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Best Sounding Bass Recording

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Basses (or any other instrument for that matter) only sound good on a recording in the context of the arrangement and production of the music. Take a listen to any of the many isolated bass tracks available on YouTube if you want to hear how different (and generally not very good) the bass sounds once you strip away all the other instrumentation.

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Hmmm.

Here are two different bass tones which I love.

John McVie   - You Make Loving Fun.

Warm round tone.

Bruce Foxton - Mr Clean. Rough and trebely and high in the mix.

 

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On 30/11/2018 at 13:40, cetera said:

Tiran Porter with The Doobie Brothers on the albums 'The Captain & Me', 'What Were Once Vices' & 'Stampede' - classic flatwound with a pick providing that reassuring thud.

I was just popping in to nominate Tiran's tone on the track Taking It To The Streets. Just the sound gives me goosebumps every time I hear it.

I'll also add Mo Foster's fretless tone on "A Walk In the Country" from his Bel Assis album and Herbie Flowers' tone on "Horsell Common And The Heat Ray" from Jeff Wayne's War of the Worlds album.

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Squire on just about anything but an honourable mention for Time & A Word album. However I'm going to pick an isolated rhythm section track to show just how unique he was at the time

 

Edited by KevB

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Jon Stockman, Karnivool's Roquefort, 6 string Thumb I believe.

Geddy Lee's Permanent Waves and Moving Pictures tone.

Pastorius on Mitchell's Hejira and Shadows and Light.

Tim Comerford's work with Audioslave.

John Isley's tone on the first 2 Dire Straights albums

Norman Watt-Roy on Hit Me With Your Rhythm Stick, or indeed anything he played on frankly.

Mick Karn Sons of Pioneers.

Tony Levin, too many to mention, Red Rain probably...

Phil Lynott Dancing in the moonlight.

 

I could go on...

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For me, Power Windows by Rush. A Wal MK1 and Geddy Lee. It's a match made in heaven. Twangy, rubbery and aggressive as sin.

Edited by 40hz
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41 minutes ago, 40hz said:

For me, Power Windows by Rush. A Wal MK1 and Geddy Lee. It's a match made in heaven. Twangy, rubbery and aggressive as sin.

Yep i was gonna go for Geddy's WAL sound but changed to Neil Murray who was probably more of an influence on me along with Jack Bruce.

DAve

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On 30/11/2018 at 16:42, ianrendall said:

So THAT’S what a Smith sounds like.. 

Thrown my long-time Sadowsky GAS into a right kilter that has. 

Here’s one of my faves from the Dan. Tom Barney playing a ‘Ray 5. 

 

Heres the live version sounding just as good with the late Ricky Lawson, what a rhythm section...That's one tight pocket!

RIP - Ricky Lawson

RIP - Cornelius Bumpus

RIP - Walter Becker

 

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Everybody's favourite tones area different I guess!

A tone that I heard years ago which sticks in my head as a "favourite" though is kid in his bedroom with generic recording equipment.:

 

I think it sounds awesome. 

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22 hours ago, 40hz said:

For me, Power Windows by Rush. A Wal MK1 and Geddy Lee. It's a match made in heaven. Twangy, rubbery and aggressive as sin.

Yep, Geddy's best bass tone by far. 'Hold Your Fire' had the best songs but 'Power Windows' had the best production. 

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About time this had a mention!....Classic Jazz vibe and to me a benchmark which guys have strived to emulate since.

 

Then there's this fella......Some nice tones from the breakdown on......

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On 03/12/2018 at 22:43, dmccombe7 said:

Yep i was gonna go for Geddy's WAL sound but changed to Neil Murray who was probably more of an influence on me along with Jack Bruce.

DAve

Funny thing DAve and I respect your opinion. I'm 180 degrees opposite to your view. Geddy has some stellar recorded tones on his Rick and Jazz (Permanent Waves and Moving Pictures especially) but his Wal flap had no bottom or grit. Awful and it didn't help that it coincided with their pursuit of tech over songs; Ged's penchant for chording and a loss of the mix to synths. I know Wals can sound good though, so I blame Geddy and their producers at that time.

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13 hours ago, Chris2112 said:

Yep, Geddy's best bass tone by far. 'Hold Your Fire' had the best songs but 'Power Windows' had the best production. 

Idle boast but I’ve done sessions with the engineer on the Montserrat sessions for that album- I think they had 2 tape machines each and he used 32 mics on the kit.

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1 hour ago, visog said:

Funny thing DAve and I respect your opinion. I'm 180 degrees opposite to your view. Geddy has some stellar recorded tones on his Rick and Jazz (Permanent Waves and Moving Pictures especially) but his Wal flap had no bottom or grit. Awful and it didn't help that it coincided with their pursuit of tech over songs; Ged's penchant for chording and a loss of the mix to synths. I know Wals can sound good though, so I blame Geddy and their producers at that time.

Not a prob visog. Its what makes for an interesting thread.

Totally agree that Geddy's tone has changed quite a bit over the years. I just liked the way his WAL sounded so sharp and clear. It doesn't have that deeper bottom end but for me it suited the music at that time. Think i had WAL gas at that time too so that didn't help. :lol:

Moving Pictures also another fav bass tone. I actually liked his sound from Farewell to Kings album which is also when i first saw them.

Think his tone will always get us bassists debating but that's Geddy for you.:D

Dave

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For me moving pictures was probably the best era for Geddy's bass tone, in particular his 72 jazz used on Tom Sawyer....I do have a slightly biased opinion as i think Moving Pictures in it's day was in terms of production, song writing and musicianship a perfect illustration and showcase of the bands evolution and the end of that creative phase...Still holds up today, subjective i know but as close to a perfect recording as could be.

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