SteveXFR

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.

I think bassists are the worst people to pick the three best bass lines as it'll most likely be some virtuoso nonsense like Joe Dart or Jaco Pistorious or some million note a second slapper.

Here's my possibly terrible pics.

Peaches - The Stranglers

Rotten Apple - Alice In Chains 

Turnover - Fugazi

12 hours ago, agoulding said:

 

If you decide against this idea, do you mind if I buy it instead, and stick a MM pick up in at the bridge? I feel like this would increase the instruments versatility at open mic nights.

You could but Id recommend sticking in a Dingwall triple humbucker. You'll have to modify the body a touch obviously but I could lend you a hammer and chisel 

Seems like the sort of thing a guitarist would do

Don't discount the fan frets, I find they feel really natural to play. It took about half on hour before I learned to just ignore the fact it was fan fret and just play it and it felt fine. I had the Ibanez SRMS805 which is less extreme than the Dingwall. 

My experience of fan frets was a much brighter and more defined B string. If you don't want that, then don't get fan frets

I have a question about BB1100S controls. Have I got this right? Three on the bottom are active eq control. On the top, starting from the bridge end its three way pickup selector, active/passive switch, passive tone, volume knob.

There's no pickup blend.

Is that correct?

Local band, Nuns Of The Tundra at Bristol Academy tonight. They booked the gig to play the second stage but determined to sell enough tickets to be upgraded to the main stage and they've done it. This will be by far their biggest show so hopefully, they'll be on top form. 

I might buy this and play it with a pick through a signal chain including a selection of disgusting distortion pedals, a cheap solid state amp and one of those plastic TC cabs.

I can't remember where we got ours but they're a great way to get people to the merch table. Tell the audience theres free badges and they'll be straight there and you'll sell twice as many t shirts or records.

Is it any good for metal?

1985 Yamaha BB1100S 

My old Mexican P bass was rather uninspiring after having it a few years so I replaced it with this and its really nice to play and sounds great. Huge tonal range

Nazi Punks - Dead Kennedys

I have officially joined the club. Here's my new (to me) 1985 BB1100S. My first Yamaha, first vintage bass and my first Japanese made bass and its really very nice.

This is the one @Burns-bass shared the link for. 

Liquid Jesus - Crippling Alcoholism

Double point surely?