scalpy

Indifference is a great way of describing how I feel about these things. However, the middle ground is spotted on the horizon mentioning Call Me Al, although I view that as more of a break than a solo. The Willie Weeks thing is good and right up my street in terms of genre but I find myself more drawn to the excellent drumming going on underneath! I enjoyed the rancid thing but again without the drums he'd struggle to keep that crowd boiling. Wooten Sheenhan and co don't cut it though, I like music not finger gymnastics!

After getting distracted by the career and learning logic and having to play guitar... I've been trying to catch up on everything I've missed in bass world. Thanks to the arrival of youtube this has included getting round to listening to all the players I was too tight to fork out good Cd money on. A lot of these play something called bass solos. In short, I've got a major question mark over this practice as an art form. The forum's thoughts please.

U Can't Touch This

Fair enough. All music for a very particular intellect and breed of ears, and no call either way on my behalf. As promised I'm not going to look for angles to "put you right" as it were. Thanks for the post back.

JTUK I'm very interested to know what music you're into. Not so that people can go (adopt anorak voice) "I think you'll find that in 1968 Bootsy Collins and Larry Graham spent an evening transcribing Ob blah di (sp)....) but to understand your viewpoint. 'Cos I must admit I'm finding it really difficult to appreciate, although I know that's my viewpoint and we're entitled to differ etc etc. But it's McCartney for the love of Pete!

[quote name='JTUK' post='908067' date='Jul 28 2010, 12:11 PM']What do you mean about defining commercial bass playing in many ways.. how has he done this..? That he played on records that sold millions..?[/quote] In one way yes. I know that a lot of the time he just pounded away on the root and fifth, and other lines are walking ones. Some are riff based obviously as well. The point is that he isn't a virtuoso therefore it becomes much more likely that an upcoming player can emulate him. I've been playing for 20 years and I still can't nail a Jamerson line the way I want but I can feel I've got closer to a McCartney line, although the exact feel and phrasing escapes me. When I've written bass lines I wish I could say as much with as little as he does. Being bit of a geek I've come across so many interviews with his peers who see him as the benchmark. Either that or they are aiming to avoid what he would do, which in as many ways is as important/ impressive. The famous quote about the Velvet Underground is that they didn't sell many records but everyone who bought one started a band. The Beatles/Wings/Macca solo may not have as much take up as that but it doesn't take much imagination to think of the numbers of musicians (people playing bass in this instance) inspired by him, including those around him as already established artists. In this day and age it's easy to forget what a seismic shift in culture the Beatles were, the archetype still for "a band". Aside from slapping and tapping etc, it's difficult to think of compositional tricks that are used today for the bass that he didn't touch upon at one time or another. I've got a feeling that's the subject of another post or thread entirely!

[quote name='Marvin' post='907495' date='Jul 27 2010, 07:41 PM']I was going to write a post but I think you've pretty much covered it for me, a cracking post. McCartney was a big influence on me when I first picked up the bass, not so much now but you can't deny his influence.[/quote] Thank you.

Perhaps this should be approached the other way. Who else has been in the business for 50 years, developed song writing, song production, recording techniques and instrumental styles to the same extent as he has? On a cynical level as a frustrated employee, who can afford to take any musical avenue he fancies without worrying about paying the rent? To dismiss his achievements as utter Shi+e is deluded, hangover or no! There are musicians and bands and songs that have me in blue fits that other musicians rate really highly and I'm trying to be more open minded about them. If a sportsman was able to have a career that was half a century long, would every game be a classic? Impossible. A novelist knock out a flawless tome every single time, highly unlikely. A musician that can turn up in any country in the world, play a song he's written and have a person in the room recognise it? A colossal mind blowing accomplishment. Every song of his a jewel, I can't argue that, but I can't think of a band or artist where I get off on every single note.

