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Carol Kaye's string changing method !

I think the reason people rip on Carol is because she's made outrageous claims (I've read somewhere that the artists and engineers that were on certain recordings she claims to have been on have no recollection of her being there), she says outrageous things (the whole people-don't-teach-musicality thing), she gets defensive when questioned, etc. The point is, she's a controversial figure so she sort of invites criticism. I personally find it absolutely ridiculous that someone who claims to be this amazing bass player can't be bothered with changing her strings. So, yeah, she deserves to be ridiculed for that. If I didn't know how to change strings, could only play with a pick and ripped on people who could play different ways, claimed I played on a bunch of famous songs that no one remembers me playing on, flew off the handle at the slightest criticism etc... I would be inviting a backlash and criticism too.
Just my 2 cents.

So she's eccentric, gee you never see that sort of thing in L.A.
 
Just keep in mind that she knows more about bass playing and hit records than all of you put together.
Certainly- but less about bass maintenance than the most junior player on this board. (Not to mention some of the questionable playing credits she has claimed.) The weird part is coming up as poor as she did, you would think she would be a little more miserly in terms of things like that.
 
The bolded part is hard for me to wrap my head around. Why should she be ridiculed about not wanting to change her bass strings? Do you ridicule people that take their bass to a tech to get a string change and tune up? Do you ridicule drivers that take their cars to the shop to get the oil changed? Do you ridicule people that eat at restaurants instead of making their own food? What about people that hire painters to paint their homes? Clearly anyone should be able to paint their own homes.

My point is this: convenience has value, as does time. Ridiculing people for maximizing that value comes off as petty, and really does nothing to elevate the level of discourse within the discussion.

I wonder if Les Claypool changes his own strings.
You mean to those who are quick to be offended! You have offended me with your improper grammar, sir, and I demand sufficient compensation!
Oh sweet Jesus not one of YOU again.
 
All this reflection on Kaye buying a new P instead of changing strings based on a relatively recent interview and perception that two year old strings would be putrid has become laughable. Carol said the same thing in the '70s in her Guitar Player Magazine column. Those basses came with Fender 850s, of which there is no current equivalent that I'very found. Flats do last for ages. Joe Osborn used the same set of LaBelle flats from shortly after he got that Jazz in 1960 until at least '76. Jamerson avoided changing strings.

Kaye's a good teacher, bassist, and musician with a huge verifiable list of credits on recordings with excellent bass performances. She's also a cranky, pedantic, and at times obnoxious Internet personality. She's shown she really doesn't know a lot about gear mechanics.

But the story of changing Precisions rather than strings at the height of her extremely busy studio career is entirely plausible.

John
 
I understand she rubs a lot of people the wrong way, but the woman is an amazing musician and teacher. She may not have revolutionized bass, but very few session musicians are ever called on to revolutionize their instruments.

I took instruction from her briefly in the 80s. Had been playing about seven years at a non serious level. Garage band stuff. I had taken a few lessons previously from some big name bassists which were head scratching stream of conciousness mind dumps of bewildering musical concepts.

The very first thing she asked me was what players I was currently into. I mentioned Stanley Clarke, and she preceeded to do a spell binding minute long improvation of various Stanleyisims (including the section of School Days with the pinch harmonics). All with a pick.

In the first half hour I spent with her she 'revolutionized' my understanding of scales and modes, making it way easier to visualize my entire fretboard, and understand what I needed to do to improvise lines against chord progressions. I learned more in that half hour than I had in all previous (albeit sporatic) lessons.

Sadly, work caused a shift in our geographical proximity, and I never again got the benefit of her instruction in the real world, though I devoured lots of her printed material.

She has my undying respect.