interpol52

[quote name='4stringslow' timestamp='1470771632' post='3108376'] I'm not a big U2 fan but I entirely agree. We read a lot of posts about the merits of 'serving the song' and surely this is what Clayton does in spades? And given that U2 are one of the most successful bands in the world his contribution is surely beyond reproach. Someone mentioned jealousy earlier . . . . [/quote] I think that both Clayton and The Edge are good at serving the song. I don't think I recall any overplaying on any U2 songs. If it weren't for Bono I would probably be a fan.

[quote name='Bilbo' timestamp='1470584218' post='3106895'] Jaco was not actually that technical; he was funky as fcuk. Of course there were great technical tracks that stretched the envelope but, in the main, he grooved. I know technical players. Jaco was much more than that. [/quote] Agreed. This grooves like hell in places. https://youtu.be/GAJB925yR8o

[quote name='Lozz196' timestamp='1470769997' post='3108350'] That`s a great clip. For me - concentrating on the pick playing of course - I`d say the later US model, the Mex and the MIJ are all pretty similar, with the US having a slightly better definition to the notes. The 77 US is way more aggressive sounding, and having had a few 70s Precisions myself am not surprised at this. [/quote] That 77 is a beast! Even with the tone rolled off it won't calm down!

I don't necessarily hate any bassists. There are a few that I simply don't 'get'. Victor Wooten being one, great technique but I just can't listen to it. Billy Sheehan is another. I saw him at the London Bass Guitar Show last year and I really like listening to him talk and share his experiences. I just don't like it when he solos. I still respect them as musicians though. I like Adam Claytons basslines!

For what it's worth, I feel exactly the same way about the bass line to Maggie May as a lot of people here do about Moondance. But, in my experience both songs go down very well live.

[quote name='Ed_S' timestamp='1470649997' post='3107274'] The MIMs (I had a pair, one W/W/M and one B/W/R) were great - they were solid, had no fit-and-finish issues and the pickups had some real grunt and grind to them, for want of more descriptive terms [/quote] I've got a 2013 MIM B/W/R model and it also has a really aggressive pickup. The fit and finish is flawless, I can't fault it at all. As has been discussed many times before, there are many great and poor MIA Precisions and MIM ones too. My last USA P was great, but not a patch on the MIM one I have now. I like this video https://youtu.be/rgzD3vcrExE It would be interesting to just hear the audio and see what people thought of each one!

[quote name='PaulGibsonBass' timestamp='1470753582' post='3108178'] Antics is a great starting point [/quote] Agreed. It's the one that got me into Interpol. As my username would suggest, I am quite a fan! I love his bass playing, there are some disco touches to his lines, especially on the chorus to songs like Slow Hands and through Narc. Evil is a personal favourite of mine, it's right up there with my favourite songs of all time. The latter part of Public Pervert is worth a listen for good idea of what Carlos is all about. Their albums are slow burners in my opinion, it's not the kind of this that you fall in love with after one listen. I found that the songs all came to life after about 3 or 4 listens, after that I became hooked. I saw them live in Sheffield on the Our Love To Admire tour and they were awesome.

Hello all I'm back in a James Jamerson phase and a bit of YouTube activity led me to this https://youtu.be/q4JWqK6r6N4 I am familiar with Carol Kaye, but not as much as I feel I should given the songs that she has played on. It's a great watch this video, she is charming, knowledgable and effortlessly talented. I know that she has made a few claims to have played iconic Jamerson lines but I'm not too sure what to make of that business. Anyway, if you haven't seen it I hope you enjoy.

[quote name='discreet' timestamp='1467721651' post='3085603'] Don't let them get to you. There are good musicians out there. They may still be assholes, but if they can actually play it helps a lot. Tru, dat. I sometimes get results by being persistent. IME guitarists in particular seem to be on the spectrum for some reason, so if you can explain clearly and logically why you think they should do something, it sometimes works... but sometimes not. [/quote] I tried to explain that the song should build, going in with two guitars on the intro left very little room for the song to grow into. They just thought it sounded 'fatter'. I thought that it was supposed to sound gentle and delicate, not fat. Then the drummer played the song using a Cajon! A fantastic instrument but completely out of place.

I've just quit my band for reasons 1 and 2 in my original post to start this thread. Some things never change. It also became more and more apparent that guitarist 1 and guitarist 2 didn't actually know how to interact and complement eachothers lines. We started doing Californication and they thought that it sounded good with them both playing the intro. It didn't, it killed the dynamics of the song as it progresses. I'm getting a bit demoralised by playing in bands.

[quote name='stingrayPete1977' timestamp='1466966547' post='3080106'] Yep ELO, super tight, massive back catalogue, good live mix, great musicians. Not really one of my fave bands but faultless really. [/quote] Exactly what I was thinking. Flawless.

I've also had loads of basses over the years, for me it has come down to what I feel comfortable playing in the context of the setting/band. The Precision I could use for just about everything, maybe not a Jaco tone but then again, I don't need a Jaco tone. I had a Rickenbacker that was great in a noisy 3 piece band - that tone filled out so much space. The Jazz is great, I just faff around with the controls too much, no arguing with its versatility though. I love the sound of a Stingray but there must be something about the way I play that doesn't bring out the best in them. The Precision is best for me. As for the argument that a good producer should be able to get a good sound out of any bass? A good producer will be looking at getting the bass tone that works in the context of the song as a whole. There can't be that many producers or songwriters that are looking for anything other than for the bass sound to 'do its job' for the majority of the time. I stress, for the majority of the time. This Sean Hurley video is interesting regarding his session work and what producers and artists go for, from around the 3 minute mark in particular. https://youtu.be/JmA_C5lFOaI

[quote name='RhysP' timestamp='1465681443' post='3070233'] Never heard of it. Who's it by? [/quote] Bruno Mars. Not my usual taste but a great bassline. See above for why!

If the missus says do it then do it then do it! Christ, I wish I had a bass pass like that!

I think its just the joy of locking in with the drums. Its up there with 'Its My Life' by Talk Talk for a simple but great pleasure. Of course the Marta Altesa cover is excellent.

Hello all, I've had to learn this for a dep. I'm surprised by how much love playing it. So simple, very Police but just great. Pick with a bit of bridge dampening, I love it. Had a go at Treasure too earlier which was also fun to play. He must be a closet bass player that Mr Mars. Anyone else play his stuff?

Having recently rediscovered my Jazz Bass love, I was wondering how you all use the tone and volume controls. My favourite at the moment is Neck - 100% Bridge - 80% Tone - 50% I then tend make slight alterations in tone if the song needs it by moving my right hand playing position and/or digging in or holding off on how hard I hit the strings. I also like the neck pickup isolated and the tone rolled off completely. So how do you get the best from your Jazz?

[quote name='JTUK' timestamp='1464285047' post='3058220'] I'd probably just bin the song if they really couldn't get the essence of it... but the pedal business seems like there can be too many little things that all add up.. Basically, if someone is killing the gig in any way, best to cut your losses if you feel there are alternatives. [/quote] It feels like it will be the first of many niggles, once you get annoyed by one thing then other things seem to follow. I think my problem is that I played with the same group of top quality musicians for around 20 years, we were together in many different lineups but the core people were always the same. As life circumstances change (kids, careers, moving away) that core group disbanded. Now anything less than that standard is difficult for me to cope with long term. It's not just playing levels either, its the attention to details and approach to rehearsals. I am meticulous and I hear everything in a song, which means I notice when others have 'missed' something. I suppose I have to decide why I want to be in a band (there is potential thread there!) and find a group of musicians that I trust and all want the same thing. Not easy!