risingson

[quote name='apa' timestamp='1335795308' post='1636112'] And no Neither Moon nor Entwistle were sloppy. [/quote] I think they are in a conventional sense. But don't get me wrong, being a tight player isn't what makes great music as I've mentioned a lot of times before on this forum. Actually a lot of the times I find the opposite. And I think the clip is great, he was clearly a very melodic and musically in touch with what was going on.

I think it's sloppy, totally mad technique, a pretty nasty tone as well... And I love it. It's totally unique and also incredibly melodic. I'd never dream of playing my own bass this way, but it completely works in the context of the track.

Looks like a Jaco Pastorius film is happening, check out a few behind the scenes shots of one or two players like Flea and Robery Trujillo getting interviewed on the official Facebook page https://www.facebook.com/JacoTheFilm.

[quote name='EssentialTension' timestamp='1335705823' post='1634754'] I only ever played through TE gear a few times but didn't particularly like it. Besides which I always felt it looked slightly radioactive. [/quote] Agreed on this. Whoever came up with the aesthetics of the Trace stuff needs a good talking to from the guys at Aguilar.

[quote name='Linus27' timestamp='1335473796' post='1631948'] I wonder if people's opinions would be different if they had heard this on the radio rather than having the visual as well. I think some would be saying thats its a nice cover of the song. [/quote] They've clocked an opportunity to do something that they obviously love, and amongst musicians their technical and theoretical skills are obviously hugely impressive. Kind of like a contained viral sensation, so the visual aspect of it is just as important. Like all sensations though, the immediate 'wow' factor gets lost quickly, I think this is probably what's happened here.

Don't get it. I understand why people like worn in guitars, but if you're dead set on something like this, well a Mexi Strat is £500, and paraffin + lighter = no more than a fiver. Sorted.

I used to play in drop C with a post-rock band, and I've used Eb Ab Db Gb for one song on our first album which leant itself to some open string playing. I don't like altered tunings much though, and to be honest I've never found myself limited by a 4 string as I've got an octave pedal. I've worked on knowing the notes on my fretboard and once you get it properly drilled then there's always more than one way to play anything, open string and positions alike. I'd like a 5 string soon so I can extend my playing out a bit, that will set me learning again.

^^ absolutely beautiful, Rick.

[quote name='Dave Vader' timestamp='1335348272' post='1629529'] Well, sort of, I'm not, but Maz Totterdell who I play for in her live band is being played on Fearne Cotton's show today. This is a good thing, except... I am listening to it, and I forgot how annoying Ms Cotton is, hurry up and play the song so I can go back to 6music.... Still cool though. [/quote] I don't mind her. I think she does a good job, she's engaging and enjoyable to listen to in a sort of 'on in the background' sort of way. She knows naff all about music though! But then that applies to all the prime time DJ's on Radio One. After 7 Radio One usually gets a bit better music wise.

[quote name='Ruiner' timestamp='1335377838' post='1630245'] At first I thought this was an elaborate joke. Then I read it and thought it must be serious. Then I saw the user name and I'm confused again [/quote] Anonymous tipster perhaps? Anyway. I've gone from being in a 5 piece, to a 6, to a 4, and then back to a 5. Generally I like to have a keys player and one guitarist. I don't mind two guitarists but I often find I don't get enough room to stretch out and things can get cluttered unless very well coordinated, but I'm lucky to play with some incredible musicians so its rarely a problem. I would say 4 is my preference. 3 is cool too, although your workload effectively doubles because there's so much space to be filled. I've played with big bands, 8 pieces, 10 pieces, I'm always cool to try out new things depending on what the music is.

[quote name='Chris2112' timestamp='1335300125' post='1629067'] In America, I'd say the industry standard 6 string bass is without a doubt a Ken Smith 6 string. It was practically a prerequisite in the US Gospel scene for nearly two decades, until other luthiers like MTD came into fashion. [/quote] I think that's true, although I've seen a lot of TRBs popping up too, probably due to their affordability next to KS's. Here's a decent example, incredible player [media]http://www.youtube.com/watch?v=i9dwi52Ra0s&feature=relmfu[/media] [quote name='TRBboy' timestamp='1335300450' post='1629074'] TRB's are great, but I would have thought that the Pro's choice would be either a Ken Smith or Roscoe. [/quote] The pro's choice is whatever works I think, price shouldn't come into it. Abe Laboriel Sr. has been using TRBs for years and he's up there with the most recorded bass players in recent history.

They don't do it for me, obviously talented but the novelty has long worn off and it isn't as interesting to listen to as their first effort.

I always think of the Yamaha TRB 6'ers as the most affordable and amongst the best. They always spring to mind whenever I think about getting a 6, which I doubt I'll ever do.

