jbn4001

I like four or five tracks on it... they're actually good tunes with actual melodies Clockwork angels. Great gnarly guitar with a wierd ringing sound in places. Nice rhythm and great atmosphere all round. Feels really epic. Halo Effect (despite using chord sequence and rhythms as found on Half the World and a tune off VT... really nicely done) The Wreckers. Nice chorus. The Garden. Best track alongside Halo Effect for me. Mature. Nice harmony and arrangement. Nice vocals. Most of the rest of the album is below par for Rush (as was Snakes and Arrows - their worst album ever). I'm with others that have commented on their habit of cut and paste approach to tunes. They were often riff based in the past, particularly in the 70s with their long tunes - but they still sounded less "stitched together" than the output on the last two albums in particular. Production on this album is much better than S&A .. but STILL squashed to hell. Really LOUD. I'm surprised that Rush feel the need to do this. I adored VT because of it's passion and energy, despite the appalling production. They had something to prove after the hiatus due to NP's personal tragedies, and NP's lyrics had some real resonance (how utterly incredible was Freeze?) I'm just grateful to hear a few good tracks from this band that have been around forever and yet still try to produce new stuff. They've maintained their work effort and integrity for longer than just about everyone else in rock. Just look at how many albums they've done (the majority of which is good to great) .. compared to other older bands that stopped being interesting and became a tribute act to themselves within their first 10 yrs (Rolling Stones, The Who.. ) (excuse rambling OT content. I just thought I'd remind myself that they're still producing the odd nugget of gold even after all these years. We just take high standards for granted with Rush.. ) [quote name='wateroftyne' timestamp='1344893631' post='1770883'] I listened to it relentlessly when it first came out... I haven't for a couple of weeks, maybe more, and I can't remember most of it. It just hasn't clicked with me. Squashed dynamics, fussy arrangements, weak melodies. Having said that, I'll have another go this week. [/quote]

If I ever play in a loud band or go to a loud gig, I use ER25 custom moulded earplugs. Story follows.. but short version is :GET SOME EARPLUGS AND USE THEM!!!! Why? Because 8-9 yrs ago, I was playing in a loud band. The guitarist's amp was way louder than mine. Instead of saying "please play quieter", what did I do? I went into a music shop to find a louder amp. In the soundproofed booth, i.e. a dinky little room.. I was a total d**khead and I cranked the sh*t out of several amps/cabs. In one afternoon, I trashed my hearing (to an extent) irreversibly. I now have quite bad tinnitus and hyperacusis (intolerance to high frequencies). The latter is really weird.. if I listen to music through speakers (rather than a live band) .. I find the high frequencies from cymbals and the like make my ears ache badly, coupled with a strange burning sensation. The ER25s have been a life saver for me as it means I can listen to music a) a lot quieter and they roll off the high frequencies to the point where they don't irritate my ears. When listening to mp3 player, I have to have the treble turned all the way down to lowest setting.. and yet to my ears , it's still really trebly. If you're young and you can afford a bass or bass amp, you can afford earplugs -- get earplugs and protect your hearing. Hearing is priceless. Custom earplugs can be had for less than the price of a decent combo. Regular earplugs can be had for less than the price of a set of strings. When I hear people listening to mp3 players mega loud (something I never did, despite my idiocy with the aforementioned amp testing) I can't help but think we'll have a nation full of people with major hearing problems by the time they're in their late 20s. Madness. Hear endeth the old man rant.

[quote name='BottomE' timestamp='1340956270' post='1711883'] It took me a few gigs to get used to the transparency of these amps. Now i struggle with other amps that seem to colour the sound. [/quote] +1 I've not played through MB cabs very often.. but I do own an LMII and put it through one or two Bergantino 1x12 ER112s (depending on gig ) . Adore the sound. With everything flat (so that means vle and vpf set to 0) .. the LMII is "transparent". Each bass I put through it sounds like you expect (Jazz, Rick, Precision, a double bass..) . I too find that if I put a bass through other heads, I hear the tone of the amp - e.g. GK, Trace, Ashdown. I do like the GK sound for a powerful tone.. but it does seem to override the inherent tone of the bass guitar you're putting through it. I've got a friend who plays through the MB 2x10 combo angled up at him.. sounds fine to me in the audience at his gigs. Horses for courses.

