Beedster

Well Dave, I play a passive Precision into anSVT-II and a Barefaced 2x12, and it works for me. But I’m very happy that what other folks do works for them. You clearly aren’t. That’s fine.

Thank god my supper's ready

Why do we need to decipher notes? Are we in a lab? There's some great music where the bass is pretty much mud, but the track is outstanding. In my opinion of course.

There you go

So that's just your choice and style, simple as that. It happens to be mine also, but are you suggesting in starting this thread that your style and your perception of what a bass should sound like should be shared by everyone? And not being able to hear a bass player is not a function of effects, the modernity of the bass or the number of pickups, it's EQ, band volume, room, crowd size, style of music, all sorts of stuff.Trust me, I could very easily make your Ampeg with either of your basses disappear in the mix

Just wondering if you could get by with less, whether you might just enjoy having more than you need?

What car do you drive Dave?

Think you might need a big dish of beef chow mein Dad? Lee Ho Fooks is good?

Anything else you want to get off your chest Dad?

So I'm guessing you're not a fan of the work the Stones did with Sly & Robbie then?

Crikey, think we've touched a nerve Michael

I made the link earlier re Halloween setlist, you need to pay more attention Michael

I found the highs on the East unit were less brittle than on the original. I was playing bright rounds at the time, it's possible that were I playing flats I'd not have noticed so much difference, but as above, the mid sweep on the East was a serious improvement

Yep, I agree with that, the separation was nice, and it does feel live. The album is an interesting listen, relatively cheerful sounding songs about far from cheerful topics

There's been a lot of old Ampeg stock sell very cheap recently, the great clear out of the small tube heads being a good example. Amazon are pretty good at returns if there's any problem

Likewise, I actually studied BTEC OND/HND Electronic Music Technology for three years as the result of my obsession

Can’t help thinking they simply did Don’t Stop without the shuffle

This thread, as is the case with a couple of others at the moment, demonstrates just how subjective the answer to even an apparently objective question can become. There's a chart on the site somewhere with the frequency response of a large range of strings. But bassists don't play strings, we play a system; basses that have their mechanical and acoustic characteristics, circuits and preamps and power stages into speakers and into rooms, and then into people's brains via their ears. If you need an answer re the strings, check out the chart (I'll try to find it), but as per the above, once in the system above, those characteristics might be a largely insignificant factor in the tone you and others actually hear.

Agreed, they sound like they'd had a long day. Perhaps the bassist saw his moment?

Well you learn something new everyday! For some strange reason I just tried to imagine Stevie Nicks on vocals. Chorus didn't work for her

Are MF and JM the rhythm section on the original?

Agreed, I can't believe how small some 3/4's are. I have a blonde 4/4 (aka The Beast, largely because it tends to scare other musicians and landlords when I walk it into gigs, in fact twice I've had to remove the endpin to get it under a ceiling), and having picked up a 3/4 recently felt like I was playing a 'cello. It's another reason why the O/P has to play an instrument before buying, because like all orchestral string instruments, the dimensions are an important part of playing (if you have a spare week check out the arguments online relating to the optimal size of violins and violas).

Ha ha, he did indeed need something Over an above live versions being different, very often the line on the track itself is a completely chance event that might or might not have been the line the bassist had intended to play, the best line for the song etc. There's the 'I perfect and always play the same line' school versus the 'I don't think I've ever played the same line twice' school. I'd like to be in the former but have to admit membership of the latter. Re hearing WoL in a soundtrack, it's always seemed something of an oddity that it wasn't in An American Werewolf in London?

Agreed, I just like to hear what other bass players have done to a song, there are too many bands who do just as you say, play it as per the (famous) recording. No joke, I was briefly in a band in which the guitarist told me off for adding a passing note in Take It Easy. He was anal enough to listen to the track in a break in rehearsal and then play it to us to prove the note I’d played wasn’t in the original. I lasted one gig

And, with a little creativity and a sober drummer, Sympathy for the Devil. The sobriety is however the key