Very nice man...I actually JUST heard this song for the first time today and I was planning to cover it with my band, and I saw this and had to check it out. Great job; the strumming on the chord progression part sounds a bit off though.
This amp series isn't that bad folks. This is a discount amp that offers a wide array of sounds, granted the many flaws in it's design, but it should always be taken into account that it is such. I don't hear people ripping on Squire guitars because they're cheap. People know what they're paying for, and for the price the Spider series is decent. I used a Spider III 125 Watt for 2 years and no one ever complained....in fact I got a lot of compliments on my custom fuzz tone.
If you're skilled enough and your band mates aren't worthless pieces of crap, you can definitely make bass work into the music. Honestly if you EQ properly and your band mates don't drown you out, you don't even need a super awesome bass line to feel a presence.
Most of feeling important in such a band, or ANY band really, is how much your bandmates appreciate you and the sound you contribute. Try mixing around with tones till you find one that really stands out, and if it impresses enough they won't have any choice but to give you more presence.
JC's tone comes from two main things. The first is the use of bi-amping, as has already been stated. Bi-amping takes some figuring out how to get to work, and then how to get to work effectively. The second thing, which is unfortunately very hard to replicate without buying one, if not impossible, is the bass he uses. He plays a Wal bass, which are very hard to find and very expensive if you do find one. they have a very bright, crunchy, growling tone that just....owns.
Working Man's bassline is a bit strange. Because of the tone and general cutting floor results, alot of the bassline is far below the general audibility of most Rush songs. But when it does punch through, it hits like a sack of bricks. Very bright and chunky.....Listen to the tempo change when the bass takes over solo for about 10 seconds after the first solo.
Dean Edge-1 bass. The neck was extremely uncomfortable, and the tone was very tame and bland. I was overcharged for it by about 70 dollars too. Traded it in, put up 200 bucks for a MIm jazz Bass. One of these days I'll have a professional quality bass.....
Do something creative. Maybe a montage of the best bass licks in metal, like a Souls of Black/Peace Sells/Caught in a Mosh type thing. But honestly, bass solos without ANY backing instruments are kind of meh. even froma bassists perspective....
I'm gonna state the obvious and say that it seems getting a miraculously awesome tone such as Squire's requires exorbant amounts of money and gear tweaking. If only those of us without thousands of dollars could achieve revolutionary sound from our bass....
Schecter is one of my favorite brands because the cost vs the quality is so effective. You can get an amazing tone from mid range Schecter basses that you would have to pay 500 or more to get similar sounds from other brands. Schecters are also very ergonomic and look pretty nice as well.
The Diamond Bass is one of these basses. You get a very strong presence from a bass that costs alot less than it could. Maybe I'm a bit partial to them though....
Thanks for all the suggestions Mutant Corn. This really gives me alot to consider and compare, and they're all in my immediate price range. Did you have any hands on or personal experience with these basses to say they fit my description tone wise?
As much as I'd love to get a bass in the 1,000 range, I don't think I'd EVER hear the end of it from my girlfriend and/or my parents. I mean it's my money, but they wouldn't understand the reason behind it. They'd tell me to get a car instead or buy clothes. I'd love to find a good deal ona bass with the same value though.
Just a few thrash bands that have infinitely better basslines and bass players, and much more profound presence given to bass. Honestly I think these bands are better in general, but hey....my opinion.
Since Guitar Center is 2 hours away, I don't have much of an opportunity to do hands on work with searching for a new bass. So I sort of have to leave it in the capable hands of the bass forum community to lead me in the right direction, and me follow through with a bit of faith.
The peramaters are....
-5 Strings! Important. I have a solid 4 string, and want an equally solid 5 string. My 4 string is an upgraded MIM Fender Jazz, and on that note, I'm looking for something different so I can diversify the tones available to me. So I'm trying to stray from Fender brand.
-I want a semi-warm tone....picture the kind of tone you hear in songs like Pigs(Pink Floyd), Hollywood Hills (Bob Seger), and Interstate Love Song (Stone Temple Pilots). It's hard to describe really. It's a warm tone, but it's not a fully closed sort of pitch like youd get from a tone knob cranked all the way down. It has a murmuring sort of deep tone, but a bit of hair on it that makes it not so fully flat. This is probably the hardest thing about my peramaters, and I'm willing to go up to 750$ if it will get me what I'm looking for.
So far my tone is at 80% hands, 80% amp, and roughly 40% wood. Thats 200% tone! I should be rocking faces off at that rate. I think maybe my time with my bass has come to an end. The passive tones just aren't working for me anymore. I will replace the strings, but if that doesn't work, I'm looking for an active bass.
My amp is a 150 Ashdown Blue. I've plugged other basses into it and they sound a good deal better.