Not that I've finished working my way through it or anything.. but it is certainly a good challenge and is structured for learning to read different note values http://www.amazon.co.uk/Modern-Reading-Text-For-Instruments/dp/0769233775/ref=sr_1_2?ie=UTF8&qid=1340920702&sr=8-2 ..and read lots of music starting from simple and working your way up! Are you in a band where you need to read music? Or lessons? Previously, I've been in groups where I didn't have to sight read. I joined a big band where i HAD to sight read or get left behind. Big incentive. Good luck. jbn4001

Just bought this [url="http://www.youtube.com/watch?v=bi7xBLsxGnA"]http://www.youtube.com/watch?v=bi7xBLsxGnA[/url] and this [url="http://www.youtube.com/watch?v=3HISo0r-UcI"]http://www.youtube.com/watch?v=3HISo0r-UcI[/url] Looking forward to seeing Troyka in London soon.

[quote name='Bassman Steve' timestamp='1339279847' post='1686406'] John Deacon of Queen. [/quote] +1. I was into Queen before I got the bass "bug". After being blown away by the in-your-face bass of Geddy Lee, when returning to my Queen albums, I appreciated the subtle and articulate basslines of John Deacon. I really ought to learn the bassline to to Killer Queen. And what about Play the Game..? .. Genius.

Geddy Lee. Moving Pictures blew my tiny little mind as a teenager. Took me a while to realise what I was hearing was a bass guitar as it was so outfront and intertwined with the arrangements of the tunes. From that point on I wanted to be a great bass player (was playing keyboard cack handedly prior to this point). Dunno if I can lay claim to being a great bass player.. but I'm still trying ("got my sights on the stars.. won't get that far but I'll try anyway...")

A drummer who can't play quietly is a drummer that isn't in control of his technique. I've played with several drummers. I've tried in vain to work with drummers that can't control dynamics or listen to the rest of the group - but I can't. If your drummer can't play with feel and articulation at quieter levels, he should get some drum lessons or tuition books/vids. If he's open to this, then all power to him. IMHO.

[quote name='silddx' timestamp='1338228794' post='1671217'] I have it on my headphones as we speak while I'm cooking. I really like it, and the more I listen the more it sort of reminds me of Steeley Dan, but without the great lyrics and the humour. But you know what, it's a grower, and I've had no sphincter action so far this evening I swore blind the other night that Allan Holdsworth is on it, but it's just a copyist, the boy needs to develop an identity. [/quote] I'm in the "I want to like her stuff but not so sure" camp. Many of the arrangements are just too darn busy. I put it down to youth and hope that she grows out of it. 100% agreed on Holdsworth comparison.. last track Smile lIke That stands out by a MILE for me.. Major AH influence on guitar.. For me that tune is the most straightforward and grooving, with fantastic changes that aren't too hyperactive. As for copyist.. maybe, but I admire anyone who can decipher AH's take on harmony. Love him to bits, because his playing is so unconventional and yet so darn compelling (excluding synthaxe before anyone says...)

