risingson

[quote name='Toasted' post='846140' date='May 23 2010, 11:10 PM']DB750 -> Berg HS410 was the best sounding rig I ever played.[/quote] Noted. I would have guessed it would have sounded as good!

Cheers lozbass! I actually take a lot of the stuff on Talkbass with a pinch of salt, not that their opinions aren't worth it but that I've found in the past some members to be pretty single-minded about gear, notably Eden stuff, which I happen to love. Having said that the site remains a cool resource which I often use. The Epi was just an idea, I was looking to lightweight solutions. Anyone run the DB750 with a Bergantino cab at all?

Thanks for this. The weight isn't too much of a problem, as long as I've got a portable cab, I was going to look to Epifani for a lightweight solution really, or maybe Bergantino. I've got an Eden 410XLT but it weighs a ton and is a bit of a nightmare to get it into venues that aren't too easily accessible.

...has anyone A/B'd them with the DB751 yet at all? I know that people have mentioned that they're not mad on the looks (although I'm kind of indifferent) of the 751 but I can't imagine they're all that different? In any case, I was wondering if anyone had any experience with either. The servicing, for example, how often they get theirs sorted out, rack protection, how it records in a studio invironment direct, etc. Practical issues basically. I play a lot and we're often in transit to one side of the country or the other, and I need to know just how reliable they are. My Eden rig has just been a powerhouse, but I need a change and I'm thinking the DB750/1 is the way to go. Any help massively appreciated, won't take the dive until I'm satisfied it's gonna hold up! Thanks, Liam

Hi, Unfortunately, although I love my OC-2 to pieces (it's the one pedal I can't do without), the tracking of notes in certain areas (and I've found with different basses) is quite bad. It's just one of the quirks of the pedal. There are I'm sure better tracking octave pedals on the market that have polyphonic abilities and everything but I've never found one as cool sounding as the OC-2.

I bought one off of Tayste from the forum a while back and it's marvelous!

I use a Korg R3 on stage if we're playing synth bass-type lines, though if I can emulate a synth-bass part with my Boss OC-2 try my best at doing so.

I've seen a load of live footage from Bucharest and I did definitely see Freddie tearing things up with his Smith. Or maybe not... you've got me thinking otherwise now!

Motown - Heatwave/Reach Out Stax - Green Onions/Mr. Pitiful

Apparently from what I've now heard, the original band back from '92 (including Ricky Lawson, Jennifer Batten and Freddie Washington) said they never got the callback. I wouldn't be surprised if Ricky Minor's American Idol band got the gig.

I might have put Freddie Washington back in the lineup if I was to guess, but no doubt it will be someone fairly unknown. Nathan East has also played with him in the past.

[quote name='rslaing' post='526237' date='Jun 27 2009, 08:18 PM']He might do now. But during the 70's and 80's he had (possibly) equal status with Jaco as a pioneer of his instrument, and was very much an integral member of a number of bands that contained equally superb musicians. Then his son had a serious illness and he took a back seat, spending all of his time on a much more important thing - helping his son and looking after his family. Fortunately his son recovered from ( I think) leukaemia. That needs verifying. Now he spends all of his time educating people about bass playing and music. He is still a great player, whether in a multi instrument environment or as a soloist. A great man with superior skills and believe it or not, a heart of gold whose life experience has changed his total outlook on the music "industry". He really should be respected instead of all the sh*t thrown at him in here by a few people who really don't know what they are talking about.[/quote] Interesting to know. I've got to say, I've never been huge on his playing but he is a fairly introspective musician, I think his confidence can easily be mistaken for arrogance.

There is probably an argument to be had from the viewpoint that because of technological advances, there is more room and more of a chance for solo bass players to get their sound out. It might seem quite contrived, but back say 30-40 years ago, not only was the electric bass a fairly new thing, but sonically the equipment used back then was only good for certain things. Bass players have so many options available to them now, more strings, better amplification, better studio equipment, and so on. This probably has lent itself to the influx of solo bass players that we can hear today.

