1. Spirits in the Material World — The Police 2. Longview — Green Day 3. Any Motown Hit "Whatever the situation or level you’re playing at, my feeling is you’ve got to be a strong player. Bass is a strong instrument; you can’t allow yourself to play it weakly, with no authority. You’ve got to play with an attitude, because everybody’s listening to the bass – and I dare anyone to challenge me on that…" – Chuck Rainey
1. fever (elvis) 2.polk salad annie(tony joe white) 3.good vibrations(beachboys carol kay on bass)
> Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart."
Walking on the moon – The Police Another one bites the dust – Queen Come together – Beatles Drive my car – Beatles
Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart."
Well, there’s someone who doesn’t know music. But, hey, what the hell, this is easy. 1. Led Zep – Dazed and Confused 2. The Pretenders – My City Was Gone 3. Pink Floyd – Money
1-Anything by Rush 2-Most anything by Yes 3-Most anything by Sublime >So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t >even think of any particular pop or rock songs in which I can even recall >what the bass sounds like. Jazz, fine, but who cares. Try and think of >three songs which you could play me that would make me admit that without >the bass the whole song would fall apart." >1. >2. >3.
– If a man among you holds no sin upon his hand, then let him cast a stone at me for playing in the band. http://listen.to/bluepearl
genres in no order: any iron maiden (can you imagine "# of the beast" w/o the bass?) any disco-style funk stuff….kool and the gang, cameo, and so-on. nearly any pre-psychadelic-era beatles ("love me do" is a great example of a NON-song without good ole paul.) actually, about 99.9999% of the drugged-out beatles stuff needs bass too. …and since everything in the pop/rock realm is *some* kind of spinoff or the beatles or stones: that only means that you gotta have the bass to make the rumps shake. the only song that sounds better without a bassline is "when doves cry", and prince hardly ever made it sound right live.
– Hide quoted text — Show quoted text -> Rock: > 1. Crossroads (Cream) > 2. Sunshine of your Love (cream again) > 3. Red Hot Chili Peppers (most of them) > Pop: > 1. Anastacia – I’m outta Love > 2. Any R&B song
If this guy is real, have him join a band and cover the Beatles’ "Come Together" without the bass part. _ ‘ ): Ted Partin / http://members.aol.com/dblbassted
> So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart." > 1. > 2. > 3.
My List: 1. Red Hot chilli peppers – Most of them, but to mention one in particular it would have to be "Road Trippin’, or Get on Top".. 2.Violent Femmes - Color Me once 
Also, Violent femmes – Blister in the sun 3. Queens of The stone age – No One Knows But there are so many… So much more.. 
1. You oughta know – Alannis Morissette 2. She’s so heavy – Beatles 3. Wrap it up – Sam & Dave 4. My Sharona – Knack 5. Pretty much the entire Rush catalog This list spans styles and generations. I think how the bass is used is a reflection of the musician or composer, and the studio crew. There are plenty of songs where the bass just disappears in the mix. Its still there though, I learned that doing a little studio work years ago. I was ticked off that I couldn’t hear my bass line, but, when that track was muted, I could tell the difference. I was still ticked off that I mixed in that way though Happens to rythm guitarists too on some songs. Reminds my of the Carpenter’s story on VH1. Their first tv appearance was BASSIST!!! The song was "Dancing in the streets". SteveO
> So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart." > 1. > 2. > 3.
Hopefully this guy isn’t a friend of yours. Just walk away. Is this him? http://www.mulletsgalore.com/classifications/!pix/III/RCmullet.jpg
> Why should you/we have to prove anything. The "nitwit" made the claim. > Make him prove it. The burden is on his shoulders. Make him prove a song > *won’t* fall apart.
My sentiments exactly – I certainly hope the guy wasn’t a musician that made — Mike – NJ
> So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart."
Interesting question…I usualy stay out of the business of trying to enlighten the irretrievably stupid (it’s too frustrating), but my interest is piqued. Two words: The Lemon Song — /" ASCII Ribbon Campaign | Todd H / | http://www.toddh.net/ X Promoting good netiquette | http://triplethreatband.com/ / http://www.toddh.net/netiquette/ | "4 lines suffice."
you know its funny, i had someone say a simlair comment recently on a message board, i can’t remember it exactly but it was something like this (the board has, coincidentally, crashed right now): "bass players are losersno (sic) one cares about them" I replied by mentioning just about all the famous bass players people would (or at least should) know, i can’t remember it exactly, i’m yet to veiw a reply since it crashed! — ^`~`^ ( ‘ Y ‘ ) ) / / (( | | | /)) Kristoff Lajoie – www.kristoff.4t.com
– Hide quoted text — Show quoted text -> So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart." > 1. > 2. > 3.