[quote name='RhysP' timestamp='1335631681' post='1634055'] Really? Worse than "Test for Echo"? I'm one of the few who think that "Snakes & Arrows" is one of the best things they've ever done. [/quote] TfE is a little bland in places but it has some good tunes on it such as Time and Motion. IMHO S&A is far more complacent - even when compared to TfE. Cut and past assembly of tunes that go on for too long, uninteresting melodies, uninteresting pompous (even for Peart) lyrics.. I can't stand it and was very disappointed with it. Gotta hand it to them though - they've done far more in their career in both quality and quantity than most other rock bands.. so I can let it slide

Reasonably entertaining video on youtube [url="http://www.youtube.com/watch?v=ZcFGrWjOX0E"]http://www.youtube.com/watch?v=ZcFGrWjOX0E[/url] As for the tune - I agree with most on this thread in the "they ain't as good as they used to be" theme. I guess when you've been so great in the past (for so LONG with so much output) that a slide downward is inevitable? I loved Vapor Trails (production aside).. so fresh and energised with some great tunes.. but then they did their WORST album with S & A. I blame it on the producer they're using because he is a fanboy. I imagine him saying everything they do is great, whereas I reckon previous producers had the guts to challenge them when they weren't doing their best. I'll say this - the tune is better than all of Snakes and Arrows (with the exception of Far Cry perhaps). Also, I prefer the production compared to S & A.. bit drier and focussed. The bass tone is sounding better than it has in years too. Fantastic guitar in places. Alex is Rush's secret weapon for sure.

Red Barchetta, The Camera Eye.. actually.. all of Moving Pictures by Rush. I'd never heard bass in rock so blatantly outfront, creative, and yet integral before. Heard Camera Eye and Barchetta for the first time.. they blew my mind and I just had to have a bass and learn to play it.

Hi, I'm sure it's a taste thing. I used to have a 4x10 cab which was a bit much for what I was doing. Whilst at BassDirect, I tried various cabinets, including the then very trendy tc cabs (and head). On recommendation of Mark at BD - and my ears - I got a HT112ER and an EX112ER (same as HT but wihout tweeter.. I should've got both of them with tweeters in hindsight but anyway..) .. and I was well pleased with the sound. I really wasn't a fan of the AE line.. shame as they're lighter! With my LMII they do sound incredibly clear and "transparent" to my mind, allowing all the character of whatever I'm putting through it to come through.. (a Jazz, a Ricky or a double bass) . The sound is great with both cabs or just the one (depending on the group I'm playing with and/or gig). Both together definitely gives a very decent amount of thump (very impressive for slap..not that I do much of it ). One alone really cuts through for jazz quintet and big band I play in, both electric and particularly DB -all whilst retaining character. I've only tried Aguilars in Bass Gallery.. but from my recollection, they have a very particular sound (which wasn't to my taste).

[quote name='Muzz' timestamp='1325510306' post='1483712'] The Elixir Nanoweb coated strings are probably the smoothest and slickest you'll find. Just fitted a set to my Shuker, and I'm really liking them. Not cheap, but they have a long life. If you're a hard pick player I've seen the coating wear off the bottom ends: I'm a medium pick player, but I'm giving it a go anyway. [/quote] +1 to Elixir bass strings - I've put them on all my basses for years cos they feel smooth and don't become sticky with sweat. But if you are a pick player the plastic coating will wear off pretty quick. If you're not a pick player then the strings will last for ages, retaining "zing" for far longer than any other strings.

It is tough for me to contribute to this thread. Geddy was/is my bass hero. He is THE reason I bought a bass guitar and spent months shedding and shedding to be able to play some of his lines (incidentally, I do still practise, but possibly never with the same intensity as when I was so inspired by hearing Geddy's basslines for the first time as a teenager). I will agree with the sentiments of others on this thread in that we are lucky that they have pumped out so much good stuff in their time and darnit, they've EARNED the right to lay back and not be that productive these days.. back in the day, for the first 20 yrs of their career, they created and toured with incredible intensity and quality combined. My wife and I often look disparagingly on so many newer bands that only put out an album every four years right from when they start as youngsters.. beggars belief. ANYWAY - to get to the point. Geddy's basslines. Massive +1 to the guy that posted Freeze.. THAT and a couple of others on Vapour Trails were the last decent bassline from Ged.. Test for Echoes had Time and Motion. Vapour trails, production aside, was a great album IMO.. possibly their most creative and striving effort since MP, likely borne of Neil Peart's multiple personal tragedies combined with the desire to prove themselves after a long break. Snakes and Arrows was a complete contrast. An appalling album which I think came about through comfort and happiness after the last album and tours - and a producer who was a massive Rush fan telling them that everything they did was great. Alas they're using the same producer for next album. Finally they're believing their own hype. But let's face it, it took a long time for this to happen. Back to the basslines.. for me it is not so much the innovative basslines that I miss.. if only because I think he can still knock it out when he wants as per Freeze et al I've just mentioned .. the tragedy for me was seeing them live this yr at O2 arena.. and DAMN if I didn't think their playing was sloppy. and DAMN if I didn't think Geddy's perpetual one finger flamenco dan-an-ana-nana-nana-nana-angering over the OLD tunes, let alone the new, P*ssed me off big time. In short, I know where OP is coming from, but I still think he produces good stuff, albeit in smaller quantity. But he and the three of them as a whole have earned the right to sit back more than any other rock band IMO, period.

