Russ

Played one in NYC last year. Unimpressed. Just another super-J, to my ears, with an ugly, blobby headstock. Nicely made, quite nice neck and didn't sound bad, but the Sadowsky Metro I tried the same day sounded and played much better and was half the price. And I've played Sei Jazzes, GBs, Moons, Celinders and Bacchuses (Bacchi?) that do the super-J thing better than both of them.

I think this discussion hinges heavily on what people look for in a bass player - a great technician, a great writer, a great performer, or all of the above. For instance, Anthony Jackson is an amazing technician and writer, but not much of a performer - he just sits there! Conversely, Lynott was a great performer and a really good writer, but not the greatest of technicians. But, if that's what floats your boat... For me, Doug Wimbish and Tony Levin. They've got all three, in spades.

Firstly, get some old Parliament/Funkadelic, Stevie Wonder, James Brown and Sly & The Family Stone records. Listen loud. As for what to do bass-wise - take your simplest bassline, then remove half the notes. Then remove a few more. Then put those few (or one) remaining notes per bar you have left in the groove - takes more practice than you might think. Unless you're talking jazz-funk, the chord progressions are usually pretty simple, and you won't have to play much more than pentatonic scales to start with. Have your thumb ready for slap duty, but, considing the stereotype of slap only being for funk bass, you don't hear it all that much on the proper funk classics - it's certainly not ubiquitous. Add envelope filter to taste. Then keep practicing until you're playing with that puckered "oooo" face that's essential - then you know you're feeling the groove.

I think I want to track down my old GB. It was on Ebay a year or so back, but I missed out on it. It'd be nice to have it back, since it was custom-made for me, and is unique amongst GBs for several reasons. Bernie tells me he's still got the designs for it, so he could make another, but it'd be nice to have my old one back. So if anyone sees a custom ash/maple GB Rumour 5-string going, with a custom body shape, and two Hipshots, let me know.

I'm a huge Primus fan, but I just haven't been able to get into Les' post-Primus output... it just doesn't do it for me. It's weird - I [i]should[/i] like it, but I just don't. I can't connect with it.

[quote name='XB26354' post='417983' date='Feb 23 2009, 11:47 PM']Don't ignore the BTB series - lots of people here seem to love the SR's but I have always liked 5- and 6-string BTB, and the new thru neck ones in walnut are very, very nice for the money (even with the price hike due to the collapsed Yen-Sterling exchange rate). Massive piano like sustain and a richer, less stringly tone than (for example) the SR5065. Balances better too...[/quote] Gotta concur here. For the money, I don't think you can get better tone, fit and finish, and general solidity than a BTB. They're physically a lot more substantial than the SR basses, but better for it, I think.

They are pretty hideous, but they're also very "Flea". I'd expect the ones he plays onstage to be seriously tweaked (better pickup, hardware, etc), but that they will still look like the production instruments. I'll be interested to hear how they sound, if they've got that Stingray-ish punch he's known for.

The guys at The Gallery have never let me down before - they've even loaned me instruments in the past when I've had a gig or been in a pinch and they've either been servicing or building a bass for me (although they do know me quite well, as I've been going there since the early 90's). Explain the situation to Alex and I'm sure they'll help you out - their reputation for good customer service is well-earned and they pride themselves on it. Even if Martin's away, John can easily handle a setup, although Martin is the main electronics guy, so that probably won't get done while he's away. A lot of pros use The Gallery, and they appreciate the fact that some people need their instruments returned to them quickly.

I enjoy some of his stuff... the Joni stuff, some of the Weather Report stuff and a few tunes off his solo albums. The man had chops and soul, but I didn't always like the music he applied them to. Some of it was meaningless noodling, some of it was a little too close to "smooth jazz" and some if it just left me utterly unmoved. There's no greater insult in music than that... to get no reaction from a listener. But, there are few other bass players that can make the hairs on my arms stand on end they way they do when I hear Portrait Of Tracy, or the solo from A Remark You Made. Then again, I'm the same with Wooten... technically awesome, love watching all the bass gymnastics and stuff, but he leaves me strangely unmoved... I don't *feel* his playing at all.

