Dingus

[quote name='discreet' timestamp='1393529066' post='2381569'] Now they just seem to like vodka and big cocks. I blame reality TV. [/quote] I blame myself.

[quote name='bluejay' timestamp='1393347706' post='2379090'] Look out for our backdrop on stand C1A [/quote] That poster is great, but along with taglines like " Get Advice" and " Come To A Basschat Bash" you should have ones saying things like " Have A Heated Argument With Very Weird Complete Strangers" and "Get Banned For Expressing Perfectly Reasonable Political Views".

I have a hard time listening to the Cure. Looking back on their heyday with the benefit of hindsight, they were an highly creative band with an uncompromising approach to making music and willingness to be experimental. All refreshing qualities. Never really my cup of tea, particularly not at the time, but I can certainly see their appeal and Simon Gallup knows how to write a hook bass line, and that is a very rare and very valuable skill, so big respect to the chap for that. However, the big problem I have with them is that they remind me so much of various ex-girlfriends during the 1980's that their music gives me such vivid flashbacks to canoodling in teenage bedrooms festooned with Robert Smith posters whilst listening to The Head On The Door[i] et al[/i] and pretending to like it ( the music that is, not the canoodling. I genuinely did like the canoodling. Still do, in fact.) that after a couple of songs I need psychotherapy , or more likely half an hour on Facebook reminding myself that the girls in question are not as pert as they once were . To my sensibilities, Robert was always a highly unlikely sex symbol, but for a whole generation of girls he seemed to be the ultimate . I still can't understand it.

[quote name='bubinga5' timestamp='1393370207' post='2379572'] I had a superb SR5, single H. yes it was heavy, but man was it a joy to play. and a monster tone. the spacing was great. Never really was into the slap tone, but thats just preference of course. can't really see why a G string closer to the edge would be a problem, and certainly don't see it as a design fault. the only thing i can think of is if someone is bending a note/pulling downwards, and technically there is no reason to do this.maybe I'm missing something. [font=helvetica, arial, sans-serif][color=#282828]im trying to think of a reason, playing wise why/ how you could pull the G string of the neck,? an SR5 is not that close. I'm really not convinced its a design flaw to this instrument. the only thing i can think of is a heavier[/color][/font][color=#282828][font=helvetica, arial, sans-serif] [/font][/color][font=helvetica, arial, sans-serif][color=#282828]touch.?[/color][/font] [/quote] The weight and the spacing will bother some folks more than others- there are plenty of people who like a heavier bass and narrow string spacing, and good luck to them . Regarding the G string and its' proximity to the edge of the fingerboard, again , that will other some people more than others, but that particular foible is a recognised niggle for many players, and not just on these particular basses, I hasten to add. The fact is that most players[u][i] do[/i][/u] bend and manipulate that top string, either intentionally or otherwise , and most players benefit from having some extra space between the top string and the edge of the fret to give them the reassurance the the G string isn't going to slip off unexpectedly. Six string guitars can often suffer from the same problem , much to the irritation of the guitarist. Fender Stratocasters are particularly prone, apparently, and indeed Eric Clapton complained that this "fault" seriously compromised the playing comfort of his "number 1" guitar , the "Blackie" Strat, He didn't get it remedied, however, because he was afraid of changing anything on his favourite instrument and ruining the overall "vibe" of the guitar in the process. I have played ( and rejected) plenty of four string basses as well as five strings that suffered from the same problem . However , on a four string bass the problem is usually fairly easy to remedy by getting a new nut installed with slightly different distribution. On a bass like the Stingray 5 where the spacing is already on the narrow side, and further constriction caused by a new nut which allows more space for the G string at the edge of the fretboard is likely to be detrimental to the overall playability of the bass in other ways. And so , like I said before, the Stingray 5 strikes a slightly uneasy ( for some players, at least) compromise between conflicting design priorities. They are still great basses though, and the choice of many top players for good reason.

[quote name='EssentialTension' timestamp='1393441412' post='2380409'] ... and here is Pino with a Lakland: [/quote] I think Pino's son, Rocco, plays that bass now with Jessie Ware.

