risingson

Jazz for me, although only just. I'd see about sneaking a P onto the island with me too. Probably give me a B-15 Portaflex to play them all through too?

I'd make sure you were earning well over 1000, and if not then take your work elsewhere because there will be people willing to pay you more (think corporate) for a NYE gig. Double or triple more in fact.

[quote name='WACOJACO' timestamp='1348183179' post='1810695'] He actually was an uncredible writer [/quote] D'oh! Jaco was an incredible bass player who really did change a lot. There have been a few others along the way as well but he certainly did a lot for pushing things forward. There may have been more technically competent bass players since but the fact he did it all first is very telling.

I don't know but it looks stunning and I want one.

I let my head judge the correct notes, dynamics and rhythmic inflections of what I play on bass. Dynamics are so important, and not just the loud/soft (or piano/forte if you're a toff) aspect, I mean literally the whole aspect of the way you play, it's got to work for the music you're working for otherwise it really shows. My head also tells me to play less nowadays with the music that I write, record and perform.

I've just ordered some Status Hotwires for my P-Bass after I saw one or two people waxing lyrical about them on here. The price was certainly right, only as much as I'd pay for rounds so if they're any good I'll make sure I let everyone know!

Not so inspiring sounding anymore. One of the reasons I like Steely Dan's older stuff like Aja or The Royal Scam was because whilst it was modern sounding at the time, there were limitations to the amount that they could take things in the studio and I like the sounds of those limitations. Nowadays it's just way too clinical. The song itself is nothing not heard before, the lyrics don't seem up to Fagan's witty usual standards.

Wow, would probably just go to Paris for this shop alone!

[quote name='lojo' timestamp='1347970788' post='1807327'] Thier are various levels to the meaning of this song , and a whole degree course could be built around just one verse Your just not digging deep enough Oh and the rappers delight version, great fun [/quote] I think you'd really be pushing the boat out if you were to write a dissertation on the lyrics to 'Good Times'. But then the lyrics are very uninteresting in themselves, the interest is generated by the song, the feel, the very clever harmonic ideas actually which Bilbo hasn't touched on in his critique!

[quote name='BigAlonBass' timestamp='1347908961' post='1806552'] Don't take this the wrong way (Naturally, somebody will!...) but I find a few Bass Players have very selective hearing. They listen to a song, of whatever genre, and only seem to concentrate on the Bass Line. If the Bass is brilliant, the song must be. However, there are some out there, myself included, who like the 'whole' sound of a piece of music, and if the Bass Line is excellent, well that's a bonus. Because Funk and to an extent, Reggae, feature prominent Bass parts, then the slightly selfish attitude of some of us thinks instantly "I'd love to play that" which in turn means it must be good. I've played songs with absolutely rubbish Bass parts in the past, but thoroughly enjoyed the experience, because I've been part of the ensemble performing it to Joe Public, who in turn seemed to enjoy themselves. As a case in point, Pino ALWAYS plays brilliantly to my way of thinking, but he's worked for people who (in my opinion only) turn out pile after pile of sh**. Nothing can detract from his performance or skill, but he's part of something I don't enjoy, so I can't listen to it. The same goes for a lot of Funk Bass Players-brilliant at what they do, but the music is the finest aid to insomnia that I know of personally. I'll get my flame-proof overalls on now, and nip off to listen to a bit of.......well, that would be telling, wouldn't it? [/quote] I think you're bang on the money actually. It's not just bass players either, all instrumentalists are guilty of it to one degree or another.

I like his stuff as well.

It's easy to relate to Funk music as a bass player because the bass is always so very prominent. Personally I don't think there's as much to be said for 'Funk' as a genre as much as there is for 'funk' as a type feel to be integrated sparingly into other kinds of music. Feel is what is most important for bass players, obviously good funk bass players have a lot of it and it is inspiring for some to hear. I would say that there are probably too many bands trying to trade off of a funk-style sound. Absolutely fine in most cases, I have no problem with it per se except that [u]everyone[/u] nowadays is doing it and when its obvious that one or two players in the band have no background in playing or listening funk and R&B, it suddenly becomes terribly contrived and worse still will often sound very tame and very uninspired. It just seems to be everywhere right now!

