Lowender

I have nothing against the 5er and I have one because sometimes you need a low D or C. But I find that need to be very seldom -- about as often as I feel the need for a chorus effect on the bass which about 2 measures every other month or so.

I never alter lyrics for "funny" lyrics. I feel it's an insult to the music. And why would I play music I want to insult? I'm a musician , not a clown.

Inspired by Bilbo's post. You would think you get good at what you like and lag at things that you don't like. But I like a lot of things and want to do them well yet some stuff (not necessarly the "more difficult" things) just doesn't come naturally. Oddly enough, I started on drums and jazz came to me , right from the start. Rock too. But although I really worked on my funk playing, and got decent at it, I never really OWNED it. When I switched to bass, the funk came flowing right out of the gate. But jazz...it's okaaaay, but I have to work at it to start living in that zone. And my reading sucks at both. And yes, I've practice it a ton. I'm just a functional reader and assume I always will be. EVERYONE has their shortcomings. Chris Squire s a genius and he can't solo worth a damn. Louis Johnson is a genius but I don't think he'd fit in Led Zeppelin. Jeff Berlin is a genius but he doesn't play fretless. Anthony Jackson is a genius and he can't slap. So...what eludes you? And what is in your back pocket? And do you know why?

Nobody does it all equally well. Some things come easily and some things require more work, bu if you ignore something either because it's difficult or because you just daren't interested in it, obviously it is not going to be very developed. One important lesson I've learned over the years -- [b][i]"Work on your weak points, but concentrate on your strong points. " [/i][/b]In other words, if slapping doesn't come naturally to you, don't expect to be a monster slapper. Get good enough to be able to pull some stuff off. Then showcase what you're better at than most others. That's what makes music interesting-- not a million people who are all equally competent at the same things.

Aren't you going to need to know more tunes to play the gig?

[quote name='tonybassplayer' timestamp='1378999933' post='2207593'] Now that's how I would love to play bass like. [/quote] All you have to do is get an old J bass and play through an Ampeg B 15. And oh yeah, live in the 70's and be black.

You can do whatever you want. You don't even have to play the right chords. Just remember....when people think the audience doesn't notice the difference, all that really means is the audience was polite enough not to bring the shortcomings up to you. But they notice. You can fool some of the people so me of the time... Is it horrible? Nah. But don't be surprised when the band that does play the right notes and sings the right words gets the gig.

I guess I wouldn't leave feedback cause I don't even know where you'd do it. Here's the thing with feedback though...I find it's either too flattering or too dismissive. In other words, most of it is useless. If someone is easily impressed or someone just wants to knock you down what's to be gained? Few people can critique music objectively, since taste, is subjective. I'll say this about what I heard. It's nice enough. Well perfomred. Professional. Bass playing sounds good. I didn't find it especially captivating, but it's hard to get into music you never heard before. The bass had too much low end. I get that you want it up front but if it's loud and boomy it just sounds amateurish. The kick drum also shared the sonic space of the bass ( a boost around 300hz) and that made things more woofy. It's not the type of thing that's getting record contracts, not to mention the age factor. But at a certain point, music has to be about making art and/or entertaining others. Getting angry because they aren't paying attention isn't the best PR toward getting more fans. That's my feedback. In part.

[quote name='discreet' timestamp='1378556299' post='2201779'] It's generally accepted that the drummer is the timekeeper in a band, but keeping time is [i]everyone's [/i]responsibility - imho. [/quote] True, but the drummer dictates the tempo and the steadiness thereof. That's not an excuse -- I'm a drummer too. And I can move the time of the band band a lot more with drums than with bass. If a bass player has good time, the drummer can still rush or drag. But if the drummer's time is good, everyone is forced to play good time.

[quote name='JapanAxe' timestamp='1378422071' post='2200255'] Going back to the singer - if they stray from the beat, IGNORE THEM! Otherwise you'll be all over the place. They'll catch up in their own good time [/quote] Actually, a rule of thumb on any "club date" type of job is, FOLLOW THE SINGER. When paying a gig, it'll sound better to the audience even if you have to drop a beat to be with the vocalist than if the band is correct and the vocals are off. Of course, that's frustrating, sloppy and amateurish so if you're in an original band and you have a singer who is incompetent, the only other solution is to get another singer. Or quit.

My friend from Brooklyn would just say..."I wanted it so I go it. You got a problem wit dat? Too bad. Now make my supper." Then again, he isn't married anymore. (Maybe he's on to something).

Don't tell her, she'll probably never notice. If she asks; "Is this new?" Look at her incredulously (but don't over do it) and just say "no, I've had that one for years."

