risingson

[quote name='molan' timestamp='1345927630' post='1783341'] I was talking to him just yesterday about this and asked if he would ever sell it - "absolutely not" was the reply. This tale has also done the rounds a few times - the bass was ordered and built before Jason De Salvo joined Fodera as a partner. The problem with the old set up was that if anyone popped into the workshop to chat then Vinnie & Joey would leave their benches and chew the fat with whoever it was. They also took very, very long phone calls from potential customers who wanted to discuss woods, neck profiles, pickup choices etc. etc. Months of time every year were lost in production time because of this. Jason has totally cleaned up this area and now he takes many of these meetings and calls (and he really, really knows his stuff - he's another fine player who happens to own 13 Monarchs, all paid for & not freebies!). Average wait time is now circa 18 months from first order to completion. Might sound long but I've known a lot of other luthiers who quote less but end up taking a year or more for final completion. Jason keeps customers totally up to date on build process and is pretty much always available to answer questions (I know this because I've asked loads!). [/quote] Crazy! They're obviously nicely crafted instruments and Dave is a great player. Seems like a really nice guy too from what I gather!

Robert Glasper. Excellent, excellent jazz piano player who's teamed up with some big names recently in the U.S. http://www.youtube.com/watch?v=3-0JZlrk4xA

[quote name='kevin_lindsay' timestamp='1345816243' post='1781945'] Just as well it wasn't an Anthony Jackson model - $15,000 !!!!!!!!! Aagh!!!!! [/quote] I noticed Dave Swift had one of these made for him and it took years for it to be completed!!

[quote name='thebrig' timestamp='1345814015' post='1781885'] £7,000 bass reviews? The very reason I stopped my subscription, and following lot's of threads on BC regarding this subject, it looks like BGM has learnt nothing! [/quote] I don't think there is anything unreasonable about offering a review of a particularly pricey instrument that is largely unobtainable for a lot of us. There's a fantasist in all of us and a lot of players out there will be able to quench that desire to know a bit more about something they'll likely never own. The problem for me with magazines like BGM are two things. The writing was never any good, it was always riddled with mistakes. Perhaps this has changed, I don't know. And for me personally, my interest in reading about new gear is so minimal that the largest part of the magazine simply doesn't interest me. I know there are variables in gear such as build quality, woods and pickups, electronics and so on but a bass is a bass and is only as good as the person playing it. That said, I understand why you would want to read it if it interests you of course.

Love classic thread topics like this! Reminds me of why I like bass. Mine are: James Jamerson Pino Palladino Anthony Jackson Bakithi Kumalo Paul McCartney Chuck Rainey Jaco Pastorius Nathan Watts Sting Christian McBride The top 9 are pretty firm, but the last one is interchangeable.

It was Kanye West that sampled 'Kid Charlemagne', not Jay Z. It's a staple part of hip-hop culture and I think the creativity of sampling is very high. Some rappers like Q-Tip from A Tribe Called Quest are able to formulate and bounce ideas off of the rhythmic interest of a sampled bass line or drum break and it can often make for some really interesting records.

[quote name='Jam' timestamp='1345473558' post='1777850'] I'm really frustrated as I feel like I'm not progressing...any suggestions? [/quote] Yes, just go at it yourself. It's easy enough replicating something you've heard or read off a chart, but if you start from the ground up with the fundamental striking of the string with your thumb and pulling away from the string with your index/middle finger and work out some relevant patterns of your own then things become a lot easier. My favourite slap players are the ones that literally play like they're going at it as a drummer would use his kick and his snare in conjunction with each other. Don't get overly caught up with being too flashy at first, just work stuff out on your own and trust your instincts with regards to rhythm and note choice etc.

I was only watching this clip today! Not exactly my kind of music but Pino makes it all okay. He's still my favourite player.

I'd be more worried about getting totally lost in the mix if I employed a 'scooped' sound all the time and I think it's a common beginner's mistake in approach to live EQ. It doesn't really matter how you choose to EQ yourself though if the sum of the parts is all there.

