risingson

[quote name='uncle psychosis' timestamp='1381342764' post='2237937']
yep, so bad that it got almost universally good reviews and sold 1.75m cd copies despite being available for free on the Internet.

If people want to slag off radiohead then fair enough, but you could at least come up with something that is actually true...
[/quote]

Exactly what I was thinking. In Rainbows was completely accessible as a record and would have made a killing had it been purchase only.

Completely solid, great rock bass playing and hugely melodic. I play this one out live a lot with my covers band and I always love playing the bass part on this, or at least approximating it!

[quote name='Dingus' timestamp='1381318770' post='2237428']
The truth is that no one has actually listened to any of his records since O.K Computer
[/quote]

Kid A was massively successful albeit in a different way and Hail To the Thief sold insane quantities in the U.S and U.K. In Rainbows, snap. So this is quite far from being true.

Radiohead are up there with my favourite recording artists of all time, I consider them to be on a par in some ways to The Beatles in their approach to music a lot is owed to them. But Thom Yorke owes the fact that he was able to choose to distribute In Rainbows for free due to his prior success, a success in part engineered by major labels who helped market and sell his music. The middleman in music trying to profiteer from the success of others will continue to exist, just like the way we consume music will continue to evolve.

I do think Spotify can also be blamed for treating artists unethically and not giving them the right cut of royalties though. It's a business at the end of the day but we as musicians are always conscientious of the fact that without people like us, companies like Spotify and major record labels simply wouldn't exist. But conversely, Thom Yorke would have no career without the backing of major labels, so it's a catch 22.

[quote name='Chiliwailer' timestamp='1380466864' post='2225682']
But having a hate rant about them, especially when so many people and pro's appreciate them, I feel is a little unfair on a high quality product.
[/quote]

Rant? Oh dear, try not to take me too seriously, it's my own opinion, nothing more! My favourite bassist Dr. Pino P uses them.

[quote name='Lozz196' timestamp='1381163505' post='2235212']
I really like the look of these.
[/quote]

Me too!

I'm fairly convinced I can hear a difference in fretboard wood but I'm probably wrong. I'm also a proponent of thinking that if a bass sounds, plays and looks good then it doesn't make a huge amount of difference what an instrument is made from. Luthiers and companies have to justify to an extent the prices for their instruments if they're custom order and it's possible that they might overstate the importance of tonewoods IMO.

I used to have a preference towards maple aesthetically but nowadays I like rosewood as much on certain things.

Another for Status Hotwires. Actually some of my favourite flats I've tried out too.

This looks like a stunner Lozz. Anyone who buys this can do so with confidence, Lozz is a top guy. I bought his '78 P a few months back and it's now my staple instrument.

[quote name='Fionn' timestamp='1380403875' post='2224960']
Stuart Zender, mostly.

When I first heard Jamiroquai, way back in 1993, I couldn't believe my ears. It was the music that I'd waited my entire young (at the time) life for. I was really captivated by the bass particularly. There was/ is something about early jamiroquai and Zenders playing which simply locks into my soul. I wanted to express some of that groove that I was feeling ... So, I went out and bought a bass.

More than any other player that I can think of, Zender has left the strongest stylistic influence on my playing.
[/quote]

Zender I definitely credit for keeping me playing as a young lad. I learnt those first three Jamiroquai albums back to back, note for note!

[quote name='BigRedX' timestamp='1380455036' post='2225424']
[url="http://www.vintagehofner.co.uk/hofner/basses/bas12.html"]And here's an even older single cut bass from 1957[/url]
[/quote]

But that's just an adaptation of an existing guitar design adopted as a bass design, without wishing to put words in the OP's mouth I think he's referring to more modern designs by Fodera, Sei, Nordstrand and many other brands that use singlecut designs more like this one?

[url="http://www.nordstrandguitars.com/assets/images/gallery/JayLewis/amboyna2.jpg"]amboyna2.jpg[/url]

I'm not a fan of the looks personally and am fairly ignorant to the reasons why a bass might be designed like this but I don't see a problem with diversity in bass design, everyone likes different things in my experience.

[quote name='Lowender' timestamp='1380389918' post='2224693']
It's just seems dumb and dumb ideas tend not to last. I guess if you're obsessed with balance and structure and never play beyond the 12th fret it may have appeal, but there's also the dorkiness factor to consider.
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The only reason I can see a singlecut limiting playing above the 12th fret is if you have some interesting and naff left hand technique going on. Realistically it shouldn't be a problem!