In more recent history, I've got a lot of time for Bombay Bicycle Club, in particular this tune. Nice bass line. http://www.youtube.com/watch?v=Sdte4c2rXUg

I really like Everything Everything. It's clever writing, and whilst his voice is hit or miss for some, I learnt to get on with Billy Corgan and Morrissey a while ago so it's not an issue for me. Lovely stuff.

[quote name='Wil' timestamp='1347830827' post='1805641'] Oh, I think there's a definite Pet Sounds influence there. Reverb drenched percussion and those bittersweet harmonies... love it [media]http://www.youtube.com/watch?v=HWP7x1oF9dA[/media] [/quote] He definitely sounds lot like Brian there! Arrangements wise it's just way too psychedelic for me to think about the BB's, maybe I'm wrong. But really, really great. It's nice to know there's good music out there still, or at least music I like to listen to

I've just swapped my mini-upright for a Japanese Squier P from the early 90's and it is a truly wonderful thing, looks great, sounds great.

I really like them, not listened to their new stuff just yet but thanks for the reminder! I didn't buy the whole 'Beach Boys' thing too much, seemed like the press always need something to hook onto comparison wise, but overall a lovely sound.

I've said it before and I'll say it again. Gangrene! In its defence I would say it is more of a look over any real attempt at a relic'ed-type look. But it's not really my thing. EDIT I'd be interested to know where the supposed '3 band EQ' is accessible from. it's only got one knob!

[quote name='Len_derby' timestamp='1347823499' post='1805516'] A friend of mine who's a pro soundman assures me the Behringer XM8500 is almost as good and a lot cheaper. [/quote] Call me a brand snob but the reason this mic will be cheaper is because you'll buy about 3 or 4 of them before you find one that isn't going to break. I've had a lot of bad experience with Behringer stuff. I'd save time and money and get the SM-58, it's rugged and will do the job just fine.

I'd recommend an SM-58 as a totally inexpensive microphone. The important thing for her is to speak right on the microphone if she would like to be heard by everyone else in the church. Samson are another cheaper brand perhaps worth looking at, I'm sure it doesn't need to be too fancy.

I don't know why they're more expensive than roundwounds, probably more to do with them being a bit more 'specialist' and presumably the string companies know that they can charge a bit more. I don't buy that it's more metal being used or them lasting longer or anything like that. The reason I use flatwounds on my P-Bass is to get that flatwound 'thump' and decreased finger noise that make recording solid bass parts in the studio a breeze, but I don't buy them because they're versatile strings that fit every situation.

Something tells me he's not easy to work with.

[quote name='Gunsfreddy2003' timestamp='1347572831' post='1802739'] EOPE was a breathe of fresh air when it came out in 1993 and I still love it now. Jamiroquai were never the same after Zender and Smith left, all the funk went. Having said that I do like Paul Turner as a player and think that he has just a unique feel and sound as Stu did. [/quote] Paul is a really great player, he's got such a great groove and is a lovely guy to boot. Zender brought his own sound to the band though, it's such a rarity to hear that from a bass player.

I was in a bar in Rome when I was about 15 doing some underage drinking on a school music trip when 'Too Young To Die' came on. The bass playing hit me so hard I went out the next day and bought 'Emergency on Planet Earth', it didn't leave my CD player for a year! Stuart was one of the bassists to have spurred me on in my younger years, he was (along with Flea) my bass playing hero and I paid great attention to everything and anything he had involvement with! Jamiroquai have become uninteresting to me nowadays but their first few albums we undoubtedly really great, and Stuart's bass playing had a lot to do with why I got totally hooked. [quote name='ezbass' timestamp='1347556081' post='1802428'] BTW Do I detect a Stingray in the background there? [/quote] It would surprise me as if I'm not mistaken, his Warwick Streamer Stage I was his only bass at the time (I believe his mum gave him some money to invest or something and he bought a Warwick instead!). He did use Stingrays and P's on later recordings with Jamiroquai but not many I don't think.