> what’s the name of that reggae song where the bass is kind of prominent?
Oh yeah, THAT one . . . . > I’m assuming the ‘nitwit’ is fictitional? I hope… > m > www.xush.net
– Hide quoted text — Show quoted text -> So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart." > 1. > 2. > 3.
> Rock: > 1. Crossroads (Cream)
2. The Lemon Song (Zeppelin)
what’s the name of that reggae song where the bass is kind of prominent? I’m assuming the ‘nitwit’ is fictitional? I hope… m www.xush.net – Hide quoted text — Show quoted text – > So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart." > 1. > 2. > 3.
In no particular order: The entire Pink Floyd catalog The entire Motown catalog The entire Rolling Stones catalog Too many more to even continue. What kind of fool is this? Edward G. ‘Two old ladies sittin’ on the sand, Each one wishin’ the other was a man.’ –Lonnie Donegan
> Rock: > 1. Crossroads (Cream)
YES! That was the first one that came to my mind as well! Matthew
> So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart."
1. Good Times – Chic / Rapper’s Delight – Sugar Hill Gang 2. White Lines – Grandmaster Flash 3. Hot Water – Level 42 Just three that bubbled up.. there are numerous more. RS
> So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart." > 1. Hit me with your rythm stick – Ian Dury and the Blockheads.
You don’t need any other examples with this one. If you play bass and don”t know this song, go and buy/download/beg/borrow/steal this song right now. Norman Watt Roy – winner of the biggest unsung bass hero of all time award.
Where do you begin??? ROCK Anything by RUSH Smoke on the water (Deep Purple) Another one bites the dust (Queen) POP Where ever I lay my hat (Paul Young) Anything by The Police Anything by Level 42 songs) etc…etc… — Alun P www.bassics.org
In terms of the more modern/popular side of rock, three bass intros come to mind – 1. RHCP – Around the World 2. Tool – Schism 3. Tool – 46 and 2 (Sorry, I’m becoming more and more of a Tool-head as time passes…) -Zev
> So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t > even think of any particular pop or rock songs in which I can even recall > what the bass sounds like. Jazz, fine, but who cares. Try and think of > three songs which you could play me that would make me admit that without > the bass the whole song would fall apart."
Why should you/we have to prove anything. The "nitwit" made the claim. Make him prove it. The burden is on his shoulders. Make him prove a song *won’t* fall apart. — Oc () ) //^^ // / Bud LeCompte http://budlecompte.com
So here’s the deal, some nitwit says to you, "Bass, who needs it, I can’t even think of any particular pop or rock songs in which I can even recall what the bass sounds like. Jazz, fine, but who cares. Try and think of three songs which you could play me that would make me admit that without the bass the whole song would fall apart." 1. 2. 3.
Rock: 1. Crossroads (Cream) 2. Sunshine of your Love (cream again) 3. Red Hot Chili Peppers (most of them) Pop: 1. Anastacia – I’m outta Love 2. Any R&B song
ok now what sounds better playing with a pick or fingers on a ric?
> ok now what sounds better playing with a pick or fingers on a ric?
Depends on what sound you want. You want a Chris Squire vibe, then use a pick. Old Geddy Lee sound, fingers are the way to go. Its not the one-trick pony some people make it out to be, but it definitely has an identifiable sonic thing going . . .
Totally down to taste, sound qualities and preference….Geddy uses All you can do is try all methods open to you and depending on strings and speaker cabinets decide which you like. If it is any help, I use fingers for the two RUSH songs we play, pick for the Deep Purple. Roger Glover plays a few fast single string runs, maybe 16ths or 32nds that is impossible with fingers……Pick gives a harder punch with a more — Alun P www.bassics.org
– Hide quoted text — Show quoted text -> ok now what sounds better playing with a pick or fingers on a ric?
Personally, I stick with fingers. I use index, middle, and ring finger, so speed is usually never an issue. I’ve also let my fingernails grow slightly long on these fingers (ala classical guitar) and have learned to play more at the tips of the fingers for a picked sound, and back on the finger pads for a softer sound. Just experiment with fingernail lengths and playing styles til you get what you want. Also, alternating your playing between close to the neck and close to the bridge opens up alot of tonal variety! Hope these ideas help.
