risingson

[quote name='goblin' timestamp='1353530061' post='1875760'] yeah I noticed there were some 2nd / 3rd years playing it whilst I was in first playing it, kinda set the bar really With regards to Sledgehammer, it depends how you look at it, as you've got to get the right feel and sound as well - not as easy as some would have you believe. Anyone can play the notes, but it's how you play them that also matters. [/quote] I suppose what I meant was that if you thought the Ian Jury tune and the Stevie stuff was easy in terms of 'feel', then Sledgehammer is going to be a piece of piss, as great a bass line as Tony Levin played. Not saying don't play it, but maybe get out of your comfort zone, play something that you'll feel at the end has truly upped your game as opposed to something that you're mildly to very comfortable with.

Not that is consider it to be less off a bass line at all but the first two tunes you mentioned are far more challenging a play through than Sledgehammer IMO! Think outside the box, every year someone will play Sir Duke or Master Blaster for their performance module, your lecturers will appreciate a break with something a bit left field. Tried any Anthony Jackson parts?

Don't like them on Jazz basses, look pretty cool over the neck only but they really restrict me. I think they look incredible on P-Basses but once again, they totally restrict me, I move around too much from song to song for it to even be worth considering keeping trays on. I'd leave the bridge on only at the P if I didn't palm mute so much.

Really loved Foals's new tune. Larry's great and all but his playing has never interested me, even if Sly and the Family Stone did.

Thanks very much, tuned in by accident in the car the other night but missed most of it!

Steve Jordan destroying it! Doesn't really get much better.

Shoreline Gold P-Bass for me, straight up mid 60's style reissue! I'd take a stacked-knob Jazz whilst I was there too, probably sonic blue or surf/seafoam green with a rosewood board, pretty 60's affair again except with an ash body.

Happy with my band and even the times when I'm not... they're four brothers and also happen to be my cousins, so we've all got to go the the same family do's at Xmas.

[quote name='MiltyG565' timestamp='1352934835' post='1869669'] He spends as long warming up for gigs as he does playing at them. Also, he has a guy that massages his arms, and has had for years. [/quote] Interesting stuff, didn't know that. But I can't imagine he will have that the hand masseuse in the earlier days, i.e the times he had to full the gaping holes in his thumb with superglue and tape up.

[quote name='MiltyG565' timestamp='1352881109' post='1868650'] flea. his right hand technique is shockingly rough. listen to any RHCP bass master track. [/quote] He actually amazes me that he didn't develop CT a long time ago, god knows he must have had some problems over the years.

[quote name='Hobbayne' timestamp='1352848114' post='1868507'] Its a great line, any idea who played it? [/quote] Could well have been Lenny himself, he's known to play all the instruments on many of his tracks and he's a supremely talented bass player!

[quote name='Dingus' timestamp='1352826551' post='1868014'] I am currently looking over a list of the U.K top 40 singles from early November 1992 and it includes at the very least 23 tracks with proper bass guitar parts on them ( there maybe more as a few of the tracks are so obscure by now that I can't remember anything about them and don't have time right now to have a listen ) , including a few with fairly up -front bass lines such Would I Lie To You by Charles And Eddie [url="http://www.youtube.com/watch?feature=player_detailpage&v=B-nSdyHhZeM"]http://www.youtube.c...e&v=B-nSdyHhZeM[/url] Complex bass guitar parts were , on the whole , more common in bygone times although they are not unheard of now in certain genres . And that Whitney Houston Track , while it might not be to everybodies taste , has in fact got a prominent bassline played by Ricky Lawson on his Ken Smith 5 string . How can you cite that as an example of pop music without bass guitar in it ? The bass is massive on that track . Try listening to it . [/quote] The point is that no one really cares who played bass on what apart from a select group of people squabbling on an internet forum about whether bass has disappeared from popular music. The average pop music consumer sat in their office during peak hours listening to Fearne Cotton on Radio One simply isn't concerned about the bass part on the record unless it constitutes a part of the track that really relies on a bass hook. 51m0n is right in as much as the bass is just as much (or as little depending on your viewpoint) relied on as 20 years ago, probably 30 years ago, and the complex and intricate bass parts of a record do not necessarily make that record a decent song. You quoted 'Charles & Eddie'... case and point!

If you're struggling and want to keep the exact bass part then I'm sure there's someone on YT who's nailed it note for note. Failing that, do your own thing! It's a great bass line, but the solo is anything and everything between E, D and A.

Fairly certain the solo was tongue-in-cheek, needless to say it was bloody terrible though.

Not a wonderful attitude to be bringing to a new band, if you want to be continuing to play with bands in the future then you've got to have the ability to compromise, that's pretty much rule one. And aside from that, I'd stop using tabs from the internet, they're hassle and not worth your time. Get your ears together and then transposing songs to different keys will stop being an issue at all, even if Green Onions got put up to Ab.

There's no way bass is disappearing from pop music.

