Doug Wimbish - why does he bother with bass amps?

[Owen]

Charlie knew Darryl played with Miles. That's all he needed to know. 

[Bluewine]

3 hours ago, stingrayPete1977 said:

I'm sure that all the big name session guys without writing credits have bigger houses than mine.

That might be true, but not as big as the houses of those that are the sole owners of a body of million seller work.

Blue

[radiophonic]

On 18/12/2017 at 22:22, dood said:

Doug is a superb bass player and maybe watching video clips of him doing say, clinics or demos on the stands at music shows, then it's not surprising that he's going to be 'doing musical theatrics'. The average trade show audience won't be interested in him playing root 8th notes to a I V vi IV. 

Take a look at Doug's discography. He's a very busy, in demand session bassist. Recordings that vastly out number his video clips. But hey, when the time comes, well, more is more  . Challenge and be challenged. 

I think Janek Gwizdala summed it up nicely when he pointed out that what he's 'famous' for is what he spends about 5% of the set doing. Nobody makes a video of you paying straight eights. This is true for pretty much every great player.

[GuyR]

10 hours ago, stingrayPete1977 said:

I'm sure that all the big name session guys without writing credits have bigger houses than mine.

Maybe so, but they wont be rocking up to the gig in a Morris Minor.  

[Sibob]

13 hours ago, owen said:

Charlie knew Darryl played with Miles. That's all he needed to know. 

I'm sure I remember Doug confirming this exact thinking in his podcast interview with SBL.

This topic (the original post mainly) basically highlights some peoples lack of understanding of what is sometimes necessary for full-time musicians to undertake, basically to monetise whatever you possibly can. Clearly there is a 'market' for his more esoteric solo performing, at trade shows, clinics etc etc, but as has been mentioned above, it probably represents a tiny percentage of the bass playing he undertakes daily. He's good at it, people will clearly pay him to do it, why wouldn't he play like that.

In any case, the whole 'bass should stay in the low end' is the most boring, yet constantly visited, rhetoric going. These people are musicians, that they choose the bass guitar to represent their voice is a moot point. Those players will likely stick to a 'role' for a lot of their musical life, but who cares if they diverge if it's an enjoyable experience for them or someone else?!

Si

[Dood]

1 minute ago, Sibob said:

{snip}

This topic (the original post mainly) basically highlights some peoples lack of understanding of what is sometimes necessary for full-time musicians to undertake, basically to monetise whatever you possibly can. Clearly there is a 'market' for his more esoteric solo performing, at trade shows, clinics etc etc, but as has been mentioned above, it probably represents a tiny percentage of the bass playing he undertakes daily. He's good at it, people will clearly pay him to do it, why wouldn't he play like that.

In any case, the whole 'bass should stay in the low end' is the most boring, yet constantly visited, rhetoric going. These people are musicians, that they choose the bass guitar to represent their voice is a moot point. Those players will likely stick to a 'role' for a lot of their musical life, but who cares if they diverge if it's an enjoyable experience for them or someone else?!

Si

Yes, yes and yes x100 on both points.

[GuyR]

10 hours ago, Sibob said:

I'm sure I remember Doug confirming this exact thinking in his podcast interview with SBL.

This topic (the original post mainly) basically highlights some peoples lack of understanding of what is sometimes necessary for full-time musicians to undertake, basically to monetise whatever you possibly can. Clearly there is a 'market' for his more esoteric solo performing, at trade shows, clinics etc etc, but as has been mentioned above, it probably represents a tiny percentage of the bass playing he undertakes daily. He's good at it, people will clearly pay him to do it, why wouldn't he play like that.

In any case, the whole 'bass should stay in the low end' is the most boring, yet constantly visited, rhetoric going. These people are musicians, that they choose the bass guitar to represent their voice is a moot point. Those players will likely stick to a 'role' for a lot of their musical life, but who cares if they diverge if it's an enjoyable experience for them or someone else?!

Si

Couldn't have put it better

[spectoremg]

18 hours ago, Sibob said:

 

This topic (the original post mainly) basically highlights some peoples lack of understanding of what is sometimes necessary for full-time musicians to undertake, basically to monetise whatever you possibly can. Clearly there is a 'market' for his more esoteric solo performing, at trade shows, clinics etc etc, but as has been mentioned above, it probably represents a tiny percentage of the bass playing he undertakes daily. He's good at it, people will clearly pay him to do it, why wouldn't he play like that.

In any case, the whole 'bass should stay in the low end' is the most boring, yet constantly visited, rhetoric going. These people are musicians, that they choose the bass guitar to represent their voice is a moot point. Those players will likely stick to a 'role' for a lot of their musical life, but who cares if they diverge if it's an enjoyable experience for them or someone else?!

Si

Thanks for the lecture dad. Sadly I came down with the last rain shower and know nothing about musicians or the industry. 

Stuart Spector must be particularly pleased to hear Doug's dusty end widdling. 

[fleabag]

I always though Muzz was the bees knees in Living Colour.  I dont think Wimbish brought anything extra. Vivid was an awesome album

which i promptly bought as soon as i heard it back in the day.

Nothing wrong with Dougs talent, but he doesnt seem to be high on my radar

[spectoremg]

3 hours ago, fleabag said:

I always though Muzz was the bees knees in Living Colour.  I dont think Wimbish brought anything extra. Vivid was an awesome album

which i promptly bought as soon as i heard it back in the day.

Nothing wrong with Dougs talent, but he doesnt seem to be high on my radar

Interesting. I thought they were more of a 'unit' before Muzz left. I preferred Time's Up. 

[cetera]

Doug is one of the loveliest people I've ever met..... and having played his old Spector I know it to be one of the most fantastic feeling, played in, instruments I've ever got my hands on....
However, his pedal-filled, dusty end of the neck playing does nothing for me either. All very well at a clinic but otherwise leaves me cold...

The first 2 (Muzz) Living Colour albums were the ones for me too..... super solid playing and grooves. Loved them!

[acidbass]

My knowledge of him stems from watching various clinic videos, and he's not a great bass player IMO.

[odysseus]

Doug puts his own personality into his playing.  I like what he does, but that doesn't mean anyone else should.  Take it or leave it.  Same with Claypool.... Dynamite playing, but not what many would consider 'bass'.  But then... who gets to decide what is or is not 'bass'? 

[Dood]

1 hour ago, odysseus said:

{snip} But then... who gets to decide what is or is not 'bass'? 

Grumpy ‘musicians’ who are keen to compartmentalise?  

😂 

i’m only joshing, of course. Merry Christmas everyone.

[fleabag]

3 hours ago, odysseus said:

  But then... who gets to decide what is or is not 'bass'? 

Bass players

[radiophonic]

So let me think... 'A' list session player with a colossal live and studio CV spanning mainstream pop to the left field, hip-hop originator, industrial dub legend who has worked with Jeff Beck, Mick Jagger, James Brown, Madonna, and George Clinton. 'Not a great player'? Spare me. 

[fretmeister]

If it’s worth doing, it’s worth overdoing.

 

thats why I love Doug, and Billy, Les, Stu, etc..

[Dood]

16 minutes ago, fretmeister said:

If it’s worth doing, it’s worth overdoing.

 

thats why I love Doug, and Billy, Les, Stu, etc..

Yup, i love that they demonstrate what you can do, but 90% of the time what they do is for ‘the song’.