risingson

Check out the man's back catalogue. Serious stuff http://www.allmusic.com/artist/george-duke-mn0000536122/credits

Sad to hear this, I loved his stuff as a sideman.

It was a toss up between the '62 and the '77 for me. I liked the MM tone too, but then I just like the MM tone anyway, great instruments. I'd actually argue to my ears that the Fodera might have sounded the worst!

[quote name='Musicman20' timestamp='1375627989' post='2163595'] [url="http://www.guitarguitar.co.uk/bass_guitars_detail.asp?stock=13013013224032"]http://www.guitargui...=13013013224032[/url] ??? [/quote] The mind boggles.

I'd ignore the detractors here and decide for yourself, as they could very easily a lot of tones that you'd hear on classic hip hop, R&B and soul records. They definitely are very interesting. Some people just like to keep their ears closed to new ideas from time to time.

I've played a few and absolutely loved them. They sound amazing,

Third World Man. Carlton's guitar solo. Just amazing.

[quote name='PaulWarning' timestamp='1375294717' post='2159458'] Once read somewhere that some session bassist use fingers when recording and picks when playing live, don't know if it's true but it does kinda make sense [/quote] As far as I'm aware you couldn't even walk into a recording studio in L.A in the 60's unless you had a Fender instrument and you were a pick bass player. That was the sound of the time thanks to Joe Osborn and Carol Kaye.

Hope you manage a speedy recovery Gus! Sitting down isn't very rock and roll but you could possibly compensate a little by engaging your nastiest distortion and leaving it on at all times, regardless of what tune you happen to be playing.

[quote name='Bilbo' timestamp='1375196168' post='2157982'] Great bass-line bad song is an oxymoron to me. I find myself often being in a minority of one when I say that Jamerson never works for me because the songs are mostly s*** (there are a few exceptions but very much the minority). To my mind, a great line is a great line precisely because of where it is not in spite of it. [/quote] Strongly agreed, followed by very strongly disagreed!

[quote name='Dingus' timestamp='1375190236' post='2157873'] On a pedantic note , I also thought that David Hungate ( great player) played the bassline on "You're The One That I Want " , but after mentioning it on the forum I was duly informed by several members that it was in fact Max Bennett . If you have evidence to the contrary then please let it be known , because that would mean that I might have been right after all . It sounds a lot more like David Hungate than Max Bennett to me . [/quote] The personnel listings on the Grease soundtrack are sketchy at best, to the best of my knowledge I've not seen individual track by track credits so you could well be right. I'd have it down as David Hungate as well.

I reckon I could cover everything I need to with: 1. My 71 Fender Jazz 2. My 78 Fender P 3. A nice pre-CBS P with flats 4. A Stingray 5... sold mine, I do miss it. 5. A Hofner Violin

[quote name='EssentialTension' timestamp='1375075599' post='2156323'] That's particularly true of the Gibson Les Paul, of course. [/quote]

Fender are bad for squeezing money out of everyone's own musical preferences when it comes to signature instruments. What I think is even more insane at the moment is that Fodera seem to have put together a signature series for all of their main listed endorsees... I'm no Fodera fan but if I was spending close to £8000-10,000 on an instrument it would be the most insanely customised instrument set to my own preferences, not someone else's idea of what constitutes a good instrument.

Increasingly looking like it could be a hoax? Weird.

[quote name='neepheid' timestamp='1374931356' post='2154895'] Ahh, but will you search? [/quote] I've played most basses, Sadowsky, F-Bass, MTD, G&L, Pensa, Elrick, Gibson, Yamaha, Sandberg, Overwater, Sei, countless others. None of them (well, few of them) come close to the sound in my head that I love to hear on record or in a live environment. 'The sound in my head' being the operative part of all of that, we're all different aren't we?

Nice. I think it would surprise most people out there who care about what it says on a bass headstock just how many records will have been made successfully with very cheap instruments. I too have a Japanese Squier in regular rotation amongst my '71 Jazz and my '78 P and it is excellent, luckily I've never had to work with anyone quite as ignorant to choose which instrument I've ended up using based on the name or price of the instrument though. On the contrary, it's usually the one a lot of people swing towards tonally.

Got a gig during the day in Liverpool and the temptation to get over afterwards is huge! Hmmm.

[quote name='Lowender' timestamp='1374796623' post='2153479'] Flats have become the new chic among bassplayers but no one else seems to be on board. [/quote] I don't think that's at all true. What I would say is that string choice is very dependant on what a record, a band or a live performance requires, so it's nice to have everything or at least a decent cross-section of instruments strung differently. Having said that there have been enough bass players that have made a living from only using one instrument.

I like the idea of PJ's, in reality the ones I've tried have never really lived up to any of my expectations apart from one or two, the most notable being a Sadowsky NYC PJ5 I tried that was murderously good. To put it in context I've also tried a Metro JP5 that I didn't like though so swings and roundabouts. It's the reason I own both a Jazz bass and a P-Bass, neither can do what the other can do well. The best slap tone from a PJ IMO comes from the P solo'ed anyway, so I'd just go with a P-Bass a la Nate Watts, Freddie Washington, Leon Sylvers from Shalamar.

The idea with using your amp's power in the way you're describing is that you're opening the door to being able to play much more dynamically, i.e. you've got the choice to play up or down. Loads of musicians, especially in bands go at playing their instruments as hard as possible without any consideration about dynamics at all, at least with a good amp you have the choice of digging in a bit or playing with a softer touch. There really isn't much point going too soft or too hard either. Find a compromise as to where you set the level on your amp and if there is a concern about being able to play along to more up tempo tunes then that will come with practice and a metronome. Keep the metronome at a comfortable pace, increase speed accordingly until it becomes difficult, drop the tempo back down and repeat until phrases become easier and more fluid.

[quote name='Jus Lukin' timestamp='1374516987' post='2149630'] I nearly missed the edit there! I haven't tried one, unfortunately, so I can't vouch for the low end- I'd be interested to hear how you get on with it though! I'm certainly very pleased with the couple I do have. [/quote] It's not such a problem if it is a bit lossy to be honest. I just wanted to make our guitar player jealous and see if I could out-fuzz him! I'll let you know how I get on.

[quote name='tonyquipment' timestamp='1374515981' post='2149614'] I had a ehx bass big muff pi and that was pretty good. Not sure if that's your thing but I thought it sounded fat and fuzzy Next would be boss fz5 with clean blend [/quote] I've had the Bass Big Muff before, nice but not vintage-sounding to my ears. I've just taken a punt on a North Effects Mk II, thank you to Jus Lukin for the recommendation!