I don't deny the entertainment appeal of the X-Factor, but it does represent a part of the music industry and TV that I truly, truly loathe. I hate the way it gives the appearance that something can be gained from doing nothing at all, I hate the way it conveys a sense that largely talentlessness individuals can be offered careers (most often fleeting) when other far superior songwriters, singers and musicians should be offered the opportunities instead. It seems terribly unjust and somehow, and yet it gets dressed up as harmless Saturday night TV and accepted. I think Gary Barlow is a drab songwriter, I think the rest of the panel are devoid of talent, I think Cowell has an unhealthy stranglehold on music and I think the fact that we offer this kind of thing to young aspiring musicians is damaging. It's a money-spinner and every time I hear about it which I inevitably do through either the media, family or friends, I can't help feeling incredibly angered by it.

[quote name='Happy Jack' timestamp='1352632625' post='1865284'] A truly superb bassline, also one of my favourites. But George Harrison (who wrote the song, of course) thought it was "too busy". [/quote] I think that it had got to a stage where they were all suspicious of each other's motives when playing for each other's songs. I think it's a masterpiece!

[quote name='flyfisher' timestamp='1352576864' post='1864875'] Exactly. Trouble is, some people confuse not liking something with it being rubbish. Never mind. [/quote] It crops up a lot round these parts unfortunately! I recently got to record a load of Paul's parts for a symphony orchestra in Sweden, 'Martha My Dear' amazed me the way the bass part is superbly crafted around the orchestration, the doubling with the cello parts is a stroke of genius. I don't think there can be much doubt that Macca was a really thoughtful and incredibly musical bass player, he's certainly inspired me to look at the way I come up with bass parts. My favourite is still 'Something', I often struggle to sum up what I'd consider to be a near perfect bass part but that is almost certainly one of them. [quote name='S9_S12_Bass' timestamp='1352592667' post='1865060'] Sorry I mean the VI - heres a link to wiki if thats allowed.......[url="http://en.wikipedia.org/wiki/Fender_Bass_VI"]http://en.wikipedia..../Fender_Bass_VI[/url] My understanding is it's essentially a guitar that sounds like a bass but sized like a guitar............. [/quote] It's essentially a baritone guitar, John and George often recorded bass parts with it, although George was far more adept with one than John was.

[quote name='bubinga5' timestamp='1352576573' post='1864870'] imo.. i still think an SR5 H has a very specific sound... not versatile imo. you may be able to change the eq but it will still sound like an SR5.. . but what it does it does so well.. super fat focused tone with that awsome subtle growl... [/quote] I'll reserve judgement on the lack of versatility until I've properly gigged it, but the signs certainly aren't pointing in that direction at all. One pickup certainly, but a three band EQ and a decent coil tap system which I think is brilliant and I'm convinced that I can get a lot of places with it. It'll certainly never sound like a P-Bass for example, but then that's why I've got a P-Bass as well!

[quote name='chris_b' timestamp='1352562070' post='1864659'] That's not really surprising. A cheap bass won't be nice to play no matter how many strings it's got. In the summer I had a "[i]5 strings are not my thing[/i]" player try out my Lull PJ5. His comment was, "Maybe I've been playing the wrong 5 string basses". [/quote] It's early to be after anything considering my new purchase but I badly want a Mike Lull P5 now. They look and sound phenomenal.

[quote name='LeftyJ' timestamp='1352573053' post='1864813'] OK, then I think my SR5 suits me best the way it is now. I play in a modern female-fronted metal band and prefer an agressive and tight tone with a slight midscoop and sharp attack, and my SR5 works great for that [/quote] To be honest, any Stingray is good for that. Trying to get a Ray to sound scooped and attack-like is like shooting fish in a barrel. I try and keep my sound focused in the mids.

Are they not heading for a lawsuit with that Fender logo?

[quote name='Ashwood1985' timestamp='1352489960' post='1863872'] What kind(s) of music is that dude? I ask as I'm now 5less after trading my streamer so will, at some point, be looking for a good 5 string to keep ready for when 'needed' and the SR5 is something that I loved when trying in a store but I'm not 100% sure about their use across different genres: I would want to be able to get a warm, round fat tone when desired from my 5 (no 'edge'). [/quote] The long answer is quite a lot. I play a lot of rock with my band, but i wanted a 5 string that could cover a lot of areas as I find myself playing with quite a few artists and I think the Stingray does a much better job than you'd expect it to do. There is an 'edge' to the sound of the bass (it's the pickup and pickup placement + preamp, the classic Stingray sound) but the sizzle in the top end can be combatted pretty effectively by just rolling back on the treble and boosting the lows and maybe even the mids a touch. The coil tap also provides a number of opportunities, parallel will get you the classic Stingray sound, series provides you with a nice thick chunky kind of sound and on the newer Stingrays (from 2008 on I think) there's a 'series filter' tap in the middle position which supposedly filters out a bit of the top end to give you less of a sharp edge to your tone. The older models had a single coil mode. There isn't really a lot that the bass can't cater for across the board!

Congrats, sounds like a lovely gig to have!