@@MadeOnTape I think Geddy Lee may have split his signal back when he was playing a Rick, though don't quote me on that. BTW, does your Jack Cassiday bass have jazz neck dimensions? It looks really narrow (and sounds really good, too).
it feels like a P to me! I never measured it but the whole instrument is chunky. Kinda why i like it: it feels like work to play it. also while i was editing i realized that that SM58 isn’t turned off, so you’re picking up some acoustic clickiness as well 😂
First nice bass! Don’t see too many of those anymore. Anyway I am commenting as an old school old timer who’s played on hundreds of tv shows and commercials, toured all over the world with big name groups, the last being The Miracles where I actually occupied James Jamerson’s chair, and who now still works as a player 7 days a week for playing live gigs and sessions or remote recording at 64 years old. What strikes me is first how much you young guys understand about stuff regarding sound. Amazing! I also notice that some of you seem to be focusing on all this stuff instead of what it actually takes to work every day as an in demand musician. Believe me when I tell you the people who hire us care far less about any of this stuff than we do and frankly few have the ear to even notice. You can earn a great living just playing a P bass if you know what you’re doing. To work consistently you need a specific set of professional skills as a player and professional. I admit I occasionally use effects and they can be fun. But it’s not that often and I can’t remember when I was actually asked to use any effect on a gig. I’m also never called on to run pentatonic and blues scales as if I’m a guitar player. I studied with Max Bennet when I was young and he prepared me well to be a session player. He always told me that bass solos are as necessary as tits on men if you want to get paid to play. Times have changed and I don’t totally agree with that anymore but his point still has validity. If you listen to the most famous bass lines, they are usually very simple and ingenuous in how they apply the few notes available to bassists to create a line that is not only interesting but totally appropriate to the tune overall. That’s the difference between in demand studio and pro players and those who play covers on the weekend or RUclips. Some have succeeded at both but they are few. It’s nice you guys now have multiple income opportunities with these platforms but nothing beats just playing for pay and that takes complete focus and attention to those skill sets. All that said I do appreciate all the effort you RUclipsrs put into your channels and I truly do enjoy them and have learned a lot about this kind of stuff from folks like you. Just don’t forget what it’s all about! Playing bass and playing well and getting paid so you don’t need to drive a truck or work at Walmart.
Hi Bill! Thanks for your insight! I recommend anyone else reading this to check out Bill's channel because he's got great examples of playing my favorite classic lines. I especially dig the Willie Weeks and "Green Earrings"... I can't speak for people who view my content, but I am thoroughly versed in my role as a bass player. Most of my content isn't directed specifically toward bass, so even my viewers don't know that I live in NYC and work on Broadway in theater pits, and I've seen parts of the world I never would have while getting paid to play the bass. Everyone's path in life and music is unique, but I agree and would always encourage younger musicians to really dive into the nuts and bolts of just "playing". I play upright bass as well, having studied with Robert Hurst for 4 years. I can confidently make acoustic music, which is the ultimate "throwback" in terms of making an audience feel something with very little "gear." This is the ultimate limitation to explore. I appreciate your perspective and hope you have a great day!
This comment was annoying to read. It’s very condescending while attempting to come from an angle of mentorship. Your accolades don’t mean anything. I 100% say this as someone who hasn’t had the opportunity to play at the level of exposure y’all have, but I stand by my point regardless. You having many decades of experience is great and I’m happy for you truly, but the way you assume this gentlemen doesn’t already know these things is annoying. On top of it all, this video is very specifically tackling a topic that has NOTHING to do with what you’re lecturing about. 😂 That’s the part that comes off as super obnoxious. And given by his response.. the man clearly has great professional experience where you assumed he didn’t. You can find another more productive ways to educate young bassists if that is what you are striving for.
1:12 “I don’t even wanna begin naming…” Thundercat, MonoNeon, Meshell Ndegeocello, Victor Wooten, Marcus Miller, ____, ____, Paul McCartney, Les Claypool, Flea, Stanley Clarke, Carol Kaye, James Jamerson. 😅
Great video. Thank you. Can you please tell me what model is that compresor pedal that you use first in the chain? Sounds prety transparent. Also wuld like to know name of that compact mixer. Thanks. Sory on my bad English.
Actually, I know he does that on modern recordings, but I had read he did it back with Sly, too. But listening now, I'm wondering if it was just overdubbed, because the clean and fuzz tracks don't seem identical. Either way, it was massive.
Mike Kerr - Royal Blood
a thousand percent yes 🙌🏻
@@MadeOnTape Hallelujah!
Billy Sheehan splits his. I think Chris Squire did, as well. Great vid as always, Chris!
definitely both of them. and they split from the bass. i always LOVED Chris Squire’s tone. it’s unmatched
@@MadeOnTape I think Geddy Lee may have split his signal back when he was playing a Rick, though don't quote me on that. BTW, does your Jack Cassiday bass have jazz neck dimensions? It looks really narrow (and sounds really good, too).
it feels like a P to me! I never measured it but the whole instrument is chunky. Kinda why i like it: it feels like work to play it.
also while i was editing i realized that that SM58 isn’t turned off, so you’re picking up some acoustic clickiness as well 😂
Tim Commerford also does!