Chris_b has a really valid point. I can't stand Weather Report and Jaco, notes for notes sake and technique as sport. But I've had to give way a little bit twice recently. Apparently Jaco has been quoted "Everything I do I learned off Jerry Jermott", one of my favourite bass players and nag dammit on further listening you can hear it. Then I find out one of my all time top basslines, "Rhythm Stick" was written hours after seeing Jaco in concert. And you can hardly say Weather Report will be troubling the all time radio broadcasts, album sales etc etc lists. Imagine how much McCartney's work has filtered into the system, I don't see how you can argue against it. With regards to his tone, especially in the early days, just remember what technology they had available. Who in the 60s had a quality bass tone that would be remotely passable today? Wyman used a short scale bass into an old wardrobe. Jamerson pokes and woofles. (I love his music, honest) Jet Harris totally indistinct. Kaye see Jamerson (or is it the other way round) Duck Dunn- my all time hero but you've got to admit flat sounding. Don't even get me started on Jack Bruce Redding- rattles around with no weight John Paul Jones- the only rival to Paul. These people would all feature in my top 20 bass players. Of course many many people would disagree with the above but just go back and compare back to back any Beatles record with acts of the same time, those records still sound clearer, more open and lively and bigger than their peers. In fact on those dismal days I end having to listen to radio 2 on car journeys all day (I've broken it...) when a Beatles record comes on it sounds better than most. Of course Martin and Emerick have a lot to do with that but you can't polish a turd. Having thought of all that I'm very aware that I'm wandering into sharing my viewpoints and therefore that makes me a music nazi...

Chris_b has a really valid point. I can't stand Weather Report and Jaco, notes for notes sake and technique as sport. But I've had to give way a little bit twice recently. Apparently Jaco has been quoted "Everything I do I learned off Jerry Jermott", one of my favourite bass players and nag dammit on further listening you can hear it. Then I find out one of my all time top basslines, "Rhythm Stick" was written hours after seeing Jaco in concert. And you can hardly say Weather Report will be troubling the all time radio broadcasts, album sales etc etc lists. Imagine how much McCartney's work has filtered into the system, I don't see how you can argue against it. With regards to his tone, especially in the early days, just remember what technology they had available. Who in the 60s had a quality bass tone that would be remotely passable today? Wyman used a short scale bass into an old wardrobe. Jamerson pokes and woofles. (I love his music, honest) Jet Harris totally indistinct. Kaye see Jamerson (or is it the other way round) Duck Dunn- my all time hero but you've got to admit flat sounding. Don't even get me started on Jack Bruce Redding- rattles around with no weight John Paul Jones- the only rival to Paul. These people would all feature in my top 20 bass players. Of course many many people would disagree with the above but just go back and compare back to back any Beatles record with acts of the same time, those records still sound clearer, more open and lively and bigger than their peers. In fact on those dismal days I end having to listen to radio 2 on car journeys all day (I've broken it...) when a Beatles record comes on it sounds better than most. Of course Martin and Emerick have a lot to do with that but you can't polish a turd. Having thought of all that I'm very aware that I'm wandering into sharing my viewpoints and therefore that makes me a music nazi...

[quote name='Stingray5' post='906468' date='Jul 26 2010, 11:21 PM']+1 from me too, scalpy, though may I just add that I did actually allude to Macca's singing and playing abilities on page 2 of this thread. That aside, I'm just wondering if the video/song from Magical Mystery Tour you might be thinking of is 'Hello Goodbye'? Great number and a lovely bass line. [/quote] That's the one! Drew a total blank last night, thanks.

Under Pressure!

All these people saying Macca's a bell-end as if they have to work with him. Obviously I haven't either, but I know a man who has who can't praise him enough. He has endless tales of Paul rolling his sleeves up and getting involved, never ever mentioning his wealth and giving to charity on an epic scale. For somebody to live through what he has without any semblance of precedent would put any personality to the test, and you could argue that only George got close to being truly humble about it all. Musicians as a breed are proud of what we do or we wouldn't put ourselves in the position to communicate our ideas to an audience in the first place. Paul is quite rightly proud of his accomplishments and a lesser man would be even more boastful or whatever characteristic you wish to choose to describe him. If I had played bass in the Beatles I'd probably find it a little tricky not to mention it once in a while. Musically I believe the word to describe his playing is eloquent. Always the right turn of phrase at the right time. One of the few bass players the average punter will do "air bass" to when he drops a fill in- I'm thinking "With a little help from my friends". I can't believe there's 7 pages of this stuff and I don't believe anyone's mentioned him playing and singing at the same time. There's a video from the Magical Mystery Tour period where you can see him miming away admittedly but the bass line is bang on. I must remember the song. The earlier stuff maybe more simplistic but he rips through it. And as to all this business about Entwistle and Jamerson. McCartney was doing a very different job for those songs. Most of us have played in more than one band and know that you just can't always do your thing. It's back to the right thing at the right time. The Beatles were about the lyrics, the melodies and the textures. Paul did what he needed to and considering the variety of material demonstrated an imagination way beyond what most other musicians are capable of to suit. Entwistle was effectively the lead guitarist in his band and Jamerson developed a niche for another equally fantastic way of playing, again very specific for the audience. I'm staggered that so called musicians can't recognise what McCartney has achieved, especially as in many ways he has defined commercial bass playing.