[quote name='Musicman20' timestamp='1393361577' post='2379413'] Bongo 5 [/quote] I love the Bongo, as you well know Gareth, and it would be my own choice of EBMM 5 string, except I have never actually had my hands on one, or indeed even seen one in the flesh, so I don't know if they suffer the same idiosyncrasies as the Stingray 5, I seem to remember that the string spacing is the same. That EBMM spacing is not a bad thing [i]per se[/i], I hasten to add, it's just that I have got fat fingers and grew up playing Fender spacing , so I am an old dog that doesn't want to learn any new tricks in that respect. There are plenty of players who don't mind or even prefer a slightly narrower spacing . I know that the Bongo tends to be lighter, and the sound of those basses is addictive.

If EBMM revamped the design a little and sorted out the glitches then they would sell shed loads of these basses all over again. The problem with strings at the edge of the fingerboard is a tolerance of about a millimeter or so either way . That is not insurmountable And the low B is indeed very good.

[quote name='risingson' timestamp='1393269078' post='2378082'] I've owned a Stingray 5 with a maple fretboard that I'm still slightly furious I sold, it was an excellent instrument but the lack of necessity for a 5 string coupled with my desire to purchase my current '78 Precision meant that I sold it last year. I now want it back! The B strings are good on Ray 5's, the thing you'll most likely spend a bit of time getting used to is the G string slipping off the edge of the fretboard a lot due to how close the G string is to the edge of the fretboard plus the rolled edge itself. It's a design fault of the Ray 5, one I could probably live with again but something that should have been sorted out absolutely ages ago. It's a good instrument if you can get with its slight foibles. It's probably the only 5 string I'd consider owning again anytime soon. [/quote] Rising Son has highlighted my own primary bugbear with this bass here. This is old ground we have covered before, but in making a neck that is narrow enough not to feel ungainly , EBMM have compromised both the string spacing and the available space at the edges of the fingerboard. Both these aspects of design may sound superficially trivial , but in the long term they are in fact critical on a five string bass if it is going to be comfortable to play and not drive you crazy . Some people say it's a question of adjusting you technique , but that is complete bollocks. It's a case of designing the bass properly for how bass players actually play in the real world. You are very likely to to need to trill, pop , and do various kinds of articulations on your G string, and that mean it needs to have some space before the edge of the fret. For my tastes, EBMM should had designed a new shape neck to accommodate at least an extra millimeter wide string spacing and more generous space at the edge of the B and G strings. Also, a significant proportion of SR 5's are so heavy that they are in effect useless to most people. The need to find a way to make them lighter. Yes, I know there are some light ones out there, but the chances are that any Stingray 5 you find will be at least ten pounds in weight. For all these perceived faults, though, I still think that overall the EBMM SR 5 is one of the best designed five strings on the market, especially in that price bracket, and the overall sound is world class.

[quote name='BassTractor' timestamp='1393278767' post='2378279'] Nowt wrong with the SR5 pickguard! I find it hardly has any impact on the design of the bass: [url="http://s1170.photobucket.com/user/basstractor1/media/MMStingRay5wopickguard_zps38faab99.jpg.html"][/url] [/quote] I always thought that was the best- looking and best -sounding Stingray V ever made. I can remember well when the Stingray V first came out and what a stir it caused . Five strings were still relatively new at that time, and most of the ones on the market were crap, or seriously flawed at best. The Stingray 5 had far more right with it than wrong with it , and was a relatively affordable bass with a familiar and popular sound in a robust package. They have refined the design a little bit since then , but it's still fundamentally the same proposition. I like these basses , and I think in so many ways they are one of the most cohesive five strings I have ever played , but they have certain fundamental shortcomings, for my own particular tastes anyway. Many others obviously don't agree , because they have sold in large numbers for over a quarter of a century and are a perennially popular choice.

[quote name='4 Strings' timestamp='1393345669' post='2379045'] That clip sounds great, but nothing is plugged in! [/quote] Bernard's talent transcended electricity . He was so funky that the normal laws of physics did not apply to his bass playing.

[quote name='JazzBassfreak' timestamp='1393271251' post='2378134'] the gates of oblivion [/quote] Always one of my favourite Yes tracks. Relayer is such an underrated album.

[quote name='thisnameistaken' timestamp='1393271500' post='2378138'] Remember to close your browser when you're done! [/quote] It's O.K ,she's out at the gym all evening. She has got a big sumo wrestling tournament coming up next month and she needs to be properly prepared for her bout .

