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Greg Lake's bass sound

Thanks! It was a pain.

Lake was amazing. I don’t know what it is, maybe because he was also a very good guitarist, or he played with a pick, or it seemed like bass was a “secondary” instrument (I don’t think that), but he is the most criminally overlooked bass player on the prog scene (which is known for its virtuosos - Squire, Geddy, Myung, etc.)

I plan on working up ELP’s “Karn Evil 9 - 2nd Impression” but it sounds so difficult I’m actually a bit intimidated to take it on for the sheer time investment. I think it’s ELPs most challenging bass work and it’s insane.

I'd say he was a very good bass player that also had incredible guitar chops, particularly on acoustic...almost as if he took the gig with ELP to be the needed bass player. Many good guitar players end up playing bass, whether out of necessity or opportunity. I ended up on that path also.
 
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I'd say he was a very good bass player that also had incredible guitar chops, particularly on acoustic...almost as if he took the gig with ELP to be the needed bass player. Many good guitar players end up playing bass, whether out of necessity or opportunity. I ended up on that path also.
Greg Lake never intended on being a bassist. He only did it because he was offered a gig as the singer in King Crimson 1.0 and they also needed a bass player.
 
Dunno...I always liked Lake's huge tone and precision a lot more than I liked I liked Squire's clankety-clank tone and occasional sloppiness. Both are equally valid rock sounds. But I thought Lake was a far more accomplished musician. The real problem with ELP was Emerson. A very difficult man with a very large ego from all accounts. So (largely because of Emerson's prima donna attituude and tendency to alienate many of the musicians who tried to work with him) they were nowhere near as long-lived or prolific a band as Yes...although I liked Yes a lot more before they went super-'80s pop for a far too many years before getting back to their roots a bit. I guess what I'm trying to say is I consider Greg Lake the better musician, but Chris Squire was, hands-down, the better rocker.
I think I can agree with most all of that. Lake was striving for that ultra-clean, springy sounding bottom end that big wattage Crown Hi-Fi amps and HiWatt cabinets supplied, not to mention fresh Roto-Sounds probably every time he picked the bass up for a concert. I don't think Squire was necessarily striving for that ultra-clean tone the way Lake was. Lake was also a very accomplished acoustic player, so he gets the nod for multi-instruments. : )
 
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It’s well-documented that Greg Lake used a black Gibson Ripper with a maple fingerboard on the Brain Salad Surgery tour in 1974. The Ripper was never available in black with a maple board, and so some have speculated that Lake had received one of the early prototypes and then had it painted black.

Here’s a some pics I just found on Facebook that were taken at one of the Madison Square Garden shows in NYC on December 17 or 18, 1973. If you look closely, lake is holding a natural finish maple Ripper. Wonder if that’s the Brain Salad Surgery bass before it was painted?

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Help Needed – Looking for Unpublished Greg Lake Photographs (1985–1986)
Hello everyone,
I'm researching the history of a 1985 Kramer-era Spector NS-2 bass (Serial No. 864) that I purchased from The Bass Centre, London, in 1990. At the time of purchase, The Bass Centre told me that it had previously belonged to Greg Lake. Since then I've spent many months researching its history.
I am not asking anyone to authenticate the instrument.
Instead, I'm hoping to locate photographs, negatives, slides, rehearsal images, backstage photographs or personal snapshots from the 1985–1986 Emerson, Lake & Powell era.
I'm particularly interested in photographs that clearly show:
    • Greg's Spector basses.
    • Rehearsals.
    • Dressing rooms.
    • Backstage equipment.
    • Guitar racks.
    • Flight cases.
    • Studio sessions.
    • Tour preparation.
    • Soundchecks.
Professional photographs would be wonderful, but private photographs are just as valuable.
Several experienced Spector historians have already helped me with production records and period information, and I'm now trying to establish the instrument's history as accurately as possible.
If you photographed Greg during this period, know someone who did, worked on the tour, or have old photo albums or negatives that might contain his basses, I'd be incredibly grateful to hear from you.
Even if the photographs don't show this specific instrument, they may help build a more complete historical record.
Please feel free to message me privately.
Thank you so much for reading.
Matt Le Mare
Nottingham, UK
 
Help Needed – Looking for Unpublished Greg Lake Photographs (1985–1986)
Hello everyone,
I'm researching the history of a 1985 Kramer-era Spector NS-2 bass (Serial No. 864) that I purchased from The Bass Centre, London, in 1990. At the time of purchase, The Bass Centre told me that it had previously belonged to Greg Lake. Since then I've spent many months researching its history.
I am not asking anyone to authenticate the instrument.
Instead, I'm hoping to locate photographs, negatives, slides, rehearsal images, backstage photographs or personal snapshots from the 1985–1986 Emerson, Lake & Powell era.
I'm particularly interested in photographs that clearly show:
    • Greg's Spector basses.
    • Rehearsals.
    • Dressing rooms.
    • Backstage equipment.
    • Guitar racks.
    • Flight cases.
    • Studio sessions.
    • Tour preparation.
    • Soundchecks.
Professional photographs would be wonderful, but private photographs are just as valuable.
Several experienced Spector historians have already helped me with production records and period information, and I'm now trying to establish the instrument's history as accurately as possible.
If you photographed Greg during this period, know someone who did, worked on the tour, or have old photo albums or negatives that might contain his basses, I'd be incredibly grateful to hear from you.
Even if the photographs don't show this specific instrument, they may help build a more complete historical record.
Please feel free to message me privately.
Thank you so much for reading.
Matt Le Mare
Nottingham, UK