What effect(s) are on George Murray's bass on this track? Isolated here in Tony Visconti's great 'production of' video.
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Bowie's 'Heroes' -- what effect on bass?
- Thread starter krabapple
- Start date
ha - according to this old thread it was both:
George Murray... gear?
EDIT: MXR flanger and Mu-tron phaser, it says.
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I have one of the original MXR Rack-mount Flanger/Doublers and they were used a lot back then. Maybe not on that track.
Very interesting to hear this breakdown of the various layered parts, some of which sound small and even cheesy when isolated. A good example of the old saying, "The sum is greater than the whole of its parts."
I use the OD on my Rumble 800 head, sounds just like it when everyone's playing.
It does sound like good-old Fender solid-state break up, which is pretty much my favorite sound.
One of my fave productions of all time. I think one of the most interesting things about that track, that I didn't realize at first, is there's really no kick drum in the mix to speak of. Eno pulled it out and the track just kind of floated. So cool, so Eno. I think there might be a teeny bit of kick bleed in something else, but for the most part, it's kick-less. That and how Fripp made marks on the floor for where to move to as he was playing for specific feedback frequencies.
Fripp...so amazing....Fantastic track....I love everything including Tony Visconti
It is such a weird track soundwise in context with other songs. There is always a shift in the atmosphere when it comes on next to more conventional tracks.
I like how they just committed to printing the effect on the bass.
I like how they just committed to printing the effect on the bass.
i never knew that about the kick, interesting. It's such a great sound that is so far away from the usual "rock" band feel - like you say, kind of floating.
The tape flange cowbell is awesome on this track too. The whole process where they just wrote the lyrics around the track…
One of my great appreciations for Brian Eno is his willingness to upset traditional processes. He is one of the many who knows how to get out of Plato's cave of shadows.
One of my great appreciations for Brian Eno is his willingness to upset traditional processes. He is one of the many who knows how to get out of Plato's cave of shadows.
Also struck by how much simpler the actual bass line (heard in the Visconti clip and on GM's playing live on Musikladen 1978) is than what I 'hear' on the dense album mix. What I hear is like what this guy plays in his cover, but the actual GM line seems to be a lot more just chugging away on roots, with that lovely flanging/phasing/OD in place. But there's a more mobile second part audible in the mix at times -- possibly a guitar playing low strings or a keyboard rather than bass? -- that sounds something like
and that's what Mr. Isslamow plays (and me too, up to now).
and that's what Mr. Isslamow plays (and me too, up to now).
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