing else does - and it's my no. 1 bass, and now looks more like this: [attachment=12516:CSL2008.jpg] If I had to sell the lot & keep just one, it would be this, no question. Jon.[/quote] Ah, now you’re talking ……..back perloid (I did the same with my MM Sabre) and ‘80’s crème DiMarzios– you just don’t see enough of it these days! Absolutely love it!