– Hide quoted text — Show quoted text -> ok now what sounds better playing with a pick or fingers on a ric?
..was originally considered for the Ozzy’s guitarist on Blizzard of Ozz.
Awesome guitarist! Did some great work with Deep Purple. – Hide quoted text — Show quoted text – > ..was originally considered for the Ozzy’s guitarist on Blizzard of Ozz.
Gary Moore never played with Deep Purple. Though Jon Lord and Ian Paice of Deep Purple played with Gary Moore on some of his early solo recordings. …….Barry
– Hide quoted text — Show quoted text -> Awesome guitarist! Did some great work with Deep Purple. > ..was originally considered for the Ozzy’s guitarist on Blizzard of Ozz.
(2) Edie Brickell & The NEW Bohemians tours. They’re really good in concert. Seen them four times. New Bohemians are playing two shows in Dallas next week. Wish I could go. January 11th and 25th at All Good Cafe.
> I know this is a bass forum, but I was just answering another message > further down and got to thinking about best gigs I’d attended. I know this > may sound a puerile thread…but just what are the best gigs you’ve been to?
Let’s see, among my favorite shows are: The Clash at Red Rocks (about 1982) Squeeze at the Marble Bar in Baltimore (about 1978) Lou Reed in St. Louis ("New York" tour) Ramones (anywhere) Seven Nations (Starr Hill) Lyle Lovett (a couple of months ago) Later, John
Also (i forgot!) a concert that I really, really liked was the bass fest. It was only bass for 2 days, from noon till midnight. It was incredible. It was in Montreal again, salle Pierre Mercure. Micheal Manring Oteil burbridge Abraham Laboriel Brian Bromberg Alain Caron Gary Willis and a lot of other bass player. I will never forget that weekend Yvon
– Hide quoted text — Show quoted text -> My favorite concert is, by far John Cougar Melencamp. Montreal forum, late > ’80s. > Very simple, but very good. > Probably Frank Zappa at the Quebec Coliseum, because we were about 4000 to > 5000 only and the sound was incredible for a coliseum. > Also SRV in Montreal, first part of Robert Plant because it was a > revelation. > And Wild T – I didn’t know this guy – First part of Deep Purple au Grand > The
living in the past are we? f
– Hide quoted text — Show quoted text -> Eric Scantlebury wrote >> I’ve decided to show mercy to all those many of you who are >> dying to know what the lyrics to my new song "Seduction from >> the Deep" really is about, but haven’t quite been able to figure >> it out for yourselves. The lyrics for "Seduction from the Deep" >> run as follows: >LOL!!!!! Holy shiete. >I’ve never heard a cross between lounge music and head spinning pea throwup >lyrics before (and that, done as described in the ng perfectly – on a >Casio). I’ve tried to stay away and not listen but I had to see for > myself. >I may just have to listen every once in a while for the comic relief alone >HAHAHAHAHAHAHA. I’d have a tough time deciding between the porn and the >comedy. > Take the comedy! Porn is so 20th Century > Jarl Sigurd > to listen to bass riffs inspired by Slonimsky’s Thesuarus of Scales > visit: http://www.ampcast.com/search/band.php?id=9098
Take the Volkswagen! Que idiota!
– Hide quoted text — Show quoted text -> Eric Scantlebury wrote >> I’ve decided to show mercy to all those many of you who are >> dying to know what the lyrics to my new song "Seduction from >> the Deep" really is about, but haven’t quite been able to figure >> it out for yourselves. The lyrics for "Seduction from the Deep" >> run as follows: >LOL!!!!! Holy shiete. >I’ve never heard a cross between lounge music and head spinning pea throwup >lyrics before (and that, done as described in the ng perfectly – on a >Casio). I’ve tried to stay away and not listen but I had to see for > myself. >I may just have to listen every once in a while for the comic relief alone >HAHAHAHAHAHAHA. I’d have a tough time deciding between the porn and the >comedy. > Take the comedy! Porn is so 20th Century > Jarl Sigurd > to listen to bass riffs inspired by Slonimsky’s Thesuarus of Scales > visit: http://www.ampcast.com/search/band.php?id=9098
Eric Scantlebury wrote – Hide quoted text — Show quoted text -> I’ve decided to show mercy to all those many of you who are > dying to know what the lyrics to my new song "Seduction from > the Deep" really is about, but haven’t quite been able to figure > it out for yourselves. The lyrics for "Seduction from the Deep" > run as follows: >LOL!!!!! Holy shiete. >I’ve never heard a cross between lounge music and head spinning pea throwup >lyrics before (and that, done as described in the ng perfectly – on a >Casio). I’ve tried to stay away and not listen but I had to see for myself. >I may just have to listen every once in a while for the comic relief alone >HAHAHAHAHAHAHA. I’d have a tough time deciding between the porn and the >comedy.
