Yes he did..You can hear it in the beginning of the "the unforgiven" from Black Album.
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bassists who play 8 and 12 string basses
- Thread starter moogboy
- Start date
Yes he did..You can hear it in the beginning of the "the unforgiven" from Black Album.
It's used on 'Wherever I May Roam', after the quiet intro. It's responsible for those huge anvil-like crashes.
If you get to see the 'Metallica' classic albums DVD you get to hear it in isolation. Incidentally it was a Warwick Streamer custom.
it also had a neck as wide as a Rhino's @$$. ive seen pics of that bass, and its neck is HUGE.
OK, I gotta listen them again more carefully. To me they sounded like the bass line was just doubled with a guitar but it might be a real 8-string.
Is there an 8-string somewhere? Or a 12-string?
Kasim Sulton of Utopia also played an 8-string Veilette-Citron live. A great B-side "Umbrella Man" might be the only song he used it in the studio, 'though.
There's a lot players who used them occasionally like Mike Rutherford who used to play "I Know What I Like" live with a Hagström 8-string and used it on a studio vesion of "One For The Vine". Sting also dabbled with fretless Hamer Standard and Ibanez Musician 8-strings but I don't know if he played them on any album.
It's used on 'Wherever I May Roam', after the quiet intro. It's responsible for those huge anvil-like crashes.
If you get to see the 'Metallica' classic albums DVD you get to hear it in isolation. Incidentally it was a Warwick Streamer custom.
Sorry my bad.. That is what I meant.. Remembered the song wrong
I allso have that DVD and you are definitely right on this one..
There are bit same kind of playing in beginning of "the unforgiven", but that is Jasons normal Spector bass (correct me if I`m wrong again)
Bill Laswell played an Ibanez ST-980 on the title track from Memory Serves, the first Material album. He also apparently used that same bass on his solo album Baselines, though I can't recall what tunes feature it.
I'm pretty sure John Lee played an 8-string somewhere on Back Together Again by the Coryell/Mouzon Band.
John Paul Jones' recent solo albums Zooma and The Thunderthief feature tons of his Hugh Manson octave-course basses all over them...though I guess they're mostly 10-stringers, do those still count in this thread?
And apologies for the self-serving advertisement, but I played 8-string (also an Ibanez ST-980) on a few cuts on two Debris albums: Rapture In The Church Of Disreputable Daydreams and Errata. See the link in my sig for details.
I'm pretty sure John Lee played an 8-string somewhere on Back Together Again by the Coryell/Mouzon Band.
John Paul Jones' recent solo albums Zooma and The Thunderthief feature tons of his Hugh Manson octave-course basses all over them...though I guess they're mostly 10-stringers, do those still count in this thread?
And apologies for the self-serving advertisement, but I played 8-string (also an Ibanez ST-980) on a few cuts on two Debris albums: Rapture In The Church Of Disreputable Daydreams and Errata. See the link in my sig for details.
Ed Gagliardi of "The Spys" played 8 string bass with great effect in the early '80s. It was a Hamer I think. Listen to the short bass intro on "Ice Age". Prior to the this Ed had played on the first 2 Foriegner Albums. He played Rics then I believe. I always liked his style. Hits from the Spys include: She Cant Wait, Into the Night, and Dont Run My Life. The first two were MTV videos.
How big is the tone difference between an 8 and a 12? Is it noticeable enough to warrant the extra 4 strings?
Speaking of Monty Colvin, the first Galactic Cowboys has some 8-string on it - one of my favorites is "My School" - great distorted 8-string intro.
Another great Cheap Trick 12ver song is "Gonna Raise Hell" from Dream Police - he doesn't really go nuts, but the tone and groove are killer.
Personally, I am content with 8, though I know a lot of 12ver players see it as an inferior instrument somehow...
Another great Cheap Trick 12ver song is "Gonna Raise Hell" from Dream Police - he doesn't really go nuts, but the tone and groove are killer.
Personally, I am content with 8, though I know a lot of 12ver players see it as an inferior instrument somehow...
I'd like to have something along the lines of a Fender bass VI with octave strings... that would be cool...
Good question. The tones are similar, but the 12 has a degree of grind that the 8 doesn't have. The 8 is a bit more polite, but some would argue that it's better for recording because it cleans up better on tape. Plus they weigh a lot less than a 12. That's why I went for an 8 instead of a 12.
Thanks. Since I can't afford an 8 or a 12 right now I may cheat and get a POG.
As far as Monty Colvin goes - what a talented guy and great songwriter. I wish he'd have used the 12 more on his latest Crunchy record.
As far as Monty Colvin goes - what a talented guy and great songwriter. I wish he'd have used the 12 more on his latest Crunchy record.
Then you want the original Modulus Graphite 18-string bass that Geoff Gould built for...uh, I *think* it was originally built for Tom Petersson. But it eventually wound up in Allen Woody's collection. Not sure who owns it now.
30" scale length (like the Fender Bass VI), tuned E-A-D-G-B-E (like the Fender Bass VI) but with doubled octave-up strings (i.e., triple courses like Dug Pinnick's/Jeff Aments's 12-string basses), graphite neck-thru construction, custom Bartolini pickups (originally designed for pedal steel guitar iirc), just a sick SICK SICK instrument!
yeah, petersson had the thing made for him, but then never picked it up-- I've heard from a couple people that he didn't pay for it, either-- so Woody bought it. He used to play it on Whipping Post, as heard on Second Set or whatever live album it was from that period.
Pinnick doesn't use the 12 anywhere near as often as people think he does-- about 80% of KX stuff is distortion and chorus.
I have both an 8 and a 12. Basically, if you want a giant wall of sound, go with a 12. If you want a slightly less giant wall of sound, but better playability and articulation, go with an 8.
Some things like string-bending are off-limits or at the least problematic, and intonation can be a bit of a pain.
