Pete Academy

Mark Adams of Slave is one of the most unsung heroes of the funk bass world. He had a tone that was massive and slightly more overdriven than the other players of his era. It's actually hard to tell whether or not he was slapping or just hitting the strings really hard. This guy has nailed Adams' tone and style. The US slap players tended to use more thumb than pluck, unlike Mark King, who introduced a much more percussive left hand/right hand drum rudiment style. I urge everyone to check out the Slave back catalogue. Mark Adams is amazing!

Vox bass 1960s origin. Brother bought it for me for ten quid. Can't remember the first amp.

The basses in packs are actually quite good. It's usually the amps that let them down.

Try the New Yorker range...they now do a 4 x 8" cab that rivals a 4 x 10". If the the 4 x 6" cabs are anything to go by, these cabs will be a winner. Portability and amazing sound! <Please note - I have not been paid for these comments>

[quote name='Doddy' post='805257' date='Apr 13 2010, 07:43 PM']I'm going to be slightly controversial again,but as I've probably said before,an electric bass will never sound like an upright. You can do things like roll the tone off and palm mute,or stick a big lump of foam under the strings which will change sound and the sustain,but it won't sound like an upright. However,to get a 'thuddier' sound,I'd try palm muting. Lay the side of your hand over the strings,and then drop it down so that you are plucking with your thumb. Also roll the tone knob right off. It's an easier way than having to stick a wedge of foam under the strings,although that is also a cool sound.[/quote] He's right, you know.

I use 2 x New Yorker 4 x 6" cabs. They are amazing...loads of bass end and punchy as hell.

[quote name='Protium' post='804210' date='Apr 12 2010, 09:30 PM']My bass buzzes a bit above the 12th fret because the action is so low. It doesn't come through the amp so it doesn't bother me.[/quote] Good man!

[quote name='Sarah5string' post='804201' date='Apr 12 2010, 09:26 PM']How the hell? Is his neck more curved than J-lo's ass?[/quote]

It occurred to me because I recently had a guy say he couldn't gig with his bass because it was so loud, and the other band members could hear it above everything. Eh?

It's mainly down to the player. Personally, it doesn't bother me. Bad technique, maybe?

[quote name='Mykesbass' post='804115' date='Apr 12 2010, 08:39 PM']Had a really bad thought this afternoon - I just know I'm going to get hounded off the forum for this, but anyone who can make a Lennon & McCartney song sound so good must be special [/quote] I have to admit they did that song justice. Absolute classic!

Difficult to avoid if you want your action low. Even more difficult with lighter strings. But it doesn't usually come through the amp. Does it annoy you?

I had the same rig for years - Ashdown Superfly 500 and Mini 48 and 15 cabs, Tobias Classic 5. I bought my Roscoe SKB5 and the difference was enough for the band to compliment me...something I never usually get! It's warmer, fuller, and cuts through easily. I changed to a Markbass LMK head and again the difference was obvious - masses of headroom, punch and clarity. I've now changed to a couple of MB New York 604s and I have the sound that's been in my head for many years. And I can carry the whole rig into a venue all at once. I know everyone loves Markbass, so it needs no introduction. But I urge you to try a Roscoe bass. They are extraordinary.

[quote name='munkonthehill' post='803162' date='Apr 11 2010, 10:34 PM']sound engineers????????????? im palying the wrong gigs where someone else deals with levels,,,,,,we usually play Black Cat Moan by Beck, Bogart and Appice[/quote] Black Cat Moan..now THAT takes me back.

It's all about helping the sound engineer.

Keep plugging...don't give up!

I think my soundcheck is the shortest in the whole band. Is that good or bad?

Don't be afraid of doing covers. You'll do it eventually anyway.

I had the same problem when I first started to play. I was desperate to be in a gigging band. It took a hell of a lot of auditions and letdowns before I finally got going. If you're passionate about playing bass, as you obviously are, something will turn up sooner or later. Don't give up!

Do you play something that covers the whole spectrum note-wise, or just your favourite riff(s)? I usually play a verse and chorus of Peg, along with some random low B notes.

I always have at least a couple of spare leads, some spare strings, an extension. Should really carry a spare amp, too.

The album and single, 'Shining Star', had made No1 in the US charts. Their sound was so unique. Carlos was touring a relatively small lineup (Leon 'Ndugu' Chancler was on drums), and although they sounded great, they just couldn't match the sound and energy from EWF. I saw the Manchester show first and then Liverpool the week after. At Manchester Carlos's Mesa Boogie combo was playing up, so he didn't have a good gig. When discussing his live solos at later gigs, which were massive arenas, Verdine said it was pointless playing anything clever, as it would be lost to such a massive crowd, so he did some kind of theatrics instead, like levitating etc. In other interviews, Verdine revealed that the meticulous groove and feel didn't come instantly in the studio, but was the result of maybe weeks of rehearsal. For me, they lost their way when they started using drum machines and bass synth. I've seen later live conderts on DVD and it's often doubtful Verdine is actually playing. I also can't bring myself to go and see them live nowadays, as the great Maurice White no longer tours. It's hard to name a favourite track but Getaway, and Africano stand out. Shining Star is also a masterclass of funk bass, with its unusual note choices in the choruses.

Doddy's not into hardcore...well, not that sort.