Take the comedy! Porn is so 20th Century Jarl Sigurd to listen to bass riffs inspired by Slonimsky’s Thesuarus of Scales visit: http://www.ampcast.com/search/band.php?id=9098
from the ampcast page: Influences: Anton Bruckner, Johannes Brahms, Wilhelm Furtwangler, Cradle of Filth, Dimmu Borgir, Children of Bodom, Deep Purple, Rainbow, Opeth, Nevermore Description: The music posted here was composed, performed and recorded using on MIDI guitar. No other instruments were used. I was the only person involved with this project. how funny….and not surprising….you think anyone else would want their names on this crap? since you don’t heed our comments here on AGB…why don’t you share some reviews from other pubs? enlighten us….your music sure doesn’t. f
Brian E Running wrote >No, that’s not it. Try again, Jarl.
Is Too!!! Jarl Sigurd to listen to a songwriter who understands his own songs, visit: http://www.ampcast.com/search/band.php?id=9098
> I’ve decided to show mercy to all those many of you who are > dying to know what the lyrics to my new song "Seduction from > the Deep" really is about, but haven’t quite been able to figure > it out for yourselves. The lyrics for "Seduction from the Deep" > run as follows:
LOL!!!!! Holy shiete. I’ve never heard a cross between lounge music and head spinning pea throwup lyrics before (and that, done as described in the ng perfectly – on a Casio). I’ve tried to stay away and not listen but I had to see for myself. I may just have to listen every once in a while for the comic relief alone HAHAHAHAHAHAHA. I’d have a tough time deciding between the porn and the comedy.
I’m sorry Jarl, did you say something? Mark
– Hide quoted text — Show quoted text -> I’ve decided to show mercy to all those many of you who are > dying to know what the lyrics to my new song "Seduction from > the Deep" really is about, but haven’t quite been able to figure > it out for yourselves. The lyrics for "Seduction from the Deep" > run as follows: >Seduction From The Deep >You don’t know who I am >but I watch you all the time >making sure you’ll never grasp >that which is rightfully mine! >I’ll turn your children against you! >What you’ve sown, they’ll never reap! >I’ll misguide their every step >via seduction from the deep >From my vaults of gold, >with my magic crystal ball, >I’ll impose my will, >Setting them up for a fall! >I’ll turn you against your children! >Your discontent shall they reap! >They’ll become your life’s disappointment >via seduction from the deep! > This is a song about the wealthy elites that control > the popular media, particularly the recording industry > and their attempts to sow discord between the > generations, particularly parents and their children. > Their reason for doing this is that they wish to deter > upward mobility amongst ordinary citizens. If relations > between parents and their children can be sabotaged > to the point where, rather than supporting eachother and > working together, they become enemies and spend all > energies fighting eachother, then every successive > generation will be forced to start from scratch as opposed > to building on the foundations the previous generation > started. Having each new generation start from scratch > means that they will lack the capital to become their own > masters but will be forced to spend their lives working > for other people, working towards making their employers > rather than themselves rich. Thus the ruling elites will have > an inexhaustable supply of cheap labour rather than have > people move up and challenge them for their positions > atop of the econimic totem pole. In short, "Seduction > from the Deep" is about a strategy of intergenerational > "divide and conqueor" directed at the family by the wealthy > elites that control the media. > Jarl Sigurd > to listen to the music that these lyrics are set to, visit > http://www.ampcast.com/search/band.php?id=9098 > and download "Seduction from the Deep"
No, that’s not it. Try again, Jarl.
