risingson

Unless the bass line is something I'm really keen on replicating (I've been playing Anthony Jackson's stuff with Chaka Khan for fun recently and I wanted to get the lines as close to correct as possible), or the song relies on the bass line for melody or very strong harmonic support, then I'll just approximate the bass line.

I've noticed some people have gone out and bought instruments based on what they can hear from videos, records or live performances, only to get home and plug in and find that they cannot replicate what they were were hearing. Most of it is purely down to the fact that the bass you're hearing back from the performance you so admire has been recorded or subjected to processing from equipment you do not have, and sound men, engineers, D.I boxes, preamps and producers you don't have access to. The second point is that I've played loads of Stingrays, both 4's and 5's and every time I have, it always sounds like me playing a Stingray. It also doesn't sound a million miles away sonically from me playing my Jazz bass, albeit with a bit of a bias towards the bridge pickup, but not much. My point is that there are going to be a lot of reasons that you don't end up being able to properly replicate a sound, but the most fun for me comes from creating something entirely your own.

I'd have to read the article in full to pass any real judgement but it sounds like he wanted to spice up a slow interview with something that made him sound like he knew what he was talking about. Slightly embarrassing for him.

Love this, and all of his new orchestral stuff, really well thought out... Sting really is one of my favourite songwriters of all time, even if he is a bit of a ponce at times!

It's funny, I think that Leo Fender's jazz bass was a work of art, but then when I see Ritters I think they look garish and a bit tacky, sort of like ordering a Rolls Royce in 24k gold, with bright blue xenons and a hot-tub in the back. I suppose one man's meat is another man's poison, but suffice to say they ain't my thing!

Where the bloody hell are the valves?? I've wanted a real B-15 fliptop reissue for years!!!

I'd be interested to know how many Zender signatures have been sold as of the release date a while back.

As far as I can remember, Andy Rourke wrote a lot of his own bass lines, he's a very talented and melodic player. 'Headmaster Ritual' showcases just some brilliantly written bass parts. That being said, it wouldn't surprise me if Marr had a hand in writing the bass parts, he's an incredibly inventive musician.

[quote name='Spike Vincent' post='1076672' date='Jan 3 2011, 07:28 PM']Never,I repeat,NEVER get rid of anything with Moog written on it.You will regret it.Trust me on this.[/quote] I really would be inclined to agree with this.

I have a tear under my fingernail at the moment which proved to be difficult playing last night, but that sounds like a pretty outrageous injury. I'd be surprised if you didn't lose the nail... fingers crossed it gets better soon though.

[quote name='steve-soar' post='1075626' date='Jan 2 2011, 07:24 PM']Great post.[/quote] Cheers Steve! I'll be in touch this week about that cracking set up you offered me!

[quote name='MattCvijan' post='1075261' date='Jan 2 2011, 01:18 PM']Thank you for this post. In my dissertation im looking at the link between musical identity and racial/cultural identity, using Neo Soul as a case study. Neo Soul music appeals to people from all walks of life, racial groups, and cultures, yet it seems that the leading artists in this genre are almost exclusively African Americans... in my dissertation im trying to see if there are reasons for this (is it conscious or just coincidence? are there practices in place that make it difficult for non african american artists to break through in this market etc... Essentially do you have to be an African American to be considered to be an authentic neo soul artist? Could a white/non black Neo Soul artist be considered authentic, or will they be accused of just imitating? in many ways i guess Joss Stone, Amy Winehouse, Duffy etc etc could be considered "soul artists" yet they all got ridiculed as rip off white artists. When Joss Stone got nominated and Winehouse won a MOBO there was alot of resentment amongst the black community. I think that image in music is very interesting. another great example is the average white band... white scottsmen...defiantely soul music, yet they had a hard time breaking through the black stereotype, and being considered to be authentic. What is stopping non black artists from being considered authentic Neo Soul artists? perhaps the reason lies in marketting? is Neo Soul marketted as niche black music?? meaning that unless you look the part, you wont fit in to the market?[/quote] That sounds like a really interesting topic of discussion. I suppose that whilst we would like to think that racial segregation doesn't exist within a musical frame, it of course does, but to what extent is questionable. Neo-soul is obviously deeply rooted in American black culture, the way certain musicians have been brought up and in certain kinds of neighbourhoods I think might reflect decisions that would ultimately lead them to only involve themselves with musicians that are also black. But also I guess it's got a lot to do with the fact that the musicians that are right to play on their tracks have most likely come from black backgrounds, surrounded with blues, soul, R&B and jazz. It's the nature/nurture argument, and that's purely from a social perspective, before you consider technological, economic or political reasons.