[quote name='bythesea' post='526099' date='Jun 27 2009, 05:34 PM']I think a lot of that is down to ambition rather than anything else. Manring was pretty much the in-house bass player for Wyndham Hill Records. Presunably that was something he wanted to do, leaving him time (and no doubt studio time) to do what he wanted. As a side note there is an article on session playing in this months BGM together with an article on Marcus Miller (and a little bit of crossover between the two).[/quote] Yeh. I don't profess to know the business of sessions inside out, but I do suppose a hell of a lot of application is required and that's a something you choose to do, or not. Will Lee talked about his greediness in the past taking every single session he was offered, whereas in reality there has to be some leeway. It also contributed massively to his cocaine habit.

[quote name='iamapirate' post='526135' date='Jun 27 2009, 06:06 PM']When you learn to spell 'you're' [/quote] That really is a pet hate of mine

... when you find yourself on a bass forum on a Saturday afternoon arguing about the stupidest of things with people you've never met before.

[quote name='Oscar South' post='526021' date='Jun 27 2009, 03:56 PM']What the people who make this kind of thread/post don't realise about the really great bass players such as Wooten, Manring etc. is that they are highly in demand as a solo player and as a 'regular' bassist/musician. The number one argument against expanding your ability as a player is that "there's no place for any of that"; firstly there is a LARGE place for *all* of that, just not in the kind of music that the culprits of this statement listen to perhaps, secondly these great players have all worked full time in the music industry doing 'regular' gigs for years until their popularity as a solo artist has reached the point where they can focus more on that.[/quote] I agree with you on most of these points, Marcus Miller was very very heavily in demand in New York for many years, and no doubt still gets used by countless producers. But I would be skeptical about whether someone like Victor Wooten or especially Michael Manring has been used in the same way. No doubt that they have, but Marcus Miller has built a heavy profile on playing with huge names like Luther Vandross and Donald Fagan. Off the top of my head, I can't think of any names that spring to mind that have utilised Victor or Michael Manring like that. I guess my point is that being a session musician and solo bass player aren't generally synonymous with each other, or at least very, very rarely. [quote]I'm fed up of these threads, maybe I'm wrong but to me it just seems like self-justification for not putting any more work into your playing than you have to. I don't actually have a problem with that in itself, its an individual choice, its the effect it has on developing players that I hate; mantras like "there's no place for any of that" and other re-wordings are creeping into bass education and giving developing players an excuse to put as little work in as possible.[/quote] I agree with you on the first point, but then again it is a bass site and this kind of argument will always pop up every month or so! Ah well... I don't think that people are necessarily using this sort of argument as an excuse to not further themselves though. I think that solo bass playing is completely hit or miss for a lot of people, just like marmite.

There are some none-bass players I have spoken to in the past who have mentioned Victor Wooten to me, having heard of him themselves despite having no bass playing experience. But I think most players that are working musicians haven't got time trying to advance the bass any further. I think there is less to be done now on the bass anyway, the time for bass renaissance seems to be over. I personally have always had more fun listening to Jamerson, McCartney, Pino, and whoever else can hold down a good bass line. Flashiness doesn't impress me too much to be honest!

Lovely, lovely bass. LA Bassxchange had this one a while back which I always loved: [url="http://www.bassexchange.com/catalog/images/thumbs/celDB1%20copy_pic1.jpg"]http://www.bassexchange.com/catalog/images...20copy_pic1.jpg[/url]

[quote name='EssentialTension' post='525625' date='Jun 27 2009, 01:34 AM']I'm not interested in choosing between them. Two great players, both Jamerson and Kaye. It's not either one or the other. Stupid question - it's like being in primary school.[/quote] A big +1 on that.

[quote name='thisnameistaken' post='524135' date='Jun 25 2009, 09:33 PM']Yeah that's nonsense. Even the Thumb, which superficially [i]looks[/i] the most like a one-trick pony, is pretty versatile. It depends what you do with your picking hand - you can almost totally eliminate that "purr" characteristic you're supposed to get from a Thumb if you want to..[/quote] Like I say, just my opinion, not nonsense. I didn't think the Warwick fans would agree with me.

Jamerson is my hero but Carol Kaye, aside from the age old argument of who played on what (the answer to which is completely obvious anyway) is a marvelous and incredibly well respected bass player. She re-invented the way bass was played on records all through the 60's and 70's.