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Ambient/Post-Rock/Textural bass playing thread

#20,923
I love the sound of ceramic split coils and some of my favourite bassists are P players, but usually with distortion—I guess it comes down to grind but with a bit more clarity. It suits my playing style (also love the G&L l2000 which has been called a “jazz bass for people who like P basses”). I find I sound “thin” on a jazz, even though others sound huge. I sound anemic on a Ric, but other sound great. Ultimately, I think it’s a match between player, instrument, and music.
 
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#20,924
ugly_bassplayer said:
Possible used Sadowsky Metroline Précision bass on the market not too far away. It’s a Japan model, waiting on serial #

anyone here have any idea experience on these?
They seem like the US ones without the custom options.

I don’t « need » it, but I’ve been wanting a top tier Precision for years
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I just realized - "top tier Precision" seems like an oxymoron to me. I guess I'm thinking of "top tier" as being like Sadowsky, etc., but those strike me as being known as much for their electronics (i.e., the dreaded ACTIVE) as anything else, though maybe Nash or Lakland are counterarguments. I'll shut up now.
 
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#20,925
hieronymous said:
26622433[/URL], member: 28205"]I just realized - "top tier Precision" seems like an oxymoron to me. I guess I'm thinking of "top tier" as being like Sadowsky, etc., but those strike me as being known as much for their electronics (i.e., the dreaded ACTIVE) as anything else, though maybe Nash or Lakland are counterarguments. I'll shut up now.
Click to expand...
I was thinking more along the line of build quality.
I seem to have an uncanny talent to beat the crap out of instruments even when I’m careful. « Stuff » always seems to happen. I’ve never seriously damaged a bass (knock on wood) but I have a feeling it’s bound to happen someday.
And since gigs and rehearsals are on the rise on my end, a road worthy instrument is not a luxury it’s an absolute necessity.

that Sadowsky is less and less appealing since it has a jazz neck and I would have to pull out the electronics to make it passive. At that price I don’t want to spend more $$ on mods.
 
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#20,926
ugly_bassplayer said:
I was thinking more along the line of build quality.
I seem to have an uncanny talent to beat the crap out of instruments even when I’m careful. « Stuff » always seems to happen. I’ve never seriously damaged a bass (knock on wood) but I have a feeling it’s bound to happen someday.
And since gigs and rehearsals are on the rise on my end, a road worthy instrument is not a luxury it’s an absolute necessity.

that Sadowsky is less and less appealing since it has a jazz neck and I would have to pull out the electronics to make it passive. At that price I don’t want to spend more $$ on mods.
Click to expand...

Following on @hieronymous ’s suggestion, if you can get your hands on a Nash, try one. Years ago I played one. It was a classic case of trying out an amp and winding up more impressed with the bass. Wide nut, baseball bat neck, but not too heavy and felt and sounded fantastic.
 
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#20,927
Anyone interested in reading this? PM me
noise.jpg
 
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#20,930
JES said:
Can you post the ToC? I want to see who’s in it.
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Sorry for the lousy formatting. I will admit to not knowing any of these folks, but I took a quick glance and it does seem pretty interesting if you're into this kinda music commentary. Might be fun to discuss one of em here sometime.

PART I
The Joys of Noise: Historical, Theoretical, Aesthetic and
Cultural Perspectives 17
1 Noise Annoys, Noise is the Future: Noise in Communication
and Cybernetic Theories and Popular Music Practices 19
MICHAEL N. GODDARD 2 Save Our Noise: When Sound Out of Place Deserves Our Protection 35
KARIN BIJSTERVELD 3 Tracing Earlines in Ethnomusicology 54
BARBARA TITUS 4 Noise Not Music 72
PAUL HEGARTY 5 Between Morphological Research and Social Criticism: Notes
on the Aesthetics of Noise in Avant-Garde Music 86
MAKIS SOLOMOS
vi Contents
PART II
Music-Analytical Case Studies 105
6 Analysing Non-Score-Based Music 107
SIMON EMMERSON
7 Noise in Spectral Music 125
INGRID PUSTIJANAC
8 Is There Noise in Helmut Lachenmann’s Music? Temporal
Form and Moments of Presence in the String Quartet Gran Torso 137
CHRISTIAN UTZ
9 The Mic as a Scalpel – Skinning the Voice in Henri Chopin’s
Sound Poetry 158
JANNIS VAN DE SANDE
10 Noise as Ground in Improvised Music: The Case of Chris Corsano 178
DIEDERIK MARK DE CEUSTER
11 Stretching Musicality to the Extreme: Vertical Composition in
Merzbow’s Noise Music 194
 
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