– Hide quoted text — Show quoted text -> I’ve decided to show mercy to all those many of you who are > dying to know what the lyrics to my new song "Seduction from > the Deep" really is about, but haven’t quite been able to figure > it out for yourselves. The lyrics for "Seduction from the Deep" > run as follows: >Seduction From The Deep >You don’t know who I am >but I watch you all the time >making sure you’ll never grasp >that which is rightfully mine! >I’ll turn your children against you! >What you’ve sown, they’ll never reap! >I’ll misguide their every step >via seduction from the deep >From my vaults of gold, >with my magic crystal ball, >I’ll impose my will, >Setting them up for a fall! >I’ll turn you against your children! >Your discontent shall they reap! >They’ll become your life’s disappointment >via seduction from the deep! > This is a song about the wealthy elites that control > the popular media, particularly the recording industry > and their attempts to sow discord between the > generations, particularly parents and their children. > Their reason for doing this is that they wish to deter > upward mobility amongst ordinary citizens. If relations > between parents and their children can be sabotaged > to the point where, rather than supporting eachother and > working together, they become enemies and spend all > energies fighting eachother, then every successive > generation will be forced to start from scratch as opposed > to building on the foundations the previous generation > started. Having each new generation start from scratch > means that they will lack the capital to become their own > masters but will be forced to spend their lives working > for other people, working towards making their employers > rather than themselves rich. Thus the ruling elites will have > an inexhaustable supply of cheap labour rather than have > people move up and challenge them for their positions > atop of the econimic totem pole. In short, "Seduction > from the Deep" is about a strategy of intergenerational > "divide and conqueor" directed at the family by the wealthy > elites that control the media. > Jarl Sigurd > to listen to the music that these lyrics are set to, visit > http://www.ampcast.com/search/band.php?id=9098 > and download "Seduction from the Deep"
I would be nice if they all went out and bought Steinbergers. Then they would be one big happy family. Bud
– Hide quoted text — Show quoted text -> I’ve decided to show mercy to all those many of you who are > dying to know what the lyrics to my new song "Seduction from > the Deep" really is about, but haven’t quite been able to figure > it out for yourselves. The lyrics for "Seduction from the Deep" > run as follows: >Seduction From The Deep >You don’t know who I am >but I watch you all the time >making sure you’ll never grasp >that which is rightfully mine! >I’ll turn your children against you! >What you’ve sown, they’ll never reap! >I’ll misguide their every step >via seduction from the deep >From my vaults of gold, >with my magic crystal ball, >I’ll impose my will, >Setting them up for a fall! >I’ll turn you against your children! >Your discontent shall they reap! >They’ll become your life’s disappointment >via seduction from the deep! > This is a song about the wealthy elites that control > the popular media, particularly the recording industry > and their attempts to sow discord between the > generations, particularly parents and their children. > Their reason for doing this is that they wish to deter > upward mobility amongst ordinary citizens. If relations > between parents and their children can be sabotaged > to the point where, rather than supporting eachother and > working together, they become enemies and spend all > energies fighting eachother, then every successive > generation will be forced to start from scratch as opposed > to building on the foundations the previous generation > started. Having each new generation start from scratch > means that they will lack the capital to become their own > masters but will be forced to spend their lives working > for other people, working towards making their employers > rather than themselves rich. Thus the ruling elites will have > an inexhaustable supply of cheap labour rather than have > people move up and challenge them for their positions > atop of the econimic totem pole. In short, "Seduction > from the Deep" is about a strategy of intergenerational > "divide and conqueor" directed at the family by the wealthy > elites that control the media. > Jarl Sigurd > to listen to the music that these lyrics are set to, visit > http://www.ampcast.com/search/band.php?id=9098 > and download "Seduction from the Deep"
I’ve decided to show mercy to all those many of you who are dying to know what the lyrics to my new song "Seduction from the Deep" really is about, but haven’t quite been able to figure it out for yourselves. The lyrics for "Seduction from the Deep" run as follows: – Hide quoted text — Show quoted text ->Seduction From The Deep >You don’t know who I am >but I watch you all the time >making sure you’ll never grasp >that which is rightfully mine! >I’ll turn your children against you! >What you’ve sown, they’ll never reap! >I’ll misguide their every step >via seduction from the deep >From my vaults of gold, >with my magic crystal ball, >I’ll impose my will, >Setting them up for a fall! >I’ll turn you against your children! >Your discontent shall they reap! >They’ll become your life’s disappointment >via seduction from the deep!
