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About Chris2112

  • Birthday 08/08/1984

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  1. I don't mind either way though if I was ordering my dream fretless I'd probably have lines at the edges only, Alain Caron style. Overall, my preference is for lines as I like them for a very quick visual reference though I can do without. My first fretless was unlined. A large part of the game for me is the feel of each fretless bass. Even on a lined bass, you'll soon play without even really considering the lines as your innate sense of muscle memory and intonation takes over. Once your hands are 'tuned in', you're ready to motor. I certainly don't subscribe to the stuffy attitude that unlined is superior despite having first learned that way (I even had a lovely unlined fretless Alembic Epic years ago). Gary Willis plays with lines and I've never met an internet critic that could play like he does.
  2. Could this be put back to standard if the right parts could be sourced from Vigier?
  3. Very smart. The gold hardware looks much better than those shitey wooden tuning keys they are using now.
  4. Amber over alder for me, for the classic Jeff Berlin look: Mike Pedulla's colour finishes are the most beautiful in the world, I think. My Pentabuzz is Peacock Blue, a deep blue with some green hues giving it a turquoise look, but my favourite Pedulla finish is the very bright turquoise look:
  5. Loads of basses feature it to varying degrees these days. Moreover, I can't remember the last time I felt a neck edge with poorly finished fret-ends sticking out.
  6. Give Geoff Gould a shout on Facebook and ask him. No-one knows these basses like he does and he still offers a lot of advice and aftermarket support despite having left Modulus over 20 years ago. Oh, and his G.Gould basses are utterly gorgeous too...
  7. Yeah, 'The Grudge' is nearly ten minutes long but that doesn't matter because it's a banger. It is, IMO, Tool at their most spectacular and refined. It blends both brilliant melodies, pacing and a good blend of dynamic. It has a clear progression and builds to an exciting crescendo. At the heart of it is that brilliant riff. My point about loving these songs from 25 years ago is coming full circle back to my earlier point, in that Tool write some of the best songs in rock, but a large amount of their output is just fodder to fill space on a disc. You could condense their best tracks down to make one mega-album, which would be full of bangers from start to finish.
  8. I love them, but I take time and care to choose the right ones. They aren't just tools to me, but I hold no sentimental attachment to any instrument. They all must be worth playing in their own right or I simply won't keep them. If I had some collection of blandness assembled with a perfunctory laziness (like a collection of P basses, for instance) I might simply treat the basses as tools. As it stands, whenever I get a bass out of it's case I look at it for a minute and admire the work of the builder, and wonder where the bass was before it got to me.
  9. That is definitely the best song on the album. I would have been quiet happy if it were eight minutes long, as there is about four minutes worth of fat to lose there. The first half is good, and the grinding riff near the end is excellent. The middle part with the vocoder vocals is very hokey. Overall, it's not a bad record but it's not a masterpiece and it has plenty of the usual filler that Tool like to bang in. There are no real massive tracks in it, no 'Prison Sex' or 'Hooker with a pe nis'. It rather sounds as though they're still mining the same vein of creativity that they started with 'Lateralus', a record that should have started and ended with 'The Grudge'. I do expect that this will be their last record and that waiting 13 years to follow up a disappointing record like '10,000 Days' was always going to produce something that was rather a let down.
  10. I'd always thought them to be ugly, useless pieces of crap that belonged in the bin.
  11. Grace Under Pressure was my first Rush album. It's actually a great centre point to their career. I can still remember the feeling as I listened to the 30 second track samples at a Virgin music store. I felt as though 'Afterimage' was the song I'd been waiting my whole life to hear, and Rush were the band.
  12. It is certainly noticeable. They were still capable of turning out a decent tune like 'How It Is' but the real instrumental interplay was dialled back. There was a sense that collectively, they would push each other and really craft the arrangements to make the instruments work together. It seems like in the later years, they didn't bother writing like that anymore but they could certainly nail the parts live. Geddy's eventual over-reliance on his flamenco strumming technique also changed his basslines dramatically, with his tendency to write interesting fills and melodies replaced by repetitive strumming over one note. That eventual fading of creative energy must be a part of being a prog rock band, the same thing happened to Dream Theater. Their 90's output was a million times better than the rubbish they've committed to disc since.
  13. I had actually forgotten how heavy the groove in the first chorus is. It's not the strongest track on the album but it's certainly a good effort.
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