risingson

[quote name='Ou7shined' post='1137710' date='Feb 22 2011, 08:55 PM']Certainly more than I realise. [/quote] I wouldn't want to insult your intelligence but it would be worth having a look at just how many bands and producers hold up Joy Division's sound as a big influence. Also, where was it proved that Hook didn't have a hand in the Moog part in Blue Monday? As far as I was aware it was Sumner and Hook's part. Not heard Peter Hook's solo stuff. If it's anything like Adam Clayton's solo album though then I'm surely in for a treat!

[quote name='Ou7shined' post='1137614' date='Feb 22 2011, 08:09 PM']Haha when you said "most instantly recognisable bass lines of [b]recent memory[/b]" I honestly didn't realise you were on about from 30 years a ago..... and he's being playing variations of that bass line ever since.[/quote] Poor choice of words on my behalf perhaps. I should have said 'two of the most recognisable bass parts of the last 30 years'. [quote name='Ou7shined' post='1137614' date='Feb 22 2011, 08:09 PM']It's hardly worth mentioning his contribution on Blue Monday as it's not the main synth part which I presume is the recognisable part you mention and not the few second of real bass. [/quote] The format of the bass line shouldn't really detract from the context of the argument which is that you know pretty much instantly what tune you're listening to. Musicianship for some bass players extends beyond the realms of their own instrument... some have even been known to embrace other means of analog instrumentation like the Moog in that tune. Some of them even write their own songs!! [quote name='Ou7shined' post='1137614' date='Feb 22 2011, 08:09 PM']I'm not slamming him, I used to enjoy Hooky basslines when I was a kid and they still don't hack me off to the point of being unlistenable now but I can see them for what they are. I take issue when he's described as a musical genius though (there are are people that swoon over a pile of bricks being "art" - so what are you gonna do) from what I know of him, I'm sure if you spoke to him he'd be the first to agree that he can hardly play bass and was just in the right place at the right time. [/quote] I couldn't describe him as a genius, but I'm not too sure what constitutes 'genius' anyway, the word gets bandied around too much nowadays. What he is is an important figure in a period of music that has influenced a massive amount of bands, more so than a lot of people realise. Also, I should add that the last time I listened to Joy Division or New Order was a long time ago and I wouldn't claim to be their biggest fan, but I do appreciate their music and what they brought to the forefront. But it's all too easy to pawn someone like Peter Hook off as crap without actually standing back and seeing the bigger picture. Also, life is about being in the right place at the right time, that's how things end up happening.

[quote name='Clarky' post='1137601' date='Feb 22 2011, 08:02 PM']That clip might be rubbish but Hooky did some brilliant bass (yes, bass not guitar or anything else) lines. What is more they help make (and in some cases define) the song, despite his lack of technical brilliance. Take a listen to 24 hours, Ceremony, Transmission, or several others (LWTUA already mentioned, She's lost control, Disorder). No other bass player (at least at that time) sounded anything like him. How many bass players today can make that claim?[/quote] + 1 You've managed to put it more succinctly than I could really.

[quote name='crez5150' post='1137550' date='Feb 22 2011, 07:37 PM']Well one really seeing as one was a sequenced bass synth...[/quote] Yeh of course but the premise is still there and it's still his own music. I think this is where the confusion starts; what's more important, a load of slick musicians with mad chops and technical skills making music, or a bunch of musicians with the means of writing excellent music but with less than impressive technical skills and/or theoretical knowledge? To me the latter often produces the most interesting results because the imperfections add to the brilliance of the music because of how raw and real it sounds.

[quote name='Ou7shined' post='1137548' date='Feb 22 2011, 07:36 PM']Which 2 is that then? (I'm not being sarcy - I honestly can't think what you mean right now)[/quote] Love Will Tear Us Apart and Blue Monday. Whether you like 'em or not doesn't make them any less recognisable. [quote name='Ou7shined' post='1137548' date='Feb 22 2011, 07:36 PM']He has a repetative style of playing the same 3 or 4 rising notes in a riff (as you can see from the OP). I think you may be overestimating his actual contribution to the world of music.[/quote] I'm not underestimating anything What I would say is that I find it endlessly frustrating how someone can be slammed for their perceived lack of technical 'ability' when the sum of it all equals music that has been so very influential. You might not be aware of of Joy Division or New Order's wider influence, in which case it's more likely that you're underestimating their impact on popular music. It's like saying that John Lennon wasn't a particularly talented pianist. You'd probably be right in saying so, but then his music was so fantastic that his piano skills pale in comparison to his prolific and highly acclaimed output. Peter Hook is never going to be up there with the likes of John Patitucci in terms of the level of skill he can bring to bass playing, but his contribution to his style of music is no less significant.

