SteveXFR

12 minutes ago, Bleat said:

 I would reccommend the EHX Bass Clone for whatever shoegaze is? (I guess it's some sort of Indie or grunge style music?) 

Thanks

Shoegaze is a heavy rock subgenre kind of related to grunge but more distortion, more volume and slower. Like early Smashing Pumpkins, The Verve, Lush and Slow Dive.

3 minutes ago, Woodinblack said:

 

Are they though? Ian isn't on the spector featured artists lists (I notice that guy pratt is, and I have only seen him once play a spector, its normally his pink fender). Scott has a signature overwater. Also both of them are already working for his company and it is quite clear they are working for that.

Ian did a series of videos promoting Spectors and then did a few videos about Spector players for SBL and spent quite a bit of time talking about how amazing the Spector tone is.

Scott regularly talks about how amazing Fenders are, especially precision basses.

5 hours ago, Woodinblack said:

 

Someone who does an advert without saying they are doing an advert.

You mean like every to Scott Devine picks up a Fender or his mate, Ian with a Spector?

Freak on a leash - Korn

Terrible song with slap bass that sounds like a filing cabinet falling down a stair case.

I want to buy my daughter a chorus pedal for Christmas and not sure what to go for, its not an effect id use. She plays in a shoegaze band so lots of fuzz on the guitars to cut through so i think she'll need a chorus that keeps plenty of bottom end. 

Obvious choices seem to be Boss CEB-3 or MXR Deluxe Chorus or maybe Electroharmonix Bass Clone.

Are any of those particularly good or any other suggestions?

Frequent string changes are common for metal bassists, especially ones who have to cut through a wall of heavily overdriven guitar noise and double bass drums.

I always cut the string at 75mm past the post and that gives me 2-3 turns and I always wind towards the bottom. I also bend a kink in the string and cut as tight as possible to that while keeping it. I was taught that this reduces the chance of the core slipping inside the string. I don't know whether its necessary but its never caused me issues. 

I generally change my strings about every 3 months to keep them bright.

14 hours ago, prowla said:

Sounds perfectly rational to me.

 

Oh, and bloody "influencers"!

I still don't know what an influencer is

21 hours ago, jonno1981 said:

I’m amazed Scott’s bass lessons hasn’t covered this. 

Isn't this what "holding down the low end" means?

Celebrities who are famous for being famous and nothing else. Ive had the misfortune of meeting a few and my daughter met several when she worked in a posh restaurant. What a bunch of entitled butt holes. They expect everyone to know them and worship their talentless, cosmeticaly enhanced air headed wonder.

Eton Rifles - The Jam

Meantime by Helmet has some killer bass lines. Really punchy tones and big riffs. Occasionally even dropping odd time signatures in post hardcore songs. 

Tell me you're xxxx without telling me you're xxxx

Anyone who says that is a grade A cu.......

I stopped going to anything where Ticketweb/Ticketmaster/Live Nation are involved. They just absolutely fleece the fans by charging huge amounts on top of the ticket prices while adding zero value.

In the bright side, Ive seen loads of bands at the start of their career and realised their energy and enthusiasm on stage makes for a much better performance than the dinosaurs I used to see. I go to a decent size festival once a year so still see a few bigger bands but pay £200 for three days of great music instead of £150 for a few hours at a Live Nation show

Grade 2 - Grade 2

The fifth album by the young punk band from the Isle Of White. Bassist Sid Ryan is clearly heavily influenced by Matt Freeman but he's adding plenty of his own style. He also sings and is pretty lively on stage which is amazing. 

Monster - R.E.M

Mick Mills bass lines are absolute genius. Interesting rhythms and really complimenting the guitar and vocals. Absolutely brilliant bit of 90's alt rock. What The Frequency Kenneth and Orange Crush are favourites for me

5 hours ago, LawrenceH said:

I'd never heard of the 3 bassists pictured and don't recall being particularly taken by any New Order/Joy Division basslines, though I'm sure they do a great job if you're into that sort of thing. Mick Karn is another one who I don't actually know who he is/was. Having just looked him up I don't know of anyone in real life who listened to Japan. But again I'm sure he was great.

 

What I think this illustrates nicely is how much we all live in our own tiny little bubbles as to what was 'important' or 'influential' back in the day (or indeed now). And the music critic part of the modern media seem to exist in an even tinier bubble - see various critics/radio DJs (men) of a certain age (gen X) who all fawn over particular (punk/new wave) bands from their youth as though they were incredibly important in the entire history of Western music despite a very limited output for a very short time that anyone outside of their very narrow age bracket (or different racial background) would barely recognise much less care about.

 

Could be wrong but I don't think anyone has mentioned Robbie Shakespeare, for example. Or Leon Sylvers, Aston Barrett, Oscar Alston, Louis Johnson, etc etc. Which is fine, but objectively they have all sold an awful lot of records with very recognisable basslines!

 

 

Thats an unusually sensible post for BC. You talk a lot sense.

To be honest, I've never heard of any of the bassists you mentioned. I guess thats kind of your point. 

Truth II - Bossk

A bit of post rock genius

1 hour ago, Sean said:

 

I've always wanted to play What's the Frequency, Kenneth? 

It's never happened and isn't likely to. I love that bass line.

I learnt that one last year. It really is good and more tricky than I expected, mostly because of the weird rhythms. All REM bass lines are great to play.

Three suns and one star - Down

18 minutes ago, SumOne said:

"I haven't seen the programme, and I haven't got much information about it - but it'll be wrong and has annoyed me" (Basschat, 2025)

 

It reminds me of an always grumpy old relative of mine that was complaining to me about the tide is 'always doing what you don't want it to do' last time we spoke. Literally complaining about gravity and an effect that means the tide is in just as much as it's out. 

Basschat is GB News for musicians. 

8 hours ago, solo4652 said:

I put a "Bassist available" ad. on Gumtree. I've just had this reply:

 

"Hi.  I have a germ of an idea that I'd like to discuss with you. I have no musical ability whatsoever. I can't sing, and I can't play any musical instrument. There is almost certainly no money to be made from my idea, although there is a musical aspect to it. Intrigued? Curious? Ring me on........."

I think I've played with this person. A lot of enthusiasm, no ability and a huge amount of weed. Actually, that describes three guitarists I've encountered. 

9 hours ago, Sean said:

Whatever. It's just descended into what most Basschat threads become, it's us lot talking absolute nonsense.  

 

I sometimes visit Bajistas.org, a Spanish language bass forum, they'd never have threads like this. They're still trying to decide whether a P or a J is best or whether a PJ is a happy balance or a complete abominación of el Diablo. 

 

 

¿Cuál es el mejor bajo para metal?

People in the audience might not hear what you're playing but people in the next town will hear if you hit the wrong note.

Keep it simple, a complex bass part played badly makes your band sound terrible but a simple bass part played well makes your band sound great. Timing is everything. 

2 hours ago, cetera said:

I know what the World's Greatest Basslines are.... and I can guarantee they won't be on this programme.

There are no greatest basslines. Its too subjective to decide the absolute best.

3 hours ago, Bassybert said:

But it’s got to be Waiting Room over Turnover surely!

I see what you're saying but after listening to both, Turnover just beats Waiting Room. The main riff is so catchy and then there's that fast killer riff halfway through when it goes double time. Waiting Room only really has the one riff although it is excellent and its illegal to pick up a Stingray and not play it.