[quote name='RhysP' timestamp='1316529084' post='1379237'] Same here. Fantastic album. Gilmour at his very best IMO. [/quote] My favourite PF album too. Massively under rated PF album that always gets skipped over in any book or documentary. It's more succint than The Wall, is probably their angriest yet coherent album, and has most of my favourite PF lyrics. Then there's Gilmour ripping through the solos in Dogs.. between verses "..you'll get the chance to put the knife in.." and "You gotta keep one eye lookin' over your shoulder.." . Not the most technical of players, but Gilmour is one of my all time favourite guitarists in any genre. LOVED that album since I was 14. .. First time I heard PF was listening to the Friday rock show on Radio 1 in the late 80s. In amongst all the thrash etc, Tommy Vance would occasionally play some more laid back stuff.. and one night he played "Sheep" . It was like nothing else I'd ever heard at that point.. I look back on those "wow" moments of hearing music for the first time that is unfamiliar and yet exciting/spine tingling... this was one of those moments for me. Having heard so many different groups and genres since, I get those revelatory (is that a word? :/) feelings less and less. Can't put a price on that feeling... better than any drug IMO

Hats off to Shambo. Thoroughly good read. I'm a bit scared by what the final outcome may be (hopefully non-violent). Keep us posted!

[quote name='Doddy' post='1289782' date='Jul 2 2011, 01:22 AM']Really? So at least every other song that you play is not in 4/4 then?[/quote] My thoughts exactly when I saw that! Prog rock band possibly?

I can get one in a Ford Ka with the seats down. Neck sits between driver and passenger seats mind, but it works fine for me.

Hi, In keeping with the original topic .. I'm now playing in a big band (as in wind/brass /Glenn Miller/ Stan Kenton etc stylee) . Currently doing that with electric bass but really want to do it with double bass. I currently rent a double bass (no pickups on it).. and reading this thread kinda worries me. I really really want to play a DB with the big band rather than EUB. The band can get quite loud when in full flight (6 saxes, 2/3 trumpets, 3 trombones, guitar, piano, drums) .. 1. Should I even try .. or just go EUB (perhaps a question to those that have tried in loud situations/ big band) ? 2. If DB is viable.. .. should I get a "hybrid" which allegedly may be less prone to feedback .. I was going to save up for a decent full on carved DB .. .. but if it's just going to feedback there seems little point. Thoughts? 3. My amp set up. Viable? I own a Markbass LMII and a couple of Bergantino 1x12s for my electric. Ideally I want to use the amp+cabs (or cab) with the DB.. Have read the thread so would consider Platinum Pro preamp plus a mag pickup (though do mag pickups result in a more "electric" tone?) If this is a thread hijack lemme know and will start a new one.. otherwise would very much appreciate advice on the above. Thanks all. jbn4001

