risingson

[quote name='bassman344' timestamp='1388444436' post='2322171'] Does this mean that if you have tried ampeg and weren't impressed then the sansamp is not for you? [/quote] Maybe that's true of me, I think the Sansamp does lend itself to an Ampeg-type sound. Others I'm sure will tell you how much success they will have had with theirs though, I'd just say try out before you buy.

That's my lead singer and cousin playing Simon. He played Jesus in Adelaide and Sydney whilst Ben was unwell, to really good acclaim as well. We did the aftershow party in Liverpool on the last leg of the UK tour, we ended up playing with Tim Minchin for about 4 hours onstage. Top guy, Chris Moyles even got up and ended up playing drums with us, but we were just about destroyed by then! The Oz tour was Phil Mulford on bass who is just unreal. Not sure about the UK tour because I know Phil couldn't do it. Ben was cracking as Jesus and another lovely chap.

[quote name='TimR' timestamp='1388433556' post='2321977'] One guy latched onto me during a break and asked how I was going to fill the room with just my 'little' Trace Elliot 15" cab. Then he spent most of the break asking me how to get Cubase working on his PC. How random is that? I couldn't get rid of him. Luckily by the end of the gig he had disappeared. Probably when found out my Trace rig was big enough after all. [/quote] People love to talk. If they're not on stage then they'll overcompensate by trying to impress you in other ways and I've always found it far too painful to deal with!

[quote name='wateroftyne' timestamp='1388094722' post='2318553'] IME, the Sansamp is very, very coloured, and will make a remarkable range of basses sound very similar. If you like that sound, it's a Godsend. [/quote] This is the exact reason I don't use Ampeg, it leaves a massive toneprint with whatever instrument gets used, at least generally speaking. If you dig that sound then the Sansamp is for you though.

Mine is my '78 Precision that I bought from Lozz196 earlier this year. I was a Jazz bass player since I was 14 or 15, stayed like that until I was about 21 before I got another P-Bass and over time my preference has changed completely to Precisions. It isn't a light instrument but I love how substantial it feels. Almost everyone who's played it says how intimidated they are by the thickness of the neck but I've never found it to have hindered me and I love the feel of it. It sounds massive, it fills a mix brilliantly just where I need it to. I still like Jazz basses, in fact I've just bought a 1974 Jazz that I'm really enjoying playing but it would be the first to go if I needed to rid myself of one of the instruments I currently own. But there is something very right about a P bass that I'm not sure can be topped by any other bass I've played. I've used quite a few high end instruments but I always come away thinking how much they don't really say that much about me. My P-Bass is very personal now and I doubt I'll ever get rid of it.

http://www.youtube.com/watch?v=Gp-PyzscBrs

More modern stuff. If you've not checked out D'Angelo, Erykah Badu, Jill Scott, Bilal, Roy Hargrove etc. etc. then do that, and then listen to these guys. http://www.youtube.com/watch?v=3-0JZlrk4xA http://www.youtube.com/watch?v=DLFzdcWVZjo

http://www.youtube.com/watch?v=gxsRB4a0G2o http://www.youtube.com/watch?v=q2t4nnGfudI

[quote name='Fionn' timestamp='1388257678' post='2320134'] Fender = Could be a Mondeo, could be a Mustang. Alembic = Perhaps a dated supercar, but a supercar none-the-less. [/quote] I was just lending a bit balanced opinion to the argument, the car thing might be a bit far fetched! Although if the comparison is apt then we should have seen a lot more race car drivers have historically significant success driving exclusively Ford Mondeos

There are loads of different sounding flats so I can understand why you'd want to string expensive basses differently. The majority of flatwounds might be a little more limited in frequency range, but then some bass players will like the sound of flatwound strings on high end basses which I think I can understand. Flatwounds will also sound different from instrument to instrument. [quote name='White Cloud' timestamp='1388217974' post='2319502'] Fender = Mondeo Alembic = Ferrari [/quote] Fender = Mustang Alembic = Dated supercar Just my opinion too of course. I've played many instruments and never felt like the difference between a very high end bass or an 'off the shelf' Fender has impeded my playing, in any way whatsoever. It's a myth I think it's kind of pushed around by companies that are looking to sell more expensive instruments, and by the players of said instruments that might be trying to justify playing them, maybe some just critical of Fender. Your instrument shouldn't hinder you and luckily Fender has never hindered my playing.

In: 1978 Fender Precision 1974 Fender Jazz Fender Starcaster semi-hollow Out: Musicman Stingray 5 Fender Starcaster semi-hollow… the same day I bought it. Horrible thing! [quote name='chris_b' timestamp='1388021263' post='2317975'] [b][font=arial,helvetica,sans-serif]In[/font][/b] [font=arial,helvetica,sans-serif]Bergantino CN212 [/font] [/quote] Do let me know when that's going 'out' Chris!

