visog

Geddy did a great job alongside an imploding Yes. I like Bilbo's posts too but he does get himself in the position of granting authorty chops, swing, etc. And his usual swinging judgement is that no-one measures up: Squire - technique, Pastorius - swing. I wouldn't mind but Jeff's as dull as ditchwater plumbing the functional harmony of yesteryear and Michael Manring playing with the harmonic sophitication of Busted.

The very word ('difficult') Geddy Lee used when describing his experience of copping Squire's line to 'Roundabout' for his R&RHoF performance with Yes. Don't understand why you're wilfully subjugating his playing as like Dobbie Dawson's? When you make these comments about Squire's parts I assume you're factoring in your ability to sing harmony vocals and add bass pedals too? Like Dobbie Dawson didn't. PS nothing against Dobbie Dawson. Enjoyed '747 Strangers in the Night'.

Hmmm, we've never really considered compressors before. What do they do again?

Heard the recording of ABWH with Jeff Berlin who played all of the notes and barely any of the music. Tony Levin on the other hand donned his 'funk fingers' and went 'full Squire' and it was glorious.

Best sounding clip of them so far... Nathan's sounds cavernouse! https://www.youtube.com/watch?v=qE3P17uRoPI

Sorry no. I went through the 'B-Social' debarcle and it was not great...

Oof... Muchio bass fun here... Very nice.

Oof! So this is a Volo in a 6? Nice. Played one of the original 5s at Andertons. Very nice and good value.

That should keep you occupied... Lifetime of music on that rascal...

Nice! Muchio fun here....

Yup. That's the motherlode. He was great - makes life worth living.

His picking is pretty refined. And he's a whizz at odd time signatures. And he's singing harmony. Oh and bass pedals. He's a walking church - organ, choir the lot! And whatever it is that makes my arm hairs stand-up and adrenaline pulse when I hear one semi-tone of his playing.

To the confused.... playing above the chord means adding to the harmony as a soloist, typically an octave above the prevailing harmony. In this context you're playing a high 'F', it'll clash with the 'E' in the 'C' chord as previously discussed (as a b9). But if you're playing bass, below the prevailing harmony, the 'F' played lower, underneatht the prevailing harmony will resulting an pleasing 5, M7 & 9. Lovely!

WHAT!!!! Perceived wisdom is that we need a 'B' string scale of at least 36"!! Cool - looks fun.

I watched it all and Rick's video is a heartfelt appreciation of another bass player. (Rick is a bass player by formal training.) The harmony is pretty complicated because it's a bebop standard so has lots of modulation and chord-tones with chromatic approach notes. What Rick doesn't say, and I've read independently is that even Jaco himself had this tune in development for a long-period, realising that it needed incubation and nurture before he could realise the standard he wanted for his performance.

Anything by Allan Holdsworth... but boy do I like it!

So interesting post but at this price-point the next bass along will have a different set of +&-s requiring an entirely new strategy.... with some not so easily achieveable? I'm still in the camp of an Ibby 1506 which at several times the cost, is likely to have more of a solid fit and finish. Opinions?

Well that's a feet of endurance and no mistake. However, as its one of my very favourite pieces of music - I'll be content to listen now and again. Not a player this one - at least for me...

*Makes pouty face* Play under the chord not over it. F sounds good under a CM chord, as does an A or if you want to be saucy, make the C chord your extensions over a low D. If you want to stick to chord tones, the inversion starting on E sounds less dull than C. I'm not wild about the forthy sounding G unless it's completing a line.

So it's an alternative version of this...?