Chris2112

She is easy on the eye!

I have never really heard much of an attitude that Behringer were poorly made or liable to break down. I thought the real issue they had was that they were ripping off patented designs and getting away with it. At one point, it was impossible to discuss Behringer on Talkbass because every thread invariably turned into a fight, and one who supported Behringer was labelled a scab for supporting a the ripped off gear! It was usually along the lines of 'my Ampeg stack cost me $3000. Why should you get something of comparable quality, of the same design, for $300, asshole.' There was a criticism that Behringer never gave anything back in terms of new designs yet reverse engineered any Western gear they could get their hands on an flooded the market with cheap copies, furthe deadening the impetus for companies to make and patent new gear. I remember the first time I sat down and played through a Behringer amp. It gave the Ampeg combo next to it a good run for it's money,

[quote name='chrismuzz' timestamp='1363397903' post='2012396'] Dominic "Forest" Lapointe is my favourite bass player at the moment. He's primarily a metal player but I doubt there's anything he couldn't do! I nearly posted Beyond Creation's music video in here, until I remembered he did a playthrough video so you can really see and hear what he's doing... Oh and the good news is, you can hear his bass on the actual album too... A rare treat for metal! [media]http://www.youtube.com/watch?v=rrwWBFp91U0[/media] [/quote] Very good, he is really going for it! Some metal bands seem to use the 'technical bassist' as a gimmick. Give him a 6 string fretless, make it look as though he is really good and then bury him in the mix to complete the façade. But this guy has chops for days!

What a shame. He had kept on working until just a couple of years ago and went into semi-retirement, moving from California to New Hampshire or Viriginia, or somewhere like that. He was a superb craftsmen and one of the most innovative bass designers ever. In fact, he might be the greatest bass visionary ever. The Ex Factor was so, so advanced at the time and pioneered ideas that still put it head and shoulders of most basses made today. And that was in terms of design, materials used and how he used them, electronics and fantastic ergonomic ideas. He was also a Fender R&D man in the 70's before setting up on his own too. I felt extremely lucky to get a Kubicki Ex Factor when I was 16, after months of hard saving at work. I've had two, #1777 and #1659, both 1989 'cross over' basses with the Fender custom shop stamp but made to the original spec with 18v electronics and 6 position preamps. Fabulous instruments, and without a doubt the ones that will hold the dearest place in my heart. I've had basses come and go since (such is my way) but the Kubicki Ex Factors were among the best. Only my old Status could compete with them. Phil was also a fantastic guy. Always willing to offer advice by email or over the telephone, despite the fact that I had bought the basses second hand and he never saw a penny from me. He also shipped me some replacement parts free of charge once when I enquired about where I could replacement parts. A great guy, no doubt and a hard worker until the end!

Remember the days of MXtabs and the Rush tab project? You could get tabs for bloody everything it seemed. Though it was often just as quick (and more beneficial in the long term) just to work by ear. I haven't looked at tabs in years.

It all depends on the basses coming through my hands at the time. I never make a concious decision to pay less or more strings, really.

[quote name='OldG' timestamp='1363357072' post='2011743'] Scooped cuts the mids - like a 'smile' EQ setting.... not so good for a Precision tone IMHO. [/quote] This. Turn the scoop upside down though, and you'll unlock a secret world of amazing midrange tone!

http://www.youtube.com/watch?v=_8htAULV2Lo Like getting a good kicking.

Always liked that bass. I hated the band but Tye got a good sound out of it. Apparently he was/is a massive Primus fan and had honed his chops in a band playing their songs! It looks surprisingly crude now that custom, handmade instruments are everywhere but I bet it still plays like [i]buttah![/i]

[quote name='jezzaboy' timestamp='1362959942' post='2006872'] Regarding the Rush clip, what you have to remember is as it`s live, Ged is playing bass, singing and possibly triggering keyboard effects via footswitches at the same time. Wish I was that sloppy [/quote] And listening back to the whole thing via monitors. Whilst dancing about the stage. Compare it to their studio records, which are very tight. It's easier to be bang on time in a comfortable studio. I don't think the live record is any worse for the timing though.

It sounds as though they are moving further and further away from Carpenter's massive riffing style of olden days, or am I just missing the great tracks? The last Deftones track that had me thinking 'wow' was [i]Hexagram[/i]!

The 6 string in the middle is beautiful. Talk about GAS!

[quote name='xilddx' timestamp='1362518232' post='2000777'] OMFG!! That's gotta piss Chris2112 off a bit hasn't it? Or perhaps not. [/quote] Not really. The late 90's was the absolute wilderness for any decent 80's outfit. Recent enough to remember firsthand, not yet distant enough to get nostalgic over (irrespective of whether the songs were good or not). Andy did the smart thing, finding himself at a musical impasse as the frontman of a 70's/80's electro rock outfit. He used his means to create a dire pop band, pull the strings and cream the profits. When the time was right for OMD to come back, they came back. Mind you, a cursory glance at the lyrics for 'New Babies, New Toys' should leave you in no doubt as to what he thinks of these naff pop acts, even if he has lined his pockets off the back of one.

No, because pop songs have to be sh*t to be a hit these days. I am too good for that sort of thing.

[quote name='juliusmonk' timestamp='1361709452' post='1989498'] Mark King is awesome. Contrary to a previous poster, for me the Jaydee tone was a bit 'raw', and I prefer the Alembic and Kingbass tone. [/quote] I always preferred his Status and Alembic sounds. I think the Status sound was the best though. When I had my Series II I played Level 42 tunes on it all day.

Who reads NME though? Do they still do a print version?