chris_b
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Everything posted by chris_b
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I saw an email where Phil Taylor, Dave Gilmore's technical guru, was discussing the differences between cables (Evidence Audio) that had been cryonically frozen and cables that hadn't. Why should I disbelieve that someone with bat like hearing could tell the difference between cables. As there are people who can identify the smallest differences when they are blending whiskey, perfume, tea and coffee, I'm sure there are people who can hear differences I can't. I would also guess that no one on Basschat has hearing good enough to make a definitive statement.
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I don't know the SL112 but I used to run 3 Bergantino AE112's and these were replaced by 2 SC's. That was in a stupidly loud band and with 5 string basses. In a normal band without a mad guitarist and with 4 string basses I would expect a Barefaced Super Compact to match 2 x SL112's.
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If you're buying new the retailer might be drop shipping, so doesn't see the instrument before it arrives at the customer's door.
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I know 2 band leaders who won't let anyone else touch their leads. One told me that if I coiled up his leads he'd uncoil them and do it again!! I know how he feels.
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Apache was the first record I owned. Won it in an end of term quiz in junior school. I'm not sure I even knew what a bass was or could identify one in the music, but Jet looked cool.
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Joni; jaco & Pat. Doesn’t get much better
chris_b replied to Grahambythesea's topic in General Discussion
Start at the beginning, with Max Bennett and Wilton Felder on basses. -
Everyone needs 2 basses. Their bass and a backup. After that it's preference.
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The obvious answer is to get 2 x 210's. IMO a 212 would be fine for slap. But then my preference is for Larry Graham's thumping and popping, not Mark Kings metallic ping-pong.
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I know a drummer who was recording with VM and he was a nice, pleasant person throughout the sessions. At that point he was off the booze. Which might have something to do with it.
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Several times. My memory is a little hazy, but I saw several cracking shows I think in the 90's and I saw JB at the East Ham Odeon sometime in 1970, with Bootsy! All great shows.
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I've seen several heroes come unstuck for various reasons. James Brown at Hammersmith Odeon, in the 80's. During his "drugs" period. Very untogether, even the band was off. Little Feat, the Craig Fuller line up. They started with a great balance. Sounded like a record, and got progressively worse during the night. The FOH sound guy was shambolic. Robert Cray at the Shepherds Bush Empire, about 10 years ago. It was music by numbers. Very bland, they were just going through the motions.
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I've got one of those. Put that together in the 80's when my 34kg Dynacord combo became too much. They are good but not so good when you've stacked several thing and the wheel jams on something. You get the situation where the bottom stops and the top keeps going!! A trolley is a much better solution for multiple boxes.
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I couldn't. They sounded better than I did!
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Yes. That would have been very embarrassing for him as well.
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I read that Phil Spector had several bassists waiting in reception, just in case Carol Kaye didn't cut it on River Deep, Mountain High. I know a drummer and a well known bassist who were put in for a Gene Pitney tour, with full orchestra. When it was discovered these guys couldn't read music, they were asked to leave, and as they put their last drum on the pavement, the new guys were unloading their gear! That's how quick they replace you.
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I agree. There are interviews on Youtube with A list session bassists and almost all of them bring at least 6 basses to sessions, when those sessions existed. While most seem to end up using their Precision bass with flats, they have to be capable of providing different sounds at the drop of a hat. I wonder what was behind that Will Lee story? Seems odd that a player of his stature in the NY session business didn't nail the exact tone they wanted. Maybe he was too busy? I wouldn't have expected to see Lee Sklar on a Billy Cobham record, but he was obviously doing something right.
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Release your grip so your thumb can move, not slide. Play with the lightest grip you can manage. It'll take time, but, you should focus on speed and accuracy of your hand movement. Maybe take the strings down a little? You'll get there.
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The further away from "a sound" a bass goes the less popular it becomes. The Big Al probably sounds fantastic, if you can find your tone in amongst all the others, but who is going to bother when it looks so pug ugly? I've heard Bongos and they sound great, but I'd never buy one because of the look. I think Musicman deserves a thumbs up for trying to move bass design into the 21st century, but as Fender have found, most bass players haven't budged an inch since 1957.
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No one listens to me in our house and haven't since the 1980's!
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I have 2 basses, 3 amps and 3 cabs which I mix and match. They all sound different to me, but the guys in the band wouldn't notice and the audience reaction is, "You got a bass???" I aspire to sound like Nathan East and Reggie McBride, but think I sound more like Duck Dunn and John McVie, but I've also been told that I sound more like me than them!
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Me too. Thankfully, neither she nor Bowie bothered with the "I've got to play the bass that was used on the original recording" and "Jaco only needed 4" nonsense.
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As long as you are in time it doesn't matter what you play.
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One looked like he was playing a bass ukulele, but the rest were definitely playing Precisions, with burst and tort.
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I had a bunch of air-bassists at a wedding once. About 4 of them made a line in front of me and . . . . played air-bass for a whole song!