Almost everyone mentioned here came to prominence well over 10 years ago... I've got to go with Bona, Matt Garrison, Chris Wolstenholme and Ryan Martinie, and all four of them are pushing the 10-year mark too. Tal's not a bad player, very much a young female Marcus, but, let's face it, most of the reason she's well-known is because she's a) young, and b ) fit.

He knows his stuff... shame the Megatar is so fugly. They look like they were built in someone's garden shed. The only touchstyle instrument I'd play would be a Warr... they at least look nice!

One of the best slap tones I've ever heard came from a Streamer Stage II. Very much a J-type tone, but with extra through-neck sustain and buckets of that trademark Warwick growl. Awesome basses, and probably the only Warwick I'd consider owning. Shame that it's one of the most expensive instruments Warwick make!

Foderas look great and play brilliantly, but I've never really found them to be "tone monsters" - the ones I've tried (a VW 4, a Matt Garrison 5 and a couple of others) have been a little too thin and delicate-sounding for me. A little too "hi-fi", if you like. Obviously pretty good for certain applications, but not for me.

Having tried a lot of basses over the years, I was frustrated that there wasn't an instrument that combined all the best features from my favourites, with a few other touches that only a custom luthier can provide. You might like the neck profile of one bass, but not the tone or choice of finishes, you might love the tone of another, but hate the neck, etc... if so, custom's the way to go, and luckily there's lots of great luthiers out there right now, at every price point. You can now get *your* bass for less than the price of a US Fender. Plus, I've always been one for having things that are unique to me - in musical terms, a custom bass is pretty much the manifestation of that. I've had 3 Seis and a GB over the years, and my current 5-string Sei is the bass I had always wanted - I've had it for 6 years and it just keeps getting better. I think another Sei will be on the agenda hopefully some time in 2009.

No, the Stick is not a bass. However, it is an instrument that can play in the bass register (down to low C in standard tuning, below low E on a 4-string bass), and it has a unique sound in this regard. Other similarities are that the Stick is the same scale length as the bass guitar, and is tuned in a combination of 4ths and reciprocal 4ths, making it relatively easy for bassists to get around on. Regarding Tony Levin, he is a man of many talents... he also plays cello, guitar and upright bass - he's not just a bass guitarist (although he's obviously best known as one). Many of his best-known bass parts were played on the Stick (eg, Elephant Talk) so it's natural that interviewers will want to talk to him about it and that listeners/readers will be interested and might be interested in replicating that sound.

He's playing a 4-string, long scale instrument using bass guitar technique. I think that makes him a bass player, even if he's not sticking to the low registers. It sounded pretty good to me. Stanley Clarke is well-known for also playing a piccolo bass and having another bassist onstage to play the low notes, and nobody would dare not call him a bass player. Jaco played up the neck a lot, sounding more like a baritone sax than a bass a lot of the time. Michael Manring (who is obviouly one of this guy's heroes) does it all - high/alternate tunings, unusual techniques, etc, and the man can also hold down a mighty groove. Just because someone can do the technically advanced chordal and melodic stuff doesn't mean they can't hold it down too. Absolutely nothing wrong with exploring what else your instrument is capable of other than what's below the fifth fret. Of course, as a working bass player in a band, 90% of the time you'll be playing the low notes, but, since the bass is capable of so much more than that, why not explore it? The bass guitar has a wonderfully complex sound, and, when played properly, is just as versatile as most of the other instruments considered to be solo, or lead, instruments. The players I mentioned above, amongst others, have proved this, and there's nothing wrong with someone being influenced by that. Cross-pollination of styles and techniques is a good thing - ever heard (the utterly amazing) Andy McKee, or even our very own Newton Faulkner? They both use bass-derived techniques on the acoustic guitar, including slapping. Does that mean they're not guitarists?