I've owned both but I've kept my P-basses. I love Stingrays but they do leave a less versatile tone print on stuff, whereas P-Basses are easy to sit just about anywhere.

I have small hands but I've never had a problem… in any way But seriously it's no excuse! Pivot from your left hand thumb on your bass neck so jumping around on your neck isn't a problem, I see plenty of bass players jumping about when fretting and things are so much easier when you limit the travel in your left hand. You should never feel a real strain playing bass even if you have the smallest of hands, if you do then it's worth consulting a good teacher to assess your technique.

All the Steves, Steve Jordan, Steve Ferrone, Steve Gadd.

If you like the tonal characteristics of a Stingray but want the slimmer neck then check out the EBMM Sterling.

[quote name='leftyhook' timestamp='1387204294' post='2309271'] I am amazed at how few Warwick basses are seen being used by pro's in the spotlight. OK same could be said of Wal basses, but Warwicks are produced in many more numbers. Good basses too. Fender still wears the crown I guess.. [/quote] Aesthetics and price are probably the answer to this. Warwicks just ain't fashionable right now!

Oh and if you haven't checked out Derrick Hodge with Robert Glasper then do that as well!

Don't know if this guy's working yet but he seems to be something of a prodigy musician, I stumbled across him a while back. Actually phenomenal bass playing http://www.youtube.com/watch?v=DMFZktICGw4

[quote name='bassman7755' timestamp='1387021381' post='2307470'] Even if you discount everything else shes ever done (which I dont BTW) , playing on what is quite possible the best pop song of all time deserves a bit of respect. [/quote] Carol Kaye isn't credited with playing on Good Vibrations, it was another guy called Ray Pohlman who played electric bass and double bass as well on earlier Brian Wilson stuff as well as some other stuff later on before Kaye took over. I can well believe this because unlike the whole Jamerson/Kaye thing where it's very obvious who played those Motown bass parts, it's less obvious probably even for the studio musicians to remember who ended up doing which cut in the studio because likely it was done with a few different people. Carol Kaye still claims the song though even though she's not credited.

I'm glad you post up so much music BB5, I see a some people on this forum using OT all the time but never talking music really, and it's the thing that we all have in common so don't ever stop posting cool tracks. Anyway… like the tune but I love the Massive Attack sample http://www.youtube.com/watch?v=PKtTmZnVhhI

Oooff! Yes, beautiful! I've not seen many of the Skylines in this colour scheme. Very nice.

[quote name='xilddx' timestamp='1386891456' post='2306240'] What is SOUL in this context? And why do you believe it lacks it? [/quote] It's personal and probably not entirely tangible and not something everyone will agree on. I can put on Hendrix's Little Wing and feel like the guy can really just sing through his guitar, or like his guitar is a natural extension of him. I can't buy into that with Yngwie because it always sounds like he's worked too hard at being the best without ever having paid attention to making or writing a good tune. To me he's made guitar no fun. I'm totally speaking for myself here of course.

[quote name='xilddx' timestamp='1386872516' post='2305815'] Are you able to explain why you think it's bollocks? [/quote] Not speaking for the person quoted and don't know if I'd describe it as bollocks, there's bits of stuff I kind of like but players like him always seem to have learnt their theory to the Nth degree and then applied it so stagnantly and without musicality. It's almost like they've made music a depressing chore or a science. I can't enjoy music that sounds like it lacks soul and for me personally, it lacks soul. [quote name='peteb' timestamp='1386883294' post='2306060'] Astoundingly brilliant guitar player – it’s easy to get blinded by the speed and technique but profoundly musical as well. [b]Unfortunately he can’t write a song to save his life![/b] [/quote] That's kind of the clincher for me.

Personally don't like TI flats but I know that so many people do, so if you're keen on them then I'm sure you'll like them on your Jazz. My new '74 came strung with flat wounds when I got it last week, even though I took them off and replaced them with rounds the flats did sound really nice. I'd recommend checking out the La Bella 760FL's if you haven't played them already. Hard to see myself using anything else on my P-Bass in the near future and they would sound awesome on a Jazz - although the increase in tension might take a little getting used to if you've been playing TI's all this time! For me my Jazz basses will always be strung with nickel rounds. Steels are way too bright for me and nickels lend something really special to a good Jazz basses sound.

Absolutely love her bass lines, she and Joe Osborn had that incredible sound that had everything to do with that West Coast sound of the time. Her playing on Pet Sounds is amazing, if mostly the brainwork of Brain Wilson, but still perfectly executed. Her stuff with Glenn Campbell, Lalo Schifrin, David Axelrod is all sheer quality.