That bass sound takes me back to the NES days
the days of our youth
First nice bass! Don’t see too many of those anymore. Anyway I am commenting as an old school old timer who’s played on hundreds of tv shows and commercials, toured all over the world with big name groups, the last being The Miracles where I actually occupied James Jamerson’s chair, and who now still works as a player 7 days a week for playing live gigs and sessions or remote recording at 64 years old. What strikes me is first how much you young guys understand about stuff regarding sound. Amazing! I also notice that some of you seem to be focusing on all this stuff instead of what it actually takes to work every day as an in demand musician. Believe me when I tell you the people who hire us care far less about any of this stuff than we do and frankly few have the ear to even notice. You can earn a great living just playing a P bass if you know what you’re doing. To work consistently you need a specific set of professional skills as a player and professional. I admit I occasionally use effects and they can be fun. But it’s not that often and I can’t remember when I was actually asked to use any effect on a gig. I’m also never called on to run pentatonic and blues scales as if I’m a guitar player. I studied with Max Bennet when I was young and he prepared me well to be a session player. He always told me that bass solos are as necessary as tits on men if you want to get paid to play. Times have changed and I don’t totally agree with that anymore but his point still has validity. If you listen to the most famous bass lines, they are usually very simple and ingenuous in how they apply the few notes available to bassists to create a line that is not only interesting but totally appropriate to the tune overall. That’s the difference between in demand studio and pro players and those who play covers on the weekend or RUclips. Some have succeeded at both but they are few. It’s nice you guys now have multiple income opportunities with these platforms but nothing beats just playing for pay and that takes complete focus and attention to those skill sets. All that said I do appreciate all the effort you RUclipsrs put into your channels and I truly do enjoy them and have learned a lot about this kind of stuff from folks like you. Just don’t forget what it’s all about! Playing bass and playing well and getting paid so you don’t need to drive a truck or work at Walmart.
Hi Bill! Thanks for your insight! I recommend anyone else reading this to check out Bill's channel because he's got great examples of playing my favorite classic lines. I especially dig the Willie Weeks and "Green Earrings"...
I can't speak for people who view my content, but I am thoroughly versed in my role as a bass player. Most of my content isn't directed specifically toward bass, so even my viewers don't know that I live in NYC and work on Broadway in theater pits, and I've seen parts of the world I never would have while getting paid to play the bass.
Everyone's path in life and music is unique, but I agree and would always encourage younger musicians to really dive into the nuts and bolts of just "playing". I play upright bass as well, having studied with Robert Hurst for 4 years. I can confidently make acoustic music, which is the ultimate "throwback" in terms of making an audience feel something with very little "gear." This is the ultimate limitation to explore.
I appreciate your perspective and hope you have a great day!
This comment was annoying to read. It’s very condescending while attempting to come from an angle of mentorship. Your accolades don’t mean anything. I 100% say this as someone who hasn’t had the opportunity to play at the level of exposure y’all have, but I stand by my point regardless. You having many decades of experience is great and I’m happy for you truly, but the way you assume this gentlemen doesn’t already know these things is annoying. On top of it all, this video is very specifically tackling a topic that has NOTHING to do with what you’re lecturing about. 😂 That’s the part that comes off as super obnoxious. And given by his response.. the man clearly has great professional experience where you assumed he didn’t. You can find another more productive ways to educate young bassists if that is what you are striving for.
Split everything, even the bass itself!
only two strings needed!
is that a WHITE JACK CASSADY BASS
HECK YES I LOVE IT
1:12 “I don’t even wanna begin naming…”
Thundercat, MonoNeon, Meshell Ndegeocello, Victor Wooten, Marcus Miller, ____, ____, Paul McCartney, Les Claypool, Flea, Stanley Clarke, Carol Kaye, James Jamerson. 😅
oooooh the two you're missing are very high on my list 🤓
Timmy C!
Great video. Thank you. Can you please tell me what model is that compresor pedal that you use first in the chain? Sounds prety transparent. Also wuld like to know name of that compact mixer. Thanks.
Sory on my bad English.
your English is not bad!
compressor: MXR M87 bass compressor
mixer is the TASCAM Porta Two cassette portastudio. the preamps sound cool!
Larry Graham! :)
Actually, I know he does that on modern recordings, but I had read he did it back with Sly, too. But listening now, I'm wondering if it was just overdubbed, because the clean and fuzz tracks don't seem identical. Either way, it was massive.
Cool video, regardless!
yeah he definitely has some sick tones and extremely musical lines! not sure about splitting the signal. love me some Graham Central Station too