I've played a couple. Comfortable, very light, slick neck, well balanced. I found the sound a bit lacking though, very mid-shy. All boom and click, but no oomph, if you know what I mean. Some people like that type of sound though, so give one a try if you can.

[quote name='waynepunkdude' post='388863' date='Jan 22 2009, 07:32 PM']I like the Goldsmiths but the New Cross Inn is a more 'Punk' pub.[/quote] Isn't the New Cross Inn the same place that used to be the Dew Drop? If so, I agree... judging by the amount of crusties (the proper, filthy, dog-on-a-string-called-Rizla ones) who used to hang around outside bumming fags and waiting to go in at the end of the night so they could drink the contents of the drip trays!

[quote name='Clarky' post='388755' date='Jan 22 2009, 06:09 PM']don't think so, it was just a pub ... heaving with mohicans, cans of lager and strangely sweet smelling cigarettes[/quote] I must be thinking of somewhere else then... much the same kind of thing though. There was always the Goldsmiths Tavern in New Cross for the full punk and crusty experience too, but I think they're closing it now. Was always a fun place to go if you wanted your head kicked in recreationally and the Dew Drop Inn wasn't punk enough for you.

[quote name='waynepunkdude' post='388726' date='Jan 22 2009, 05:50 PM']Still happens but you don't hear about it because they are not playing in arenas they are playing in squats, free festivals and dingy clubs. I know thats where we play most of our gigs and meet some great bands along the way.[/quote] Good for you, keeping the spirit of punk alive. I just think that most of these so-called punk bands who do end up playing arenas and stadiums have, by that very act, forfeited the right to call themselves punk. I acknowledge that the likes of Green Day, The Offspring, etc all came up through the ranks and paid their dues via the grassroots punk scene, but you're fooling yourself if you think any of these bands still have full creative freedom over their music. I'd much rather go and see a proper, angry punk band play at a squat than see Green Day at Wembley.

[quote name='Clarky' post='388730' date='Jan 22 2009, 05:52 PM']Speaking of which, the promoter at the Old Friends squatted pub in Greenwich has apparently been turfed out - so no more gigs there. We actually had a great time playing there whilst dubious substances were being snorted off the bar and passed around ...[/quote] Was that the place with the dodgy tattoo studio just off the main bar? If so, I played there years ago. Good crowd.

A little article that I found about punk... I agree with every word this guy says about it: [url="http://members.tripod.com/~droplegs/PUNK.html"]http://members.tripod.com/~droplegs/PUNK.html[/url]

[quote name='waynepunkdude' post='388708' date='Jan 22 2009, 05:33 PM']Most modern Punk? what do you mean by that?[/quote] More or less anything that's come out post-Green Day, the point when it became diluted and commercialised - punk bands should be playing in squats, free festivals and dingy clubs, not arenas and stadiums, and should gob on people who suggest otherwise. I don't mind Rancid, older Green Day and a few other newer punk bands, but for me, it's still all about The Clash, Crass, UK Subs, Bad Brains, The Ramones and so on.

Can't say I have much love for most modern punk. Punk's all about an attitude, and most of these bands that supposedly play it nowadays don't have it. Punk's supposed to be all about channeling anger, the ultimate DIY ethic, doing it your way despite your limitations, fanzines, anarchy... and gobbing and pogoing, obviously. Although, to quote Mike Watt, when he was asked if he was a punk, he replied, "No... a punk's someone who gets f**ked in prison for cigarettes".

It's a great video, but not really for the instructional value, more just to see Jaco play in an intimate context - the little set at the end with John Scofield and Kenwood Dennard is worth the price of the video, especially Jaco's fuzz-drenched solo at the end. His banter with Jerry Jemmott is great too, althouth the parts where Jerry's trying to interview him are a bit awkward, and Jaco's pretty out of shape playing-wise (he admits so himself when trying to play Portrait Of Tracy, keeps making excuses).