[quote name='Coilte' timestamp='1380186419' post='2221905']
if you had done some research
[/quote]

I'd played TI's before and remember enjoying them more than I did (mentioned this in the OP, basically the second sentence). Research not required.

It's fine, I amended the situation by stringing my P up with La Bella 760FL's which sound a thousand times better.

James Jamerson, Pino Palladino (fretted) and Anthony Jackson are top.

Carol Kaye, Joe Osborn, Paul McCartney, Willie Weeks, John Paul Jones I kind of group together as massive influences too. More modern guys I like are Adam Blackstone, Sharay Reed and Tim Lefebvre.

I wouldn't actively relic an instrument unless it actively relic'ed itself by me dropping it down a flight of concrete steps accidentally. But I love wear and tear on old basses, instruments with history are far cooler than stuff rolling off the production line looking brand spanking new, probably only really relevant to Fender, Gibson, Musicman etc.

Damn good indeed, it's very obvious listening to him just how much Jaco took from him.

[quote name='olliedf89' timestamp='1380231920' post='2222733']
But of course, sir. My favourite thing NIN has ever done is the Still EP. Also known as And All That Could Have Been Disc 2.

Basically, if u want electronic pop stuff go Pretty Hate Machine. Aggression and industrial go to Broken and Downward Spiral.
All out genius, ambient and aggressive The Fragile, With Teeth is more rocky and live orientated with Mr Dave grohl on drums. Probably my favourite.

Year Zero is crazy heavy electronic synthy industrial. Absolutely nuts but not the strongest, same with The Slip and Ghosts for me. Hesitation Marks is the new one and is mostly electronic beats and synth orientated but still has some outstanding moments.

I would start with The Downward Spiral and The Fragile followed by With Teeth.

Haha hope that helps!
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Lovely, cheers for that. I'm actually a big Telefon Tel Aviv fan so logically I should enjoy NIN what with Josh Eustis joining them recently.

Embarrassingly I know little about NIN beyond that my old guitarist was a fanatic about them. Anyone want to point me in the direction of the right place to star with Mr. Reznor? Pino's bass playing in that clip sums up everything I love about bass.

[quote name='xilddx' timestamp='1379947494' post='2218562']
Boards of Canada. It sounds like Clement Freud doing the Magic Roundabout theme. f***ing depressing.
[/quote]

Heathen!!

Really liked Disclosure's album, very good for two young lads their age. Unknown Mortal Orchestra's 'II' is also excellent.

[quote name='Lasermonkey' timestamp='1379896719' post='2218056']
For me, the clear winner is Tomorrow's Harvest by Boards of Canada. Absolutely love it to bits,
[/quote]

And this . My obsession with Boards of Canada lives on.

Daft Punk for me as well. Everything that made Daft Punk great diluted and misappropriated, the glory days of Homework and Discovery are long gone and one of my favourite electronic acts didn't deliver, largely for me because they used live musicians. Although words like 'melancholic' and 'minimal' have never been words I would ever associate with Daft Punk, basically the opposite in fact.

If the construction of the Rockbass is the same as when I had one about 10 years ago then the construction of the Korean stuff is far, far better.

[quote name='Gust0o' timestamp='1379582494' post='2214343']
Crikey, HH? Am now fully sold.
[/quote]

I must say I'm looking interested now too. I'm thinking natural 5 string dual pup!

Pick playing is one of the most widely misunderstood and underestimated means of playing a bass. It requires a completely different skillset and a lot more concentration to play dynamically. I would probably say it's the least researched means of playing the instrument insofar as only a handful of people have pushed pick playing to its limits. Like this man

[media]http://www.youtube.com/watch?v=1rxYw7Y45Eo[/media]

I've largely been a passive bass guy but I do like both. Onboard preamps can be really hit or miss for me, which means I have to be careful going about picking active instruments. I hate sterile sounding preamps (pickups too) and like to be able to hear a bit of the tonal character as well as the actives working, kind of like a subtle mix. In short actives for me have to be musical. I also find an onboard mid control dialled in at the right frequency range to be really handy when I need it.

It sounds pretty MM to my ears, really nice playing too. I know his original Jazz had a Star preamp fitted by Roger Sadowsky, I guess an onboard preamp close to something like that would go some way to helping you out nailing the sound.