[quote name='icastle' timestamp='1378489352' post='2201140'] I'm not really much of a Fender player these days, but I've played and owned a number of MIA and MIM basses over the years. Some were good, others were horrid and a couple were superb. Interestingly, I've never found a horrid MIJ though. I think the Japanese have a far more robust and mature QC culture and the ability to mass produce things to a set standard. [b]I think the USA have lost that ability and the Mexicans haven't got to grips with it yet.[/b] My advice would always have to be, if you're looking at MIA or MIM, try before you buy but if you're looking at an MIJ then you're unlikely to be upset with a blind purchase. [/quote] The MIA vary from year to year, from the CBS take over, to some nice one's in the 70's to a big fall from grace in the late 80's and early 90's to the superb 2005-2012 years and the 2013 seem like they've slipped a bit again. I'm not sure of the reason beyond this year to year inconsistency that seems to be consistent throughout the line. EVERY 20111 J bass I played was great and EVERY 2013 I've played seems not up to par. And yes, the Mexicans never quite got it -- though from the start they consciously cut corners. I believe Squier had attempted to take over the Mexi market and the Classic Vibe series is essentially their "custom shop" line. For less money than the MIM. Right now they're making outstanding stuff. Next year -- who knows?

There are always exceptions, but in general, they are decidedly inferior. On the other hand, the the Squier CLASSIC VIBES (not the vintage modified) are far superior, extraordinarily consistent, and about half the price. No brainer.

[quote name='Dad3353' timestamp='1378404713' post='2199886'] Music doesn't have to be metronomic. Depends on style, certainly, but a variance in tempo can be very refreshing (as long as all are playing together...). So it varies slightly, or accelerates in the 'stronger' parts. So..? If it sounds good, go with it. ([i]This should not, of course, be a substitute for incompetence[/i]...) [/quote] The problem with that is, every amateur band who rush and drag together think it sounds good. Yeah, to THEM it might, but very likely to others it will not be grooving.

It may sound simple but try this -- play sitting down and stamp your foot in quarter notes as hard as possible. You will start to feel where the time should be falling and you'll be able to point out where and who is rushing or dragging. BE the drummer.

[quote name='Jack Cahalane' timestamp='1378382405' post='2199394'] That's not the bassline on the final version is it? [/quote] No, he tried a few different things before coming up with the final part . (That killer half note walk down on the final verse was an improve on the final take). Keep in mind, in those days it wasn't like they had months to do a track and years to complete an album. A track was usually finished by the end of the day and they had an album completed and released within 6 months. So they'd try a few things, settle on what was best and that's what you got. And almost always, what you got, was brilliant.

I think it sounds pretty good. The balance is just right. If I were producing you I'd recommend a little more mids on the bass -- a slight bump at 400 hz and 2K and maybe roll off everything under 60hz -- which is just mud. I'd also like a little more snap on the snare -- around 5K and cut 800 a notch -- but that's personal taste. I'd also have the vocalist re-do some parts where he's singing sharp.

Hartke's are great but they're big and heavy. Does that matter to you? Also a 4x 10 cab is also cumbersome. As a gigging musician I need as much power as I can get in the smallest rig possible. After trying many combinations I settled on a Mark Bass head and a Bergantino cab with one 12" and a Hertke cab with one 12". Easy to carry and the sound kills. Though it's not the cheapest priced rig. Then again, as grandma used to say..."you buy cheap, and you buy twice." Get something that's going to last and consistenly get the job done.

[quote name='hiram.k.hackenbacker' timestamp='1378088910' post='2195677'] I'm not sure I agree with that. The 4001 I used to have knocked the spots off the 2010 4003 I bought. [/quote] Of course, there are always exceptions. I was referring more to overall consistency and quality -- though I know many feel the early 70's were superior whereas they clearly slipped by 79. But the newer ones I've played have all been good.

For some reason, "roadworn" Rics don't have the cache' or worn Fenders. A Rick is slick, a P is blue collar. It's just has a different appeal. Jeans look good scuffed, a tuxedo does not. Also, Rics don't have a great vintage appeal. The best Rics are the newer ones. I recently sold a 79' in pristine condition for the price of a slightly used 2012. And I think I really made out on the deal. The 2012 is simply a better instrument. So, long.short...I think 1200 is more than fair. I don't think you'll do much better elsewhere.

Real nice work.

Where's the track?

[quote name='Bilbo' timestamp='1377870877' post='2193052'] [/quote] That is way cool. But you'd have to look cool yourself to pull it off, otherwise, yeah, dorky.

I keep rooting for Mac to write another great song, but I think that tank is empty. This one is tuneful enough, but it just doesn't quite make it. Another trite ditty And the 90's production doesn't help. The problem is, if he comes up with an idea I'm sure everyone is there to tell him how magnificent it is when what he really could use is someone to say " that lyric stinks", or "No, try this instead." Till that happens, I don't think he'll strive for excellence. Of course, he's already excelled more than anyone else on the planet, but it would be nice if he came up with one more classic. And one more killer bassline.