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Lakland Owners Group #69

#4,164
zachbass02 said:
The band is called BoDeans. American rock.

Here's some video from last year. Unfortunately, it's not with my Lakland.

July of Last year:


New Years (with Kenny Aronoff):



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Love it! @zachbass02 given your shared bass situation I wonder if you would indulge me a question? When your at teh plate how much latitude are you given to be 'you' relative to both the songs original bass lines and what the other player brings, if that makes sense? I'd guess that keeps things interesting for everyone.
 
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#4,166
Robin Ruscio said:
Hello all!

Looking for a Lakland Skyline 44-02 with a maple board, either natural finish, cherry bust on maple top, or maybe the rarer amber or natural quilted maple top.

I'm seeing some used and found good new prices, just not in any of those combos used.

Thanks!
Click to expand...

You've come to the right place...also....try out

Link Removed

Good luck with the search!
 
#4,167
nervous said:
Love it! @zachbass02 given your shared bass situation I wonder if you would indulge me a question? When your at teh plate how much latitude are you given to be 'you' relative to both the songs original bass lines and what the other player brings, if that makes sense? I'd guess that keeps things interesting for everyone.
Click to expand...

That's a great question. It's basically left to my discretion on what to play. So there is a lot of latitude for me to throw in my own things. However, there are some very signature parts in the songs that need to be there also. I try to hone in on what parts are critical and make sure they are there. By critical, I mean parts that singer or band may cue off of or a part that's so prominent that if it was gone, the audience would know it was missing. For instance, the song "Good Things" has a very prominent bass line. I generally cop that part almost note for note during the verse/chorus sections. On the solos and outro parts, there is a lot more leeway for me to open up a little.

The other guy that's playing with them has a different playing style than I do. I'm a straight ahead rock guy. I tend to play on the front of the beat. The other guy is an L.A. player and tends to lay back more than I do. Both of us play different things for the same songs. Nothing night and day, just different and it works. We both interpret differently and it shows. Neither of us gets the nod due to playing better, etc...the gig sharing in this case comes down to scheduling. With BoDeans, at any given time, there are about 2 bands worth of amazing players that could jump in a gig at any given time with a moments notice. Like me, they all play parts slightly different but they never loose the essence of the song.
 
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#4,171
zachbass02 said:
That's a great question. It's basically left to my discretion on what to play. So there is a lot of latitude for me to throw in my own things. However, there are some very signature parts in the songs that need to be there also. I try to hone in on what parts are critical and make sure they are there. By critical, I mean parts that singer or band may cue off of or a part that's so prominent that if it was gone, the audience would know it was missing. For instance, the song "Good Things" has a very prominent bass line. I generally cop that part almost note for note during the verse/chorus sections. On the solos and outro parts, there is a lot more leeway for me to open up a little.

The other guy that's playing with them has a different playing style than I do. I'm a straight ahead rock guy. I tend to play on the front of the beat. The other guy is an L.A. player and tends to lay back more than I do. Both of us play different things for the same songs. Nothing night and day, just different and it works. We both interpret differently and it shows. Neither of us gets the nod due to playing better, etc...the gig sharing in this case comes down to scheduling. With BoDeans, at any given time, there are about 2 bands worth of amazing players that could jump in a gig at any given time with a moments notice. Like me, they all play parts slightly different but they never loose the essence of the song.
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And great answer. Thank you. I have actually kinda liked the idea of a 'revolving door' band if you can get quality players with the right mindset. And clearly a well established, successful, continually touring act is nothing like local group of aging weekend hacks but the principal is the same to me.

The main reason for my question is that I have just started some early work with a group with an all orignal music focus, recording for posterity 1st and live playing second. But I find myself learning the bass parts of the last 2-3 players and find myself wanting to take some liberties without pushing the limits too far. So far well received and I was very curious to hear how at least one group of pros handled such things. I'd imagine many would simply lock you down to what is, not what you think it could be. These are insights we are not often privy to but love hearing.
 
#4,172
I think its similar, but maybe not exactly the same, when a band has studio musicians do the recordings and road dogs to do the tours (different players).
In that situation, I suspect the road dog has a little less latitude, but probably sneaks in some of his own style from time to time.
 
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#4,174
TedH said:
Thanks! I'm really stoked and was originally looking at the Nathan East Yamaha as well, so that is where a lot of the design inspiration came from.
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LOVE the Nathan East Yamaha....not that I want to change your mind (or maybe I do....) ...ever thought of an ebony board and matching headstock?

That would take it up another notch!
 
#4,175
basspraiser said:
LOVE the Nathan East Yamaha....not that I want to change your mind (or maybe I do....) ...ever thought of an ebony board and matching headstock?

That would take it up another notch!
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I did and decided to keep it a touch more subtle and keep the total price under $4k. Trust me, I spent some time waffling on that one! Although now that I look back at a photo I found on Reverb, maybe I should call Leo back. Damn you!

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