Threads like this always remind me of how unadventurous and if I'm honest, how close-minded people can be. As someone's already pointed out, the guy had a hand in Joy Division and New Order, and produced two of the most instantly recognisable bass lines of recent memory. He's an incredibly inventive bass player, and whilst a lot of the time I choose not to listen to Joy Division or New Order's music much anymore, I can't help but feel a lot of the criticism aimed at him is based on his perceived inability to fall in line and take on the typical role of what a bassist is 'meant' to do. Boring... at least give him the credit playing for contributing towards his music in his own unique way before claiming that 'he's not a bass player because he doesn't play the bass parts'. It's such a redundant argument.

Yep having the same issue!

Some lovely Precisions in this thread. Got a '59 reissue that's fantastic, but I'm letting it go to pay for some more stuff I need! Check it out here [url="http://basschat.co.uk/index.php?showtopic=123551"]http://basschat.co.uk/index.php?showtopic=123551[/url]

Cheers JTUK and Musicman20, appreciate your input. The Eden XLT's seem a low mid bias which depending on venue to venue can end up saturating the stage, and although I got some great sounds from it from the studio it's starting to become a pain to get in and out. I'm looking for a more focused on stage sound from the Aguilars, I'm thinking slightly higher midrange sounds that cut well. I'll probably look at getting one of the DB112's with a tweeter and one w/out.

[quote name='scalpy' post='1130190' date='Feb 16 2011, 08:24 PM']I'm really enjoying mine. A while back Higgie described his as being just "there" and I know exactly what he means. There is a 3D quality to the sound and plenty of low end despite the size. I was using an old American Hartke 410 (which still sounds very good indeed) but the Aggies rattle ribs much more easily. I used to play with a very loud drummer indeed and never got the Hartke past 11 o clock on the dial. Whilst I haven't had the chance yet to meet up with him yet and rag the new ones I have AB'd the two rigs side by side and the 12s are really loud indeed. In terms of tone I'm finding I'm having some unusual issues with some of my old settings on the bass I use in that the tone disappears compared to the Hartkes, but this maybe due to the fact I changed heads at the same time as well, and it could be this causing the problem. However on my 2 favourite settings it's my old sound turbo'd and I find all the articulations I use speak through with real weight to them. You have to be careful that the sound doesn't get too thick at volume. I bought one with a tweeter with resale in mind but I really like it and have found myself using it all the time. I did lend my rig to a friend for a rehearsal and he went straight out and bought the exact same rig to go with his fretless Alembic. He now sounds like the world's biggest double bass! Hear mine in action at [url="http://www.youtube.com/watch?v=mkv5hudteY8"]http://www.youtube.com/watch?v=mkv5hudteY8[/url] if you want, there's no drummer to get in the way! Hope this helps. Harry[/quote] Thanks Harry, the tracks sounds great too, the bass sits really great in the mix!

[quote name='warwickhunt' post='1130174' date='Feb 16 2011, 08:12 PM']Loads of views on them if you do a quick search but in summary; I love mine to bits. As single cabs they are good but when doubled up they are excellent. IMHO they are never going to give you loads of 'zing' but what they do they do well. As a pair they will hold their own a rock band situation playing pubs and clubs and I've yet to be defeated by guitarists even when using 4x12's (not that it is a competition). I've not had mine complaining, nor pushed to the limits but by the time they've reached their limits you really should be using FOH PA support. Cracking cabs but don't expect featherweight as they are still a nice chunk of weight... maybe that's why they do what they do so well! [/quote] The weight of them in comparison to the 410XLT I expect will be a breeze! What I need is for the cabs to the deliver punch and I'd prefer to not invest in the DB212 if I can because that would defeat the idea of being able to split the cabs off in the studio or at smaller gigs. I'll be interested to see how the new SL 112's fair as well but at the moment they're looking too pricey for what they are.