This is a song about the wealthy elites that control the popular media, particularly the recording industry and their attempts to sow discord between the generations, particularly parents and their children. Their reason for doing this is that they wish to deter upward mobility amongst ordinary citizens. If relations between parents and their children can be sabotaged to the point where, rather than supporting eachother and working together, they become enemies and spend all energies fighting eachother, then every successive generation will be forced to start from scratch as opposed to building on the foundations the previous generation started. Having each new generation start from scratch means that they will lack the capital to become their own masters but will be forced to spend their lives working for other people, working towards making their employers rather than themselves rich. Thus the ruling elites will have an inexhaustable supply of cheap labour rather than have people move up and challenge them for their positions atop of the econimic totem pole. In short, "Seduction from the Deep" is about a strategy of intergenerational "divide and conqueor" directed at the family by the wealthy elites that control the media. Jarl Sigurd to listen to the music that these lyrics are set to, visit http://www.ampcast.com/search/band.php?id=9098 and download "Seduction from the Deep"
I was wrong. more porn please wazz
– Hide quoted text — Show quoted text -> I’ve decided to show mercy to all those many of you who are > dying to know what the lyrics to my new song "Seduction from > the Deep" really is about, but haven’t quite been able to figure > it out for yourselves. The lyrics for "Seduction from the Deep" > run as follows: >Seduction From The Deep >You don’t know who I am >but I watch you all the time >making sure you’ll never grasp >that which is rightfully mine! >I’ll turn your children against you! >What you’ve sown, they’ll never reap! >I’ll misguide their every step >via seduction from the deep >From my vaults of gold, >with my magic crystal ball, >I’ll impose my will, >Setting them up for a fall! >I’ll turn you against your children! >Your discontent shall they reap! >They’ll become your life’s disappointment >via seduction from the deep! > This is a song about the wealthy elites that control > the popular media, particularly the recording industry > and their attempts to sow discord between the > generations, particularly parents and their children. > Their reason for doing this is that they wish to deter > upward mobility amongst ordinary citizens. If relations > between parents and their children can be sabotaged > to the point where, rather than supporting eachother and > working together, they become enemies and spend all > energies fighting eachother, then every successive > generation will be forced to start from scratch as opposed > to building on the foundations the previous generation > started. Having each new generation start from scratch > means that they will lack the capital to become their own > masters but will be forced to spend their lives working > for other people, working towards making their employers > rather than themselves rich. Thus the ruling elites will have > an inexhaustable supply of cheap labour rather than have > people move up and challenge them for their positions > atop of the econimic totem pole. In short, "Seduction > from the Deep" is about a strategy of intergenerational > "divide and conqueor" directed at the family by the wealthy > elites that control the media. > Jarl Sigurd > to listen to the music that these lyrics are set to, visit > http://www.ampcast.com/search/band.php?id=9098 > and download "Seduction from the Deep"
> I have wired and rewired Strats more than once. Only older than 1980 models > though, and I will state unequivocally that the second tone knob is for the > middle pickup only. You would, by the way, hear it distinctly if the bridge > pickup had tone roll off, since the tone knob rolls off highs and the bridge > pickup has more highs to roll off.
Mine’s a ‘96 model made in America Standard Strat and the second tone knob definitely affects both bridge and middle pickups. Dave.
I’ll agree with you 100% about the tone control. I have a Mexi Standard, and it doesn’t do dittly to the brige pick-up. If I want to warm the tone any, I have to include the middle pickup with the bridge pickup. I am getting a humbucker soon, just because of how crappy it sounds. Bryan
So it ends up everyone in this thread was right even the ones that were wrong…..a first I think….lol….. — Brad "Its very important to listen, Listen and learn from other players, but also put yourself in a position where you can listen to yourself." Joe Satriani
Where can I get some knobs that go to 11? Hehehe
>Where can I get some knobs that go to 11? Hehehe
can’t you just make 10 louder?
I have just recently learned to record my LP’s to CD through the computer. One of the first was Deep Purple Made in Japan. IMHO the best live recording done. Anyway your comments remind me of a great line from that recording. Ian Gillian says, "Can we have everything a little louder than everything else?"
– Hide quoted text — Show quoted text ->Where can I get some knobs that go to 11? Hehehe > can’t you just make 10 louder?
>can’t you just make 10 louder?
Hehehe
I have wired and rewired Strats more than once. Only older than 1980 models though, and I will state unequivocally that the second tone knob is for the middle pickup only. You would, by the way, hear it distinctly if the bridge pickup had tone roll off, since the tone knob rolls off highs and the bridge pickup has more highs to roll off.