Love this part! Well transcribed, me and apple loops motown drummer no 2 have been getting down for hours!

Thanks to Nick now have to two gorgeous Aguliar DB112s (finished in his english teacher's jacket) to rumble away with. Completely clear and straightforward from start to finish. Looking forward to buying his Mark Bass head off him next, hint hint.

[quote name='gjones' post='875998' date='Jun 23 2010, 11:14 PM']I've kept my eyes peeled for one for a while. Most go for about £300 and I've seen them go for £400 on Ebay over the last year/18 months. I was only prepared to pay £250 tops but the two I've tried (mine and one a friend of a friend has) are both very well made and have a great sound. I've seen Silver series Precisions selling here for about £150 - for some reason the Jazz basses tend to go for more. Did you put yours on Ebay? They don't come up that often as they were only made for 2 years between 92 and 94 and there's not many about.[/quote] I didn't! Like I said it took bit of a beating after I blagged a session at AIR studios and it didn't perform, failing in its supposed hour of glory! So I didn't give it much love after that and got my G+L. The jazz never got a look in and lived in the cupboard behind the stairs, no case etc and a friend of a friend gave me a call, desperate for a bass after his failed so I sold it to him for 100 quid. Never thought about it 'till I saw this thread yesterday. Hindsight is a wonderful but sometimes painful thing!

Criminal!

Man! I sold one of these last year for a lot less than £250. It was a silver series jazz, ok, but not enough character to warrant modifying. However, it took a helluva beating in the van but never failed. Can't believe people are that excited by them, but then, what do I know?

I use logic express, and will continue to do so until I can crack the system admin on my work mac laptop, then it'll be logic 9! Garageband is great, but as soon as you can graduate to logic do it.

Alright there. Did the right honorable Matt Butler have anything to do with this? I heard he was up to something like this and was just scanning through the tips here and thought this looked suspicious! As did the mention of Yellow Shark. I've done a bit there, and some work with John P and Matt. Harry

I've run an old 410XL for donkeys now and I have to be really careful with the volume. The sound seems to bloom 5 meters in front of the cab blotting out the rest of the band. A pupil of mine was running a distortion pedal through it and I've asked him to give it a miss. To my ears the two didn't seem to be getting on and I suspect the cab has lost a little of it's top end clarity, but I might just be being paranoid. By the way, the only Hartke head I rate is the one I use, the old 1400. The lack of graphic seems to give it a thicker tone than the more expensive models.

Hi there, finally! I signed up a while back, having become addicted to the amps+cabs for sale page. Yes, I'm a geek. I play in several covers bands but the current top earner is a Ceilidh Band, so many chords, so little time. Gear history is fairly simple- Encore PB3, Silver Series Squier Jazz, G+L ASAT. I'm fairly evangelical about my American Tobacco Sunburst 4 string wonder and everyone I work with loves it to. Amp wise I have had a Hartke 1400 since 95. These seem to be hated by internet-land people but have always managed to get a good sound out of it, even renting it to the local studio at one point for £40 a day! This goes into an early 90's Hartke 410XL. The rig sounds great, (doesn't look it...) but the reason I started to look at Basschat is it's too heavy, as it resides at work, up a flight of stairs and a long walk to the car. I've set my heart on a Aguiliar AG500SC in brown with Boss Tweed DB112 and DB112NT. Haven't tried them yet, but they look great and the community raves about them. Guess I need to do a few more fiddile diddle dee gigs. Dose Doh See you out there Harry