Yeah, that's bad^^ Too much lows and not too much highs for my taste. The kind of tone i dig is like Ian Hill (especially from the Ripper years) or Overkill's D.D. Verni, or - speakin' about distortion - Lemmy...
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Yeah, that's bad^^ Too much lows and not too much highs for my taste. The kind of tone i dig is like Ian Hill (especially from the Ripper years) or Overkill's D.D. Verni, or - speakin' about distortion - Lemmy...
Ah no ... sorry ... Jaco was a master although mentally ill and unstable ... he revolutionised the instrument ... when I first heard Stanley Clarke I thought man this guy is unbeatable ... when I heard then Come on Come over I thought this guy is too much to be true ... after that everything sounded as already heard also in terms of tone with the exception of IMHO IMHO IMHO the great Bernie Edwards !!!
Anyway ... looking for good rock bass tone? Listen to the old but always valid Glenn Hughes !!!
I think he sounds great on some of that old Talas stuff. Gritty, grimy, dirty tone.
I'd love to hear Miller's take on "Siberian Khatru"..i have a sneaking suspicion marcus miller would sound excellent in both situations.
Chis Squire had a tone that made me want to play bass....
Jeff Berlin has a completely different tone and here he is on "Heart of the Sunrise" from a live ABWH show.
Is it the right tone for the song or not? Is it good or bad??
I have mixed feelings about it. I think he plays the parts brilliantly (and he had like a day or two to learn the whole set because he subbed for Tony Levin, who was sick the night of the filming) and I like Berlin's tone... but.... it's no where close to Squire's grinding, ballsy tone.
Jeff Berlin has a completely different tone and here he is on "Heart of the Sunrise" from a live ABWH show.
Is it the right tone for the song or not? Is it good or bad??
I have mixed feelings about it. I think he plays the parts brilliantly (and he had like a day or two to learn the whole set because he subbed for Tony Levin, who was sick the night of the filming) and I like Berlin's tone... but.... it's no where close to Squire's grinding, ballsy tone.
I'm sure there will be a lot of facepalms here, but I'm not a fan of the stock MM sound. Too much goose. I'll take a P or even an extreme Warwick thumb 5 before a MM.
He revolutionized the instrument, at a time when nobody else could play like he did. He is a huge part of bass history, he will always be a god to me...I could be.His tone was his. His whole expression was wonderful. His tone often not my taste. That doesn't disrespect him. He was no god. What was godlike was he reached and realized his potential. That's up to us how hard we hear the music. He was a great example of sublimating the theory to his will to bring the music.
Neither was Tony's tone. But I'm actually buying into Jeff's tone here. It's not dirty and angular, but it occupies basically the same frequency range and sounds pretty good to me.
Also, notice the book next to Jeff on those rare closeups. That's how he was able to cop all those songs on such short notice. If not for that, he would have never gotten the call. I think the moral here is "learn to read if you want Yes to call you on a short notice gig."
What do you mean?
I was wondering when someone would post that.
Oh gods. When everything is just a huge WOOOOOOOOOOOOOO on every note and yet you can't actually distinguish any actual notes. Yeah, definitely. Super frustrating.
On an opposite note, have you ever had a "bad ear tone day"? When you know the cab is in the exact same place it was last time you played in that room (when it sounded good), and everything else you can think of is exactly the same, and yet for some reason it sounds terrible to you.
>Church band
>200 8x12 stack
****ing what?! Who brings a 200 watt full stack to a church, besides Sunn O)))?
Personally I don't find that to be a good strategy at all. I play in a band where one guitar was tuned to low G# (the other one tuned to B, and occasionally a third one tuned to E, when there weren't keyboards). I always EQed my bass to be a nasty midrange spike.
Yes. I know Jaco was good. And yet I much prefer Geddy Lee and JPJ. By far.
Gaolee
Official leathers tester and crash dummy
Yep. There are times when it just sounds like baked dust. All the fiddling in the world won't fix it when your ears say it's baked dust.
I was listening to this song the other day and just thinking something of that sort, except this band has three guitarists, who, as far as I can tell, play pretty much the same thing. And while I like this song, but there's barely any bass going on:
Then I happened upon this guy's bass cover and thought that the song would have sounded better if the bass was a little more annoying and sounded more like this:
p.s. Please, we don't need input from traditionalists.
Go listen to one of Nolly's bass playthroughs, though. Seriously. His tone is unbelievable and works very well in the context of that band, especially as a guitar-centric band. He mixes the records, so I suppose it better be good tone.
I've seen the Nolly cam video, if that's what you mean. I don't know. I think he has a good, pleasing tone (I mean, as far as you could have a pleasing djent bass tone) when the other instruments are turned down. But I think when you're riffing complicated rhythms at 25 Hz, there's just not a lot of room down there in a full mix. I think a pronounced low mid scoop with more nasty treble bite could have offered more to listen to for me. When you listen to the cover version that I posted, the nasty bass tone is actually leaving more room for the guitars in the band, and I just like it better.Go listen to one of Nolly's bass playthroughs, though. Seriously. His tone is unbelievable and works very well in the context of that band, especially as a guitar-centric band. He mixes the records, so I suppose it better be good tone.
My opinion, of course.
Questions if personal inclinations ... however, heresy here at Talkbass, I prefer the Geddy Lee singer to the Geddy Lee bass player ... asahrgh I've said it! I've said it!
in Grindcore they'll sometimes use a crate full of stompboxes just to achieve a certain sound/noise/grind
It isn't a brilliant tone, but the bigger crime for me is how tone-deaf Berlin is to the music. I've read (2nd hand) that he was dismissive of the Yes gig in general. Having listened to the gig he played on, he doesn't really have any 'feel' for the music. This is my biggest gripe with Berlin. Because he's learned the musical theory to the nth degree he always knows what to do, technically, but there is something impersonal about his playing. His playing in the Bruford band worked well, as that was a band of technically accomplished dorks making purposefully complex and angular music. Fair enough, but for such an outspoken and highly opinionated player there is a sort of rigidity to his playing. When he grooves it is because he's studied the minutiae of grooving as an academic exercise.