My bass guitar's tone died some time between January 20th and February 2nd. I'm not positive when it was, because I have been on vacation for a couple weeks, but I came home yesterday and found it dead. I never thought this could happen to me, and I know I took it for granted. But wow does it sure suck all of a sudden. Well, maybe not all of a sudden. Maybe the gradual slipping of it's power struck me most after a good bit of time not playing it.
But alas, it is gone. My bass sounds like the most boring sound you could possibly get from such an isntrument. It feels like I'm strumming electrical wiring across a plank of wood. So my first impulse is to replace the strings, which I got around April last year. I'm hoping this will fix the bulk of the problem, because if it doesn't I'm probably going to sell it and save up for something better. I don't really want to do this, because 1. It's expensive, and 2. I'd be bassless for at least a month.
Background info: MIM Jazz Bass Replaced crappy PUPS with Fender Custom Shop SCN Cobalt Whatevers.\ Used Rotosound Roundwound Strings for about 9-10 months now. Action could be shoddy; guitar shop wants too much money to make adjustments.
Sorry did you actually say something relevent? Because that was all that came across.
What makes bass lines good or bad or mediocre to different people are different. You calling him ignorant because he has a different taste in music makes you just as ignorant, close minded and idiotic sounding as you try to make him out to be.
Personally I don't agree with him, but its his opinion, and as you said yourself, "It isn't a contest, it's all about making the music sound good" He obviously doesn't think they sound good or isn't impressed by them so who the **** are you call him ignorant?
Also.....someone missed the blatant sarcasm in the post he is responding to. I personally don't care for Coheed basslines either, mostly because you can barely hear them unless the stars align properly and it's one of the songs the bass is mildly audible in for whatever reason. I didn't even know Coheed had a decent bassist till I played Rockband and cranked the bass on Welcome Home. this doesn't discredit Mic Todd as a bassist, but it certainly discredits the bassline as being underappreciated. That's like underappreciating a song that got cut from an album. Whoever mixes Coheed's albums needs to be struck with a 6 string solid mahogony fretless rainbow bass.
Oh lordy lordy lordy. Unlike most people simply naming bands or songs that are generally unappreciated, I want to name songs that most people know but never give much credit to the bassline when they're listening.
Alanis Morisette - You Oughtta Know (Kind of ironic in it's title) ((also somewhat of an ironic statement about irony!))
Guns n' Roses - Welcome to the Jungle
Foghat - Slow Ride
Sex In Your Violence - Bush (I dont know the actual name of this song for whatever reason)
Colony of Birchmen - Mastodon (Mostly in fault to poor mixing)
Elvis Costello - Pump It Up
Duran Duran - Hungry Like the Wolf
Motorhead - Ace of Spades
Juke Box Hero - Foreigner
ANY Queens of the Stoneage bassline, and 90% of the JPJ basslines.
Because of my genetically altered caritin levels, my nails grow back to medium-long length in about 5 days after trimming them short, so it's a huge hassle. I usually cut them every 2 weeks because it's just a pain doing it so frequently. So when they're medium length, I do use the small protrusion of nail off my fingertip to tweak the strings, and it does give a very unique feel. It's like the smooth playing of finger style with the bright plucking of a pick. I would honestly prefer it this way if it didn't COMPLETELY screw up my ability to play 6-string guitar.
the whole system still seems so insanely foreign to me, whenever I read a review or explanation for a product, it's all in a bunch of jargon I can't even begin to comprehend. My old band had a soundboard that run a regular friggen' instrument cable into the board, and from the board into their computer with a USB. From there they had a computer program that let them have a huge amount of control over individual tracks. How they recorded the drums however, is a mystery to me. i came in to record with the guitarist and the drums were recorded separately. Do I need to just mic the drums and do the same procedure? Is this approach logical or cost effective?
It seems to come out of the box with a lot to offer, but my drum recording problem is still there. Only thing I can think to do is use a single mic ( ) to record her part and plug it into the 2nd guitar input.
Title says it all. I've asked around local shops about what kind of setup I should get, and I've had widely varying answers. One guy told me to look for a 4-track cassette recording system because they would be the cheapest and cassettes are cheap too. problem is, I really really like having an audio control program on the computer to give me more options. Another guy suggested a Tascam or M-Audio system, which is good to get a name brand to peg, but there's literally over a hundred different systems to choose from.
Here's my criteria:
-I only need to record 4-5 different tracks, separately if possible. The thing is, I play bass, guitar and keys, and my girlfriend plays drums. So I want to record those 3-4 parts myself separately, but I can play any of them with my girl on drums.
-I don't wanna spend more than 200 bucks, and only 200 if I have to to get what I'm looking for.
-I'd like it to work with my computer, possibly come with software, but not mandatory. I can always browse for a good free music program.
