ezbass

That alone made it the right decision.

It was a great time for amazing backing bands, with stand out bass players. The Spiders with Trevor Bolder and Alice Cooper with Dennis Dunaway immediately spring to mind.

Some quality album covers adorning your wall there, @AndyTravis.

I love when Dee comes in here, although his playing on the entirety of Love Lies Bleeding is a joy.

My old band recorded a demo of some of the covers in our set as a marketing tool for getting gigs. Two of the tracks were recorded with my old 4003s. Listening to the rough mix, straight after the session, the Ric sounded great, really growly, definitely a Ric. However, when it was mastered and the final product was delivered, all that Ric-ness had disappeared, just a generic bass tone. OK, it was probably more like the tone of the original tracks, but all the character that I liked was gone . The guy who recorded, engineered and mastered it - a bass player!

Deep end experimentation - kudos.

Kiss That Frog - Peter Gabriel

That looked like a recipe for disaster. However, it seems that Mr Daniel helped. Onwards with the build.

An absolute bass monster who doesn’t get nearly as much love as he deserved. 17-11-70 remains one of favourite live albums and it’s in no small way due to Dee and Nigel.

It’s an F bass and it was in an SBL giveaway they just did.

I’ve been back in the P club a few weeks now, so time for an add to this thread. Squier 40th Anniversary P.

Strings are always the best start point, especially on a used instrument. The short scale of the Allen Woody can accentuate any wooliness in the thicker strings (make sure you buy the right length of strings for your bass).

Vertigo - U2

Dace Like These - Low

Given Scott's focal dystonia, this seems unlikely, but you never know.

Inspired by this thread, I gave 2 of the tracks on YouTube another go. I’ve come to the conclusion that it’s the sax and keyboard sounds I don’t like. The sax is ok when doubling the guitar, but when it is soloed, it’s really not for me. The keyboard tone on the 2 tracks I’ve tried is just wrong to me. Love the percussion though.

Scott decided he wanted to make a fusion record (he doesn’t know how long he’ll be able to keep playing due to the focal dystopia and it was a case of better do it now) and contacted Simon King to see if he was interested and it grew from there.

Better late than never.

As a Robben Ford/Yellowjackets fan, I bought this, but was bitterly disappointed and I think I gave it away. I like fusion well enough, Return to Forever, Stanley & Al Di’s solo stuff, Jan Hammer with Jeff Beck, Jeff on his own and a number of others, but Scott’s project leaves me cold. I can appreciate the technical ability and artistry but I don’t want to finish listening to a single track and bass solos (unless it’s Stanley) I find unnecessary. That said, there are plenty of other genres that I don’t like, or even certain artists within genres I adore that I don’t like and I’m sure that there enough folk who do like them to warrant going to the effort of producing it in the first place, including Scott’s project. In fact, kudos to Scott for actually doing it, given his medical condition, it couldn’t have been easy for him.

Noods

Often the problem with keyboard generated bass (and, by association, bass pedals) is that it lacks the percussive punch of a bass guitar and is held onto too long, creating a standing wave. The keyboard player in my band has this issue with some of his B3 sounds, the left hand stays in place and it builds into a mush. I find judicious bass cut on his FOH channel sorts the issue (something he's happy for me to do).

We’re well known for being content with what we having and making do, everyone knows that.

Take Me I'm Yours - Squeeze

If you asked on your typical fb group for that, I guarantee one of the replies would say, "Good luck with that."