– Hide quoted text — Show quoted text -> Hehe, > I can’t really tell if it does anything to the bridge pick-up. > It doesn’t seem to have an effect. > The 2nd tone knob make a huge differance on the middle pick-up, and the the > same with the first tone knob on the neck pick-up. > Bryan
The diagrams for the 50’s, 60’s and 70’s Strats on the Fender site agree with you 100% ! Bob
– Hide quoted text — Show quoted text -> I have wired and rewired Strats more than once. Only older than 1980 models > though, and I will state unequivocally that the second tone knob is for the > middle pickup only. You would, by the way, hear it distinctly if the bridge > pickup had tone roll off, since the tone knob rolls off highs and the bridge > pickup has more highs to roll off. > Hehe, > I can’t really tell if it does anything to the bridge pick-up. > It doesn’t seem to have an effect. > The 2nd tone knob make a huge differance on the middle pick-up, and the > the > same with the first tone knob on the neck pick-up. > Bryan
Hehe, I can’t really tell if it does anything to the bridge pick-up. It doesn’t seem to have an effect. The 2nd tone knob make a huge differance on the middle pick-up, and the the same with the first tone knob on the neck pick-up. Bryan
> That is to say my 79 and 82 models. I do not have 79 of the latter > MS > My 79 82 USA standards certainly bear witness to this.
I thought you had 7982 of them. J.
That is to say my 79 and 82 models. I do not have 79 of the latter MS
– Hide quoted text — Show quoted text -> The classic wiring for a Strat is as stated above. This was the way for many > decades. Indeed, the earlier models never even had a 5 way selector switch > and the inbetween sounds were had by jamming the selector switch between > positions. Later models might have had various changes but typically, there > is NO tone control on a Strat bridge pickup. My 79 82 USA standards > certainly bear witness to this. > MS > If you look at the legend on this drawing (Standard Strat), you’ll see > that > the first Tone knob controls only the neck pickup. The second Tone knob > controls BOTH the middle and bridge pickups. > http://www.mrgearhead.net/faq/pdf/diagrams/ASSTRAT/SD0107400CPg4.pdf > This is a link to all of the different variations: > http://www.mrgearhead.net/faq/diagrams.php > Bob > > >I know that one knob is volume and one is for tone, what is the 3rd > knob > > >for? > > >gb > > equilizer. You use it when you are using 2 pickups (either first 2 or > > bottom 2). You adjust the balance between the two pickups.
You mean those knobs do something…..?? I just thought they looked cool….. — Brad "Its very important to listen, Listen and learn from other players, but also put yourself in a position where you can listen to yourself." Joe Satriani
The classic wiring for a Strat is as stated above. This was the way for many decades. Indeed, the earlier models never even had a 5 way selector switch and the inbetween sounds were had by jamming the selector switch between positions. Later models might have had various changes but typically, there is NO tone control on a Strat bridge pickup. My 79 82 USA standards certainly bear witness to this. MS
– Hide quoted text — Show quoted text -> If you look at the legend on this drawing (Standard Strat), you’ll see that > the first Tone knob controls only the neck pickup. The second Tone knob > controls BOTH the middle and bridge pickups. > http://www.mrgearhead.net/faq/pdf/diagrams/ASSTRAT/SD0107400CPg4.pdf > This is a link to all of the different variations: > http://www.mrgearhead.net/faq/diagrams.php > Bob > >I know that one knob is volume and one is for tone, what is the 3rd knob > >for? > >gb > equilizer. You use it when you are using 2 pickups (either first 2 or > bottom 2). You adjust the balance between the two pickups.
I know that one knob is volume and one is for tone, what is the 3rd knob for? gb
> I know that one knob is volume and one is for tone, what is the 3rd knob > for? > gb
It’s also a tone control. For the bridge and/or middle pickup, depending on how it’s wired up. The tone control next to the volume knob is for the neck pickup. Dave.
>I know that one knob is volume and one is for tone, what is the 3rd knob >for? >gb
equilizer. You use it when you are using 2 pickups (either first 2 or bottom 2). You adjust the balance between the two pickups.
> >I know that one knob is volume and one is for tone, what is the 3rd knob >for? >gb > equilizer. You use it when you are using 2 pickups (either first 2 or > bottom 2). You adjust the balance between the two pickups.
