visog

OK, so we've got the 'one'. What are we going to do for the 'two', 'three' and 'four'?

So GB Team, I'm a proud and happy user of a GB Spitfire... Loving it's 'B' to 'G' consistency, hi-fi sound and stupidly low action... So my question is what am I missing from a Rumour? Dangerous question I know as I don't want to create unwanted GAS. What are the key differences as I've not played one?

Hmmm interesting... try each. I think we've established they're both pro-level. Given that famously Warwick ripped their Streamer line from Spector early on... So it's about tone and playability rather than aesthetics. For me, I love the Warwick barky tone but I'm not so familiar with the Spector counterpart but the few I've tried sounded good. As life moves on, I'm increasingly convinced that it's all about playability for you. Aesthetics and tone are secondary as you can wang-on a Darkglass and get instant grit-o-tone from any bass and you don't see a bass when it's strapped to you.

Though very different in style... I don't think anyone has made chops groove more hard since Jaco...

So this video is dated October 1981 but 'Signals' with 'Subdivisions' on it was not released until 11 months later... This is not the right tour unless the bootleg is a mash-up...

Is there a John Entwistle influence here? He had a thing for hybrid 'Fenderbirds' and had a not dissimilar model with Status.

This. Once you get too metronomic like Rabin and other proto-shredders, you may as well sequence 64th notes. Howe played wonderful organic melodies. You see him play and he's absolutely all over the neck.

I saw Rush there too but for the 'Permanent Waves' tour. Also, went there for Yes' 'Drama' show when the Buggles were in them.

I saw him with the Flecktones and he used more than one note!

Loving the older shapes...

Careful! That will have your eye out!

No. Still the original colours on the Ibanez site. Have you got a link?

When did you join Yes?

Is 'Dunno' Grumbleweeds Graham?

Chris Rea, 'Shamrock Diaries'

Better late than never... Good recommendations so far... I'd add 'Going for the One' too for some awesome bass goodness. And 'Close to the Edge' is sublime. Mr Squire's solo album 'Fish Out of Water' is also excellent with some great support from Bill Bruford and Patrick Moraz.

Right come on guys... We get it... I'm playing a 10" bass! and the open 'B' sounds great! But the notes from the 13th fret are unusable flubbers right? No consistency with the other strings in higher positions?

So we're ~60 years into the electric bass as a four-string and as of the '80s we acquired five and six strings. Subsequently we got sevens and further extended range basses. Do we have a commensurate jump in musical quality or bass playing as a result? I'm struggling to manifest many examples: Anthony Jackson and John Patitucci spring to mind. Gary Willis and Hadrien Feraud rock a five but their output is hardly mainstream. My prog' heroes are four-stringers by and large with Squire dipping into fives and sixes for his less inspirational 90s and 00s output. Just sayin'. Views and counter-examples welcome but I'm calling it: more strings does not make better music! (Sorry if I'm late to this party.)

Whaaaa! UK and Red - Hello! Anyway back to the OP: Mr Squire of the stripey suite and triple-neck: Yessongs/Yesshows