Chris2112

[quote name='arabassist' post='568813' date='Aug 14 2009, 11:23 AM']the last 20 secs is probably the only nice and audible bass part he's ever done[/quote] If you think that's the only audible stuff he's done you need to listen harder. I never bought any of their albums apart from Infest, but that had him stamped all over it. He kept every tune together, and was definitely one of the best players in nu metal. He also had a great tone for that album too. They seem to have become an emo act these days, and I've far outgrown them, but Tobin could fairly play in that setting.

[quote name='davidmpires' post='561076' date='Aug 5 2009, 12:24 PM']I've been trying to play ALways With me Always With you for ages. I can't get the tapping right.[/quote] I remember when I learned the tapped version of that song after seeing Stu doing it...my, that was a few years ago now! Hell of a tune, especially when you're tapping the bassline!

I was just speaking to a friend of mine about this today. He's got a bit of cash to burn and often pops into the bass shops in London for a quick snoop when he is down there. As soon as I mentioned the Bass Cellar he seemed to sour slightly, and told me he'd been there before but was quickly put off by the fact that the staff didn't seem interested in entertaining him as a customer. And he's a bloke of nearly 40 with a smart look, basically a walking wallet, if they took the time to talk to him. But he likes good customer service, and obviously felt that this lot, who seemed "bored and disinterested" and seemed unwilling to engage in conversation, were not worth his timr or money. I really must go there to see this for myself.

[quote name='Tait' post='558323' date='Aug 2 2009, 10:50 AM']i don't think i've ever seen a drop D tuner at the bridge before, aren't they usually on the machine heads?[/quote] Ibanez have been doing it for quite a while now. I remember having the 2001 catalogue with the AX series (I think that the name of them, the ones John 5 used to play) having the detuner at the bridge. Nice bass too!

I've always loved Claypool's playing (definitely one of the most talented guys to play to a mainstream audience in the 90's) but I've enver really loved Primus! They've got a few good tunes but I can't listen to them for very long, which is a shame.

I don't think you can teach it, but anyone with a reasonable capability on their instrument will soon learn to mimic "feel" and it's nuances.

[quote name='simondee' post='553335' date='Jul 27 2009, 10:49 PM']ruh roh! I have four wicks. [/quote] How does the Thumb sounds with Barts in? I've been thinking of sticking some in my Thumb for a laugh... As for the $$ Corvette, it looked just like that but with 4 strings!

I'm pretty sure it was ovangkol, it has that distinctive open grain and sounded like ovangkol with that burpy midrange. I remember being puzzled that the neck and body woods were exactly the same, as I hadn't heard of any model like this - unless it's been some kind of custom order!

I'm not sure if he still has his Wal, although it was years ago that he was using it...maybe he fancied a change?

Stuart is a brilliant player, yeah. Cottle is great too, though I prefered his tone when he was using a Wal bass! I remember when he had a couple of his albums up for free download from his website. Nice bass tone but the music never really grabbed me sadly...still a great player though.

Third from the left in the first row of standing basses, do I spy a Fodera Emperor?

I remember playing an ovangkol bodied and necked $$ Corvette in the guitar shop just off Corp. Street in Preston town centre earlier this year. It was a pretty nice bass, and would really kick ass in the studio. But since then I've not seen any with ovangkol bodies and necks - what the hell was this bass?

One of these! And I'll dream of how a Bartolini preamp and some Bart pickups might make my fretted Thumb sound...

As far as compact, ultra functional basses go (Steinberger XL, Status Streamline etc etc), the Vinnie is one of the coolest. But then they are a niche thing...they're all so cool!

[quote name='iamapirate' post='550696' date='Jul 24 2009, 11:12 PM']and if you're not hitting your note on almost every time that kick hits the skin, then you need to sort something out.[/quote] Mate, what if you're angling around a back beat?

I think it really helps to be on clear terms about what you want from your jam sessions, and discussing this first really helps to get the best results. It's likely that the drummer will know your level of ability, and hopefully you'll not be too far apart in terms of skill. I'd imagine Neil Peart would soon tire of jamming with Fieldy, just as Mark King would soon tire of jamming with someone who sucked on the kit. If you're planning to sit down and flex, make it clear before you start busting out the chops. If you're looking for a spacier session with more room to groove, tell your drummer that too. But remember, always listen to each other. Typically, I like the drummer to lead and give me a beat to work over and I'll go from there. The kick and the snare are my main counterpoints, and thats what I'll try and link up with. The hi hat can be useful for outlining the pace of the beat if it's a rather exotic piece. Play with your ears first and let your hands follow. I like to refer back to "Dara Factor One" from Weather Report's 1982 self titled album. It starts with what has been described as an "ass backwards beat" which Zawinul asked for. On top of that, Zawinul outlines a chord structure with his keys and Jaco starts grooving around that with some awesome improvisation and some of the most beautifully crafted lines I've ever heard, and Shorter compliments all of this with sparse but powerful ornamentation. And it makes you think, you can get a hell of a lot from just a drum beat!