I think D'Angelo, Erykah Badu, Common, Mos Def, Raphael Saadiq, ?uestlove and alike wanted to set a bit of a new precedent within a community that was a little bogged down in the throes of modern technology. All that they did was take a type of music that had waned in popularity and turned it on its head by applying everything they loved about hip hop and modern R&B. It's probably worth talking about the fact that numerous 'Neo-soul' artists have rejected the term, arguing that their music was simply a product of working in a close-knit group of rappers and musicians for so long, and thus the insular nature of what they were doing resulted in them producing a really unique sound. What angle are you approaching this essay? Sort of a cause and affect perspective or something a little different?

Anthony Jackson's bass lines on Chaka Khan's 'Heed the Warning' from the album 'What Cha Gonna Do For Me'. The rest of my band are questioning my taste, but the combination of Steve Ferrone on kit and Jackson on bass duties are proving to be some of the best rhythm section work I have ever heard on record. I really am beginning to think Anthony Jackson is just probably the best bass player alive.

I use Spotify nowadays, it means I pay my dues to the artists I love to listen to!

If all goes well I'd finally like to get an Aguilar DB751 and an Alleva Coppolo. If things go tits up financially though then I'll be lucky if I can get a hot meal.

[quote name='Mr. Foxen' post='1068024' date='Dec 23 2010, 05:54 PM']Every time I've done a guitar setup for someone who detunes, it has never been to suit their voice. The half step is always because some cheesy blues dude did it, and the really down was either 'because it's heavy' or 'because Metallica play in standard, so screw doing that'. And when complicated chords "****ed up a whole generation"m do you means 'taught them to play jazz' or 'forced them to play punk'?[/quote] I can only speak for Hendrix and SRV. Actually, technically I can't speak for either of them as I didn't know them. Also they're both dead.

[quote name='Mr. Foxen' post='1067925' date='Dec 23 2010, 04:41 PM']Guitarists do this because they heard SRV and Hendrix did it. That is pretty much the sole reason.[/quote] Both played to suit their vocal ranges. Also SRV used notoriously heavy gauge strings. It's different why you'd want to drop tune on guitar, it creates a different feel and sound you can achieve with bends and vibrato that you simply can't do in regular tuning. There are a million and one examples of guitarists that practice(d) this type of tuning extensively.

I do it in one tune I've recorded recently because I wanted to use that low Eb extensively and the part I was playing. I could have transposed it up an octave but IMO the bass line wouldn't have occupied that space that I wanted it to in the track. The obvious solution to this is using a 5 string but a lot of people prefer to tune down, and I understand why. It will become a bit of a pain in a live setting having to have either multiple bass guitars on stage or tuning down and up between songs also. Anyway, there are a few reasons why you'd tune down a half step., 1.) because you prefer looser tension over your strings (Pino Palladino does this because his La Bella flatwounds can be tough on his bass's neck). 2.) if you're playing with horns, bass players have been known to try and fit around tunes that are written with horn lines in mind ('Rock With You' by Michael Jackson and a lot of Stevie Wonder tracks with Bobby Watson and Nathan Watts respectively), 3.) because you need to fill out the bottom end if you're playing a lot of Eb's, and 4.) with that in mind, some players use open strings as stepping stones, having your bass tuned Eb Ab Db Gb would make it a bit easier for your bass to occupy a lower register that might otherwise not exist or be difficult in drop D.

Played a Chromed LX 4 in Gothenburg a few months back. Monster tone.

[quote name='steve-soar' post='1067153' date='Dec 22 2010, 08:05 PM']PM'd[/quote] You sir, are a hero!

Really love my Fender Jazz but it currently plays like a dog, so much so I'm the only one who can play it with any level of success. I've tried setting it up myself as a quick fix (I've been very busy at the moment playing and recording) but the action is still far too high and the intonation up the neck is slightly out. Need to have it professionally looked at because I'm at my wits end with it, but I like the tone of the thing most of the time.

It really does depend what the sound is like, what the venue is like, whether I know the guys that are playing etc. I try so hard not to judge a band too hard but it's difficult when you're constantly thinking "I wouldn't have played it like that" or "he's hit a wrong note, it hurts" and so on, but I just try and enjoy the show. I went to see my mate's band play the other day, the group before had a bass player seemed to think that he could make up for terrible timing issues and bad playing with a six string bass and more volume. By that stage I found myself wandering to the the bar to order another red bull.

Had you been based in the NW I would have been able to offer you some solutions, but I'm sure someone will be along soon enough with a few names, numbers and websites that you could perhaps contact.

[quote name='newbass1000' post='1066283' date='Dec 21 2010, 11:13 PM']Thanks a lot for your help. What you've just mentioned was what pretty much split up the band, I was just starting out and not looking to start somthing serious. And I'm currently taking bass lessons from a guitar teacher but they're only for 25 minutes a week during school time. I wouldn't know where to look for an experienced bass teacher.[/quote] Where abouts are you based my friend?