[quote name='steve-bbb' timestamp='1393230101' post='2377471'] which leads us nicely on to this chap.... (so many superb examples to choose from but this is my favourite) [media]http://youtu.be/kFJSAfAMjLs[/media] [/quote] That skirt is a nice shade of tartan. ( See how I found something nice to say, despite the large elephant/ transvestite in the room )

I am absolutely delighted to hear that this has turned out right, and in such a relatively economical way!.

[quote name='thisnameistaken' timestamp='1393268306' post='2378063'] I know some people think cosmetic stuff doesn't matter but I'm the one who's got to wear it. [/quote] Absolutely. Don't make the same mistake with your new bass that I made with Mrs Dingus.

[quote name='JazzBassfreak' timestamp='1393176886' post='2377010'] You guys will love this one too [media]http://youtu.be/jIiidR7LrcQ[/media] [/quote] ..and if Trevor gets his hands on you it sounds like he will f*** you up.

[quote name='JazzBassfreak' timestamp='1393268661' post='2378072'] What do you guys think of Trever pitts? [/quote] I think. like a lot of folks on YT, Trevor isn't necessarily the most socially well-adjusted individual, and so it's not such a good idea to mock him for the sake of it, however tempting that might be . I am the last person to try and be holier-than-thou about it, trust me, but much better to focus on the good things about the You Tube bass players that you enjoy and can learn something from. . I have got my own favourite You Tube bass playing eccentrics that I would love to share with you and everyone else on Basschat,, but it's probably not a good idea. When it comes to other bass players, unless they are an established professional, if you can't say something nice then it's usually best to say nothing.

[quote name='drTStingray' timestamp='1393238175' post='2377566'] I think Dance Dance Dance and Everybody Dance are on Fender Jazz. However I think We Are Family is on the Ray with flatwounds. After years of trying to nail that sound I managed it with Thomastiks on a 2 band Classic Ray. The Ray can be surprisingly lively with flatwounds if you crank the treble a little, whilst having that gorgeous warm sound flatwounds bring out. A thread on Talkbass discussed OE strings supplied on Musicman basses and it appeared they were GHS flats up to early/mid 78 - GHS rounds after that. My 79 came with rounds. To the OP, you can certainly nail the Edwards sound using either a 2 or 3 band Ray but his playing style is complex. I personally don't feel it's necessary to mimic the strange plucking style but playing and muting triplet octaves is essential for some of those songs. His note and fill choices on My Forbidden Lover are total genius - and for me are very tricky to play. Best of luck and hope you enjoy - a good simple and effective line to play is Strike Up The Band. I think he may have played a lot of his parts straight into the board. Everyone has different views on amps but I always think that MM basses work great with class D amps like Markbass. Back in the day I used an Acoustic 371 with my Ray - great sound but massive - these days a small neo 410 and a featherweight 500 watt amp would do a similar job. [/quote] [quote name='JJTee' timestamp='1393257823' post='2377856'] The Bass Player article on Le Freak a few years ago had Nile Rodgers confirming that, for that particular recording, Bernard plugged his Stingray directly into the board. There's also a video clip on YouTube where Nile confirms that during an interview in their prime the journalist asked Bernard: "Bernard, you have that fantastic sound - what kind of strings do you use?" To which Bernard replied: "I dunno - what kind of strings come on a Musicman?" He hadn't changed them since he bought it and just didn't care what type they were. So old flats or old round wounds....probably doesn't matter too much! [/quote] This anecdote about Bernard saying that the Musicman bass still had the original strings on is often cited when this topic rears its' head, but it is important to remember that it is exactly that, ie an anecdote and not necessarily the last word in what was actually true. I suppose we will never know the real answer, but to my ears it sounds like dead roundwounds on Bernards' Stingray back on the Chic/Sister Sledge era, and definitely roundwounds on the recordings he made with it during the 1980's. Whatever the truth is , you could certainly emulate that sound pretty well with either type of string. It's worth mentioning the Bernard went on to use Spector , G&L and Sadowsky basses during the 1980's, in addition to the Fender Precision, Fender Jazz, Musicman and B C Rich basses he was spanking during the 1970's. I seem to remember he experimented with an Alembic around the time he and Nile were working with Diana Ross, but that could be my memory playing tricks on me. If Bernard didn't have an Alembic at some point then he should have done, is all I can say.

And before anybody gets angry with me, I've got a Fender Precision Bass. And a beard.