[quote name='pietruszka' timestamp='1335296341' post='1628956'] 20?! Thats just a shop isn't it? Im not out to tell people they're wrong or to not use effects at all, as already agreed by several; if you know what you're doing then great. But it's when you use up valuable time getting plugged in, set up, got your settings just right etc etc. I've used pedals live several times before, but it's pointless as it has no noticable affect on anything. IMHO if it doesn't make a difference that people will hear then why bother? I'd personally be happier being able to play gear I'm very lucky to have than worry about whether I have my pedals textures right. Dan [/quote] I think its a bit different for guitar players. I agree that 16 pedals seems pretty excessive but I get the demand for multiple drives/fuzz/distortions and reverbs, as well as delay and stuff, as some of those sounds are almost part and parcel of what the guitar is all about thanks to the likes of Hendrix and plenty of other pioneering guitar players. Whilst I don't disagree with bass players using pedals, I don't think they necessarily make up as much of the voice and identity of what bass is about. Then again, it entirely depends on the type of music that you're playing, increasingly you're seeing more bass players creating big dubstep sounds on bass (ironically as dubstep begins to fall out of favour in the world of dance music).

[quote name='solo4652' timestamp='1335275664' post='1628440'] Now, the singers are also turning up with floor effects pedals... [/quote] Murder would happen if my singer did this

I think you get more bang for your buck with a Lakland (those Bob Glaubs are fantastic), although if you're keen on the Fender then look at a Japanese made one perhaps. I wouldn't invest my money in U.S Fenders anymore, I don't believe they're worth even close to what the asking price is, and I speak as someone who's owned a few.

[quote name='skankdelvar' timestamp='1335099030' post='1625665'] I think that your 'some popular music' is different from my 'some popular music'. I mean, yes, lots of booty calls. The more the better, IMO. But there is also a plethora of whey-faced, gamine poppets (step forward Birdy) wandering along monochrome streets trying to look 'concerned' and 'sensitive'. One feels they need a good slap-up roast lunch and an afternoon of old Tommy Cooper shows on DVD. But I digress and not for the first time. Thing is, the whole political thing might well be going on right under the noses of old class-warriors like Bilbo and I, but we just don't recognise it because no-one's shouting "Sooooooooocialist Worker! Ge-et your Socialist Worker!" I shall call it the Politics Of The Personal (if someone hasn't called it that already). [/quote] I agree that there is more music out there that alludes to social struggle without being outwardly gushing with political rhetoric. Stuff that we don't even really think about as well.

I agree with BRX that nowadays songs that 'protest' or have too strong a political message can often appear contrived horribly cliched. But the idea that some of the best music has been born out of times of social and political unrest interests me. The extent to which music has helped achieve any real change I think is somewhat limited, but it has at least brought certain issues to light in some cases. And for someone who is so enthusiastic as me about both music and history, lyrics and music pertaining to social and political struggle will often spark interest in researching and understanding certain things, e.g. if it weren't for 'If You Tolerate This Then Your Children Will Be Next' by the Manic Street Preachers, maybe I wouldn't be so interested in the Spanish Civil War, if it weren't for Chopin then maybe I wouldn't know as much about the 1830/1848 European revolutions and so forth. The Clash's 'Guns of Brixton', Shostakovich's bitter shunning of Stalin's regime through his use of the grotesque etc. etc. It's gone on for years. So whilst music may not necessarily instigate any real change in politics, certain artists and/or songs can serve as milestones in a historic context by bringing to attention events that have shaped the world in which we live in today. And if that inspires one or two people to take an interest in the events of of the past, then maybe it will help shape their views in the future.

[quote name='Gust0o' timestamp='1334739426' post='1620371'] - My Lakland DJ4 - great Jazz growl from the neck pick-up; the kind of solidity you would expect from Lakland... but absolutely demand when playing live [/quote] I remember the first time I gigged my DJ4, it amazed me the size of the sound that you get from it. I know its totally in the mind, but you'd guess from the body being smaller than your regular J that somehow the sound would be less. But it ain't! I only own one bass at the moment, which is my Lakland Darryl Jones 4. I'm really hankering after a 5 string jazz like a Sadowsky or a Pensa and have been for a while but if someone told me I could only play my Lakland ever again, I wouldn't really care. it is an excellent bass, really responsive, simple and the neck is perfect for any style of playing. I love it, I can't ever see myself getting rid of it.

I love Stingrays, I think they're brilliant! I gigged a borrowed 5 string Ray last year and I took to it so well considering I'm not a 5 string player usually. I also absolutely love Stingray neck profiles, they feel so substantial.

[quote name='4 Strings' timestamp='1334695877' post='1620012'] Oh, and Youtube, for all its wonderful worth, is definitely not the place to demo expensive sound equipment. Or cheap for that matter. [/quote] Absolutely agreed on this, it's so important to actually try an instrument out yourself and yet I see so many people using demos on YT and such as a reason to blind buy. It is nice to see stuff demo'ed to get you a bit inspired to play perhaps, but I find it surprising to see the amount of people who would prefer to watch a demo and then buy as opposed to actually using their own ears.

[quote name='Dad3353' timestamp='1334509780' post='1617027'] Keith Moon..? Re-invented the threshing machine. Nick Mason..? Recorded at 78, played back at 33. That old trick worked for ages... Charlie Watts..? To be wound up just before the set; all limbs move together in sync until needing re-winding (like those toy monkeys...). Ginger Baker..? 'Composed' 'Toad'. That, I think, wraps up his career in just two words. [/quote] Yeh, it's just that all of those drummers were in bands that were better and considerably more successful than Rush (Apologies to Rush fans)