Just been listening and playing along to this track again, you really do tend to forget just how good Chuck Rainey is sometimes. There's a real sense of space in the bass part but there's a lot of content there at the same time. Rhythmically and harmonically complex, but absolutely perfect for the song and still managing to be understated.

It's a really great bass line, I used it to audition to get into Uni 6 years back along with a Jamerson bass part. I tend not to get too caught up in the complications of the bass part, it's far too extensive and I've never had the time to bother really! [quote name='thisnameistaken' timestamp='1345065973' post='1773223'] Never heard it before. I'm just waiting to hear if there's a part that De La Soul sampled or something (that's the only reason I know what 'Peg' sounds like). So far I don't like it. It doesn't seem to go anywhere, or have any killer hook or anything. Maybe why De La Soul never sampled it. [/quote] If it's hip-hop you like to relate a song to, then someone bigger than De La Soul sampled it a few years back. I disagree on it not being hooky, I reckon the chorus is definitely a strong hook, albeit a specific type of hook. [media]http://www.youtube.com/watch?v=QAP02bbwvO0[/media]

[quote name='dincz' timestamp='1345050543' post='1772911'] To turn that around, how close can you get to a P sound with the right EQ, strings and pickups on a non-P bass? [/quote] In my experience, you can't really. It's why you'll see guys who are recording a lot with Jazz style basses always have a P style bass as well because a lot of engineers and producers love that sound. The sound of the P-Bass is unique because of the position of the pickup on the body essentially. Rolling off the bridge pickup of a Jazz bass won't result in a Precision style sound because the neck pickup is too close to the neck, you can only get that P sound with the pickup located in the correct place.

[quote name='Jigster' timestamp='1345029551' post='1772479'] always feels right, but too boomy [/quote] Depends how you EQ it, string it and what pickups you've got in it.

Been using D'Addario nickels for a while now, everything else seems terribly overpriced to me!

Great idea, I liked the Warwick hollowbody. Incidentally this was the song that really got me working hard at playing bass, Zender was my big inspiration and I really think the bass part on that particular tune is inspired.

Wonderful looking thing Kev. I'd love to know how it sounds.

Funny, I was only thinking about this the other day! I would guess over 1000 now.

If money were no object, I'd love to pick up a mid 70's Jazz with a colour scheme I really loved, have plenty of work done on it and have it set up to my spec and play it as my main bass. I like stuff with history and that 'worn in' look to it. It's a classic instrument! The problem with that era of Fenders is that their QC was so hit and miss, hence why 'if money were no object part'. I find modern Fenders uninspiring unfortunately (I think it's psychological), and can't see myself picking up another anytime soon.

It's really annoying but I generally consider leads as collateral and replace them once they've totally worn out, usually after a year or two.

Never too satisfied with just playing bass! Playing much more acoustic guitar nowadays, mainly for songwriting and such. Usually having a mess around in Ableton as well, I'm a big electronica fan without the time or patience to really properly apply myself at learning the skills necessary to create that kind of music!

[quote name='tauzero' timestamp='1343830275' post='1755922'] I use fretless exclusively with one of the cover bands - Kasabian, Biffy Clyro, Foo Fighters... If it was good enough for Boz Burrell, it's good enough for me. [/quote] Fair enough but like I say, my fretless doesn't sit so well with my own band, at least to my ears. I will probably give it another shot soonish though.

[quote name='EssentialTension' timestamp='1343814712' post='1755512'] You are begging the question. You can't prove 'nature' comes before 'nurture' by assuming that 'no one plays like that without being intrinsically musical' (i.e. 'nature' comes before 'nurture') [/quote] I guess I'm just challenging the idea, but you're certainly right about the lack of certainty behind it all, I agree. [quote name='Coilte' timestamp='1343820487' post='1755665'] Having said that, I do believe that some people possess that....lets call it..... "little extra" to begin with, that sets them apart from their peers. Others, besides Jamerson, whom IMO possessed this little extra, were the likes of Charlie Parker and Coltrane. [/quote] I strongly believe in this as well amongst such a chicken/egg style argument.