Any help you folks could offer would be greatly appreciated. I've been wanting to record for a while now and always get discouraged because I don't know what the hell I'm doing.
I wanted to update you guys on what's up with this because it's kind of funny. After being on a 3 week haietus for the holidays, my guitarist sends me an email saying...
"After listening to our recordings alot and going over the jams with you, I feel more than before that your active style just doesn't mesh with the moody, atmospheric progressive music I'm trying to work towards. i'm not saying you're a bad bassist, but it's just not what I'm looking for. If you want to talk about it please call me."
So I gave him my number and told him if he changes his mind to call ME, but I'm not going to sit in the back and pound a root note every 4 bars to produce whatever 'atmospheric boredom' he's trying to accomplish.
My view is you can only go so moody before you're just plain boring. That's how I feel about what he's 'trying to work towards'. There's no substance or punch. I would be done with this thing right now if I weren't so utterly God damn fed up with joining bands only to have them flop in some way. This is the 4th failure band in a year. Maybe I do suck. It can't be coincidence.
Thanks for all the input guys. I have a lot to consider I suppose. I've worked a lot on changing my EQ to work better with his tones, in a sort of quieter but more present sort of way. Needless to say, next time I get critiqued about my playing, I wont get fooled again.
Some of the rhythms/fills you used didn't quite gel with parts of the songs, which I think might be what he's trying to say, but for the most part(and I really mean most of it) you're spot-on and by no means too busy. You've done your job well. Actually, for quite a bit of it, you're basically doing your job AND his, by being the only real moving melody.
The problem I see is, either you need a lead guitarist, or your current guitarist needs to learn to play something that has a melody. It's hard to make any sort of decent bass line sound right over a song full of straight 8ths....
edit: and tell him to turn down his distortion for the heavy parts -_-
Haha yes his distortion is way too wet. It's almost void of pitch really; it's like static. I feel like whenever he turns it on it drowns out his playing and mine with this white noise effect. Those parts might not gel with each other because those recordings were done the day I learned the song so my part wasn't hammered out completely yet.
Now guys, I didn't want to be hostile towards him. He's not saying I should play root notes or anything overly simple, he just thinks I'm being too active as in playing too many notes per bar. Like he wants me to subdivide my riffs into more whole-ish notes. He's not a super ego-centric guitarist per say, it's just that the songs were doing right now are songs he wrote and he has a certain way he wants them to be executed. Maybe I'm being a pushover, but I've had guitarists treat me far worse before.
I have a few rough recordings of our songs here just for some perspective on the way I play.
The songs Threshold and Blue (Live) are my contributions, and 3 and 4 are just jam sessions. Be warned these are rough recordings, and the levels are rough and the volume on Threshold and Blue are too low, so you may have to crank it a bit.
I am currently involved in a 3 piece rock group, obviously playing the bass. I've been playing with them for about 2 months now, and after compelting about 4 1/2 songs, my guitarist remarked to me that "your bass playing is a little too active and if possible cut your activity by about a third". Huh? I kind of understand what he means, but at the same time have no real idea how to approach it. Here's my problem.
My guitarist is the only guitarist. He often plays very rhytmic guitar lines that follow the drums very closely. I've been taught that bass should sync with drums in rhythm, and guitar in melody and harmony. Short of sub dividing my notes for his, IE I play quarter notes when he plays a sizteenth note chord progression, I can't really figure out how to lower my activity on the bass. I tried it for a few songs and it just doesn't seem to sync very well. I end up sounding like I'm playing something of a far too different rhythm from what he plays. if he played alot more lead type stuff I could really ride the drums and groove, but I don't really know what to do with it other than throw my parts in strange syncopation and beat patterns.
Recordings soon to come for possible proof/advice....
Consider buying a baritone guitar next time you get one, which I hope is soon if you're still macking a Squire STrat. If you don't know what a baritone guitar is, it's a 6 string with all strings detuned a 5th down on heavier gauge strings meant for lower tunings. Then there's a 7 string baritone type guitar, which is just a normal guitar with a low B string above your low E. You could just tune that low B to an A.
Let's be honest here people. Attention during a live show is good. You want it. I mean, it's live performance, displaying YOUR talent, and 2-4 other people's talents. Only a tool is going to go on stage, stand all the way in the back, turn his amp way below the guitarist, and play perfect bass lines simply to appease his own integrity.
#1 - Make DAMN sure you can be heard before you start playing. Sound tests exist for a reason.
#2 - Interact with the crowd. Make them feel you are doing what you are here to do: entertain, and have some fun.
#3 - Stand where your singer and guitarist are at. If you are truly an equal part of your band., why not have an equal part on the stage. Just make sure you contribute an equal part to the music too...