[quote name='NJE' timestamp='1393237691' post='2377560'] I think Sean Hurley is a classy player and I love his approach and attitude towards playing from what I have read and seen in interviews and articles. I just stumbled on this video from iBass magazine (they do some great interviews on youtube, must get a subscription) with Sean talking about P basses and why he uses them. There is also another part talking about his live sound and its so refreshing to hear he has similar issues to mine (although on a larger scale than me) with booming stages, odd harmonics and the right front of house sound. So it has confirmed my thoughts for a while now, I need a P bass with flats, so gutted I sold my last one. [media]http://youtu.be/2RPzwLH1EZc[/media] [media]http://youtu.be/JmA_C5lFOaI[/media] [/quote] I found that really fascinating. I really like Sean Hurley, and I am always interested in anything he has got to say about playing the bass. But could I play devils advocate for a moment? Here we have yet another bass player championing vintage- style equipment and a minimalist " less is more" approach to playing . This kind of a stance about bass has become [i]de rigueur[/i] in recent years, but it is just a trend in exactly the same way that elaborate hi-fi and hi- tech basses and equipment and busy, flamboyant styles of playing were the dominant trend in the era before this cult of back-to-basics became widely embraced as being received wisdom. Why is it that in the era from the mid-1970's to the 1990's when bass players gravitated towards as upfront a sound as possible, usually by means of modern bass designs, the latest amps and roundwound strings , that the bass guitar has been so clearly audible or as prominent in popular music, both live and on record? I saw plenty of stadium shows and big concerts of various kinds during the 1980's and 1990's where the bass was perfectly audible. Could it be that Sean and bass players like him are putting problems in their own way by following the zeitgeist of the time towards vintage and retro and then, perversely, offering advice on the solutions they are finding to those problems? Put simply , if you are playing a Precision with flatwounds through an old Ampeg B15 is not surprising you are having problems with getting clear articulation and being heard. That is exactly the reason why back in the day people started gravitating towards newer equipment. and the possibilities it offered . When Sean says that producers and engineers weren't happy with the sound of his more contemporary design bass , I can't help but wonder if what has changed since those kind of modern basses were what was fashionable is not so much the way that people want to hear the bass so much as the collective imagination those involved, specifically the romantic ideas in their heads and the associations they make between vintage equipment and the relative aesthetic value of the sound it makes. That is the fickle culture which surrounds music, I suppose. Fashion is always cyclical, and for every bass player in the 1980's who had a bass with a graphite neck, a Trace Elliot amp and mullet with flashed blonde highlights there is now an equivalent player with a vintage Precision with flatwound strings , an old Ampeg and a beard.

[quote name='scalpy' timestamp='1391978721' post='2363268'] +1 Johnny Colt from The Black Crowes from the same sort of time too. [/quote] They were never the same after he left the band.

[quote name='Thunderbird' timestamp='1391857637' post='2362005'] James Lomenzo, IMO he is an awesome bassist but you never really here much about him . [/quote] Never hear much about him ? He's never off bleedin' You Tube! He's is always plugging some piece of gear or other, with or without a slightly suspect- looking beard. One day James will wake up and say " Do you know what? I think I've got enough free equipment now. "

[quote name='Lozz196' timestamp='1391815969' post='2361759'] Probably Cliff Williams of AC/DC. Incredible discipline to play those lines and not want to branch out with a run or two, yet no, he hangs back , locks with the drums and lets the vocs and guitar do their thing. AC/DC may well have been a very different band without that approach. [/quote] Yes, good call. AC/DC wouldn't be the same band without Cliff Williams. Although they were the same band with Mark Evans .

[quote name='nick' timestamp='1392236008' post='2366378'] The late great Alan Spenner [media]http://www.youtube.com/watch?v=TfKDYiF1jTw[/media] [media]http://www.youtube.com/watch?v=oVvb3MS57yk[/media] And George Murray.... [media]http://www.youtube.com/watch?v=Sni7sc7CxD4[/media] [/quote] Two of my all-time favourite players who definitely don't get the kind of credit they deserve.

[quote name='timmo' timestamp='1391981460' post='2363327'] Paul Webb from Talk Talk doesn`t seem to get any mentions. I would put him on a par with Peter Hook [/quote] Paul Webb - another excellent player from the 1980's languishing in the "where are they now?" file.