Beedster

Likewise, I actually studied BTEC OND/HND Electronic Music Technology for three years as the result of my obsession

Can’t help thinking they simply did Don’t Stop without the shuffle

This thread, as is the case with a couple of others at the moment, demonstrates just how subjective the answer to even an apparently objective question can become. There's a chart on the site somewhere with the frequency response of a large range of strings. But bassists don't play strings, we play a system; basses that have their mechanical and acoustic characteristics, circuits and preamps and power stages into speakers and into rooms, and then into people's brains via their ears. If you need an answer re the strings, check out the chart (I'll try to find it), but as per the above, once in the system above, those characteristics might be a largely insignificant factor in the tone you and others actually hear.

Agreed, they sound like they'd had a long day. Perhaps the bassist saw his moment?

Well you learn something new everyday! For some strange reason I just tried to imagine Stevie Nicks on vocals. Chorus didn't work for her

Are MF and JM the rhythm section on the original?

Agreed, I can't believe how small some 3/4's are. I have a blonde 4/4 (aka The Beast, largely because it tends to scare other musicians and landlords when I walk it into gigs, in fact twice I've had to remove the endpin to get it under a ceiling), and having picked up a 3/4 recently felt like I was playing a 'cello. It's another reason why the O/P has to play an instrument before buying, because like all orchestral string instruments, the dimensions are an important part of playing (if you have a spare week check out the arguments online relating to the optimal size of violins and violas).

Ha ha, he did indeed need something Over an above live versions being different, very often the line on the track itself is a completely chance event that might or might not have been the line the bassist had intended to play, the best line for the song etc. There's the 'I perfect and always play the same line' school versus the 'I don't think I've ever played the same line twice' school. I'd like to be in the former but have to admit membership of the latter. Re hearing WoL in a soundtrack, it's always seemed something of an oddity that it wasn't in An American Werewolf in London?

Agreed, I just like to hear what other bass players have done to a song, there are too many bands who do just as you say, play it as per the (famous) recording. No joke, I was briefly in a band in which the guitarist told me off for adding a passing note in Take It Easy. He was anal enough to listen to the track in a break in rehearsal and then play it to us to prove the note I’d played wasn’t in the original. I lasted one gig

And, with a little creativity and a sober drummer, Sympathy for the Devil. The sobriety is however the key

Agreed, I think the first works with the song, the second could be useful inspiration for a band that doesn't have a lot of time to rehearse new songs and might need to stretch a few out on the night

OK, I think this is the version with the more prominent bass

Thanks Alan, hope he can repair my P-Retro, best pre-amp I've ever had

Thinking of a Halloween gig, and of course this is on the setlist. Took a listen last night to remind myself. What a flipping great song, it's got everything, don't think I'll ever tire of listening to it, the recent remix has a great bass line really high in the mix also (although couldn't find this YouTube so this isn't the version linked to below). Listened to some of Zevon's other stuff last night also, his lyrics are outstanding.

Have to say that I did own the USA Custom Shop version of the Reggie Hamilton signature - in Olympic White - which was an amazing bass, but very much a Jazz/Precision hybrid as opposed to a departure from both

Pretty much every bass ever made by Fender except the Jazz Bass and Precision Bass

I first mailed John about my P-Retro about 18 months ago and received no reply even back then, and plenty of people appear to have bought from him since then so I assumed all was fine. Likewise however, I hope he's OK, he's a bloody nice bloke

Last time I spoke to John - about three years back - he was having problems with securing the rechargeable battery pack that is required for the unit to retro fit a Precision. He mentioned that he could build a version of the circuit that would run on a normal 9v battery but that this would not simply drop into a Precision in the way the P-Retro did, so I don't think he sees this as a commercially viable option. I must admit that whilst I've always supported John's products and service on here, having emailed him several times over the last year following one of my P-Retros suddenly not working (doesn't work at all after probably not much more than a hundred hours of use), and having not received a reply to any emails, I feel a little let down

As all the feedback above suggests, Tony's a great guy to deal with. Looking forward to seeing the completed pink Jazz Tony

Or not

Yep, a significant upgrade on the EBMM 3-band circuit

I think the problem is a little simpler than that, they're all working from home so the phone number logistics (all the call diverts etc), security (which is significant) as well as simpler factors such as the inability to record phone calls for legal (sorry, 'customer service') reasons, means that for most businesses, email is a lot simpler and safer than phone at present. Theoretically it should be faster also

Yep, i played for a band leader who wanted a very specific visual image for the band, one component of which was a bassist playing a Precision (he was looking for an early 80's Clash/New Wave vibe). He said he preferred the sound of my Precision over my Ric, but I'm really not sure that in the mess of noise produced by that particular band he could really hear anything at all

That's the key isn't it, not about how it sounds as much about how it feels