Thanks all in this thread for the advice. I did check Maplins for the isopropanol .. but they only sold it in HUGE containers for £15. I did order a 250ml bottle of the stuff for something silly like £3 (inc postage) via a 3rd party seller on Amazon. I dab a bit on a cloth and clean the strings. Seems to work well.. gets rid of grease like I wanted. I reckon all the tips here would work well but got me the ispropanol now which should last me for ages. Cheers, Jason [quote name='bassbluestew' post='1235372' date='May 18 2011, 10:52 AM']My kids violin teacher recommends the medical type alcohol wipes for cleaning rosin from violin strings ( you know the ones you use pre-injection ?? Luckily I have a small supply as I need a weekly injection for my arthritis ) . Probably available from a chemist ?? S[/quote]

[quote name='Clarky' post='1222902' date='May 7 2011, 09:47 AM']Here is a youtube clip of Mariza, following my previous post. Its not the song I was referring to (which was on at the end of the show and much more brooding) but give you an idea [/quote] I too was well impressed with this last week. and +1 in relation to your point on making Jools still worth checking out. TO answer the OP topic: The programme has a mix of stuff.. and you might not like it all.. some weeks you might not like anything.. I usually always find at least one act worth watching. In the last few months I caught two acts that I would never have heard because their styles aren't usually my thing: Everything Everything and Janelle Monae.. loved them and have bought their albums as a result. ..on the last show.. really like the Arctic Monkeys new stuff.. having really not liked their old stuff that much.. and enjoyed Alisson Krauss .. again, not stuff I'd normally check out. Recently they had McCoy Tyner on (amusingly over running his 5 minute time slot ). AFAIK, there isn't much live stuff on TV right now.. and this programme has a reasonably broad mix of music. What's not to like?

[quote name='bassace' post='1215530' date='Apr 30 2011, 09:01 AM']Have you got a Maplins near you. You can get it there.[/quote] Ah great. Thanks. Will take a look.

Hi all. I've googled (and searched forum) this and also asked my teacher .. and it seems isopropanol alcohol is the way to go (taking care not to get it anywhere but the strings) [url="http://www.amazon.co.uk/ISOPROPANOL-Isopropyl-Alcohol-99-9-Litre/dp/B003D8QFR8/ref=pd_cp_ce_2"]http://www.amazon.co.uk/ISOPROPANOL-Isopro.../ref=pd_cp_ce_2[/url] BUT I don't have any right now.. gonna take a few days to arrive if ordered online. So..please does anyone have any alternatives for cleaning db strings (steel) , preferably while leaving them on the bass? The strings are becoming greasy, despite washing hands before playing and wiping strings with dry cloth afterwards. Tried soap and water on strings too. Didn't work!

The Major, an experienced professional musician, has written some excellent lessons for sight reading for bass right here on Basschat. Start from lesson one if you are up for mixing some reading with some clear grounding in theory.. or if you'd sooner just go for the notes and skip the theory go from lesson 20. [url="http://basschat.co.uk/index.php?showtopic=74284"]http://basschat.co.uk/index.php?showtopic=74284[/url] Can't recommend highly enough. Brilliantly written, and well paced interesting exercises (better than much material I have bought) that I've still not finished work on! [quote name='Stompbox' post='1202242' date='Apr 16 2011, 11:28 PM']Good evening - I was wondering if anyone has any particular views on reading. I used to read (a little) when I played with a dance band in the 70's, but I'm afraid it has been a question of use it or lose it - and I've lost it. I do have an old Mel Bay "Electric Bass Position Studies" book that I drag out from time to time when I feel fired up about learning to read again, then I get part way through and get fed up - back in the box it goes & then (like onight) I think "Hey - I'll give it another go. I just feel frustrated that I can't read the stuff - I mean, it's like not being able to read books - If you could read, then you would be able to pick up any new song, play it & then put it away till you next wanted to play it. Similarly if you couldn't read books, then you wouldn't try to learn a book by rote - why should you learn bass lines? I'm not expressing myself very well here, but does anyone know of a good bass reading exercise book or method - & would it be better to just use standard notation or include "Tab"? Stompbox. [/quote]