TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
And I thought you were going to comment on my slate floor since it's laid on 45 degrees
I have no idea *** I was playing here, anything past the moneys is usually "the undiscovered country"
My Cat Child Latifa.
She was a stray, hanging around my work, the staff and I started feeding her as it became apart that she was on her own. It took months to catch her, she cried that sad meow cats do upon being put in a carrier to take her home. She hid underneath the utility room sink for a week or so, only coming out cautiously to eat. I caught her again for a trip to vet which included a microchip. It's been about a year and half now that she's been my house kitty, it's taken awhile but her true self has come thru, she's really an affectionate sweetheart, I'm unashamed to say I love her! She often sits in the front window waiting for me to come home from work and is always there to greet me as I come through the door.
On one of his YouTube clips "Dog House Blues" his guitar only has three strings on it, but it gets better... His pickup is held in place with duct tape. Gotta love it.
He's got a few guitars (in the loosest sense) some with only one string on. He played Glastonbury (a UK festival) a couple of years ago with John Paul Jones on bass, awesome concert, just found it on youtube:Incredibly simple and yet effective style...
I guess all his songs are in the key of G, and a whole show must be a little bit repetitious after a while. However I do like the concept and simplicity of it, and feel tempted to find a piece-of-s**t guitar and try something like it, for fun's sake.
I'm not an accomplished guitar player, so I am always on the lookout for alternate ways of approching the instrument to make it easier to play - So far Drop-D seems to be suiting my technique and the band pretty good, but I would love to be able to add elements like slide or EBow as well for effects.
Since I don't use my Pro-V as it is, I've considered trying out alternate tunings on it which could make it more useful for me -Something like this: D-G-d-a-d (high octave). This way I could play both Drop-D bass and Drop-D guitar on the same instrument, which could be sort of interesting.
I was confused about the opening post. Like is that supposed to be a bad thing? It's an SG bass. That's what it's supposed to do. If a bass VI sounds like "twang," you don't get mad at it. It's working like it should. Besides, I know for a fact that those basses are capable of at least three distinct tones, just like any other two-pickup bass is. Neck, bridge, and neck+bridge. I don't think I've ever played a bass, SG ones included, that sounded exactly the same on all pickups.
Well, since I am a bassist who does have a sound geared towards cutting through the mix, and I like my basses to sound clanky, I'm forbidden to say what I would like to by the TB forum rules. Let's be honest about what we're talking about when we say "cut through the mix," though. What we really mean by "mix" is "the guitar(s)." At least in my world. And cutting through just means finding a frequency where I can both be clearly heard and not have to overpower everything with sheer volume. If I wanted to just narcissistically dominate everything, it would be called "drowning out the mix" or "pushing over the mix."
Who?
Yep.
Being another Aussie, I know of this Bradman fellow- streets ahead of any other batsman before or since.
I agree with your comments regarding taste and I too love Mr Campbell's work. I even love the guitar work of that other Campbell fellow.
I was playing rock around Sydney in the second half of the 70s, when some of these "virtuosos" became cool. I still play many of those pub rock songs BTW and some newer ones in pubs and clubs.
When I first heard those bass "virtuosos" in the 70s to which I am pretty sure you are referring, my reaction was pretty much the same as yours and still is.
Guys would play Jaco and Stanley Clarke stuff to me and go "Wow"- I would reply "Why?"
When I wanted to listen to a bass player playing lots of notes in impossible timings, I would listen to John Wetton's playing in King Crimson.
I could listen to Prakhash John from Lou Reed's great band all day- he is what I considered a virtuoso with taste. I loved Gary Thain's playing with Uriah Heap as well.
Having played EB-SG basses for years, I wanted to reply. But I have a policy against logical responses on dog-chit threads that I can't land in the first page. All was already lost when I got there.
An EB style bass was my main for several years, too. It was a cool sounding bass. Wish I still had it, but I needed the money badly at the time, and it wasn't getting played as much, so off it went.