No, it’s not. At least not in typical wiring. Might be an interesting thing to try, though. It’s a tone control wired to the bridge pickup. — Michael Pugh
If you look at the legend on this drawing (Standard Strat), you’ll see that the first Tone knob controls only the neck pickup. The second Tone knob controls BOTH the middle and bridge pickups. http://www.mrgearhead.net/faq/pdf/diagrams/ASSTRAT/SD0107400CPg4.pdf This is a link to all of the different variations: http://www.mrgearhead.net/faq/diagrams.php Bob – Hide quoted text — Show quoted text ->I know that one knob is volume and one is for tone, what is the 3rd knob >for? >gb > equilizer. You use it when you are using 2 pickups (either first 2 or > bottom 2). You adjust the balance between the two pickups.
Ahem, In a typical Fender Strat, The first knob is for the Volume, The second is a tone knob for the neck pick-up, and the second tone knob is for the middle pick-up. The bridge pick-up does not have a tone control.
> If you look at the legend on this drawing (Standard Strat), you’ll see that > the first Tone knob controls only the neck pickup. The second Tone knob > controls BOTH the middle and bridge pickups.
I stand corrected…it IS the middle and bridge pickup…not just the bridge as I stated. (I only ever use positions 1 and 2 on my Strat…that’ll teach me). Cheers, — Michael Pugh
I’ll plug mine in and check, I could have sworn the bridge puck-up didn’t seem to be affeted by the second tone knob.
> Ahem, > In a typical Fender Strat, > The first knob is for the Volume, The second is a tone knob for the neck > pick-up, and the second tone knob is for the middle pick-up. > The bridge pick-up does not have a tone control.
Ladies and Gentleman, we have a winner! ;-) Unless your guitar has been modified, there is *no* tone control for the bridge pickup on a Fender Strat. The top knob is volume. Middle knob is neck pickup tone. Bottom knob is middle pickup tone. John — John O’Brien "I can tell your future, just look what’s in your hand" -R. Hunter
BTW, My American Deluxe does exactly what this drawing says it should. Tone knob closest to Volume controls only the neck pickup. The other Tone knob controls both the middle and bridge. Bob
– Hide quoted text — Show quoted text -> If you look at the legend on this drawing (Standard Strat), you’ll see that > the first Tone knob controls only the neck pickup. The second Tone knob > controls BOTH the middle and bridge pickups. > http://www.mrgearhead.net/faq/pdf/diagrams/ASSTRAT/SD0107400CPg4.pdf > This is a link to all of the different variations: > http://www.mrgearhead.net/faq/diagrams.php > Bob
Not that anyone’s confused by this (least of all me…) It occurs to me that perhaps no one ever actually uses that control. The only time I use the neck tone control is when I need to simulate a Santana-ish sound and happen to be holding a Strat. Otherwise, the tone controls pretty much stay wide open. Cheers, — Michael Pugh
– Hide quoted text — Show quoted text -> Ahem, > In a typical Fender Strat, > The first knob is for the Volume, The second is a tone knob for the neck > pick-up, and the second tone knob is for the middle pick-up. > The bridge pick-up does not have a tone control. > Ladies and Gentleman, we have a winner! ;-) > Unless your guitar has been modified, there is *no* tone control for > the bridge pickup on a Fender Strat. > The top knob is volume. > Middle knob is neck pickup tone. > Bottom knob is middle pickup tone. > John > — > John O’Brien > "I can tell your future, just look what’s in your hand" -R. Hunter
– Hide quoted text — Show quoted text -> The > package says Nymphaea Marliacea Albida. Any help anyone? By the way paid > just $7.00 for it. Thought it was a bargain considering I have paid more in > past and got no bloom. > The Nymphaea Maliacea Albida is a hardy lily. > — > Bonnie > NJ > http://hpphoto.com/home/ViewMyAlbum.asp?coll_id=876614 > http://www.users.fast.net/~maebe/index.htm
MrVboop55, I usually don’t have a problem with my water lilies, blooming but for the past three years I have had this one plant that year after year has not bloomed. It has grown, because it was divided this spring. I had placed in a back water part of my pond to decide what to do with it. It did what it had done for the last two years, produce pads and that was all. I thought it was getting enough light but as a last ditch effort to give it one last chance I moved it to an area of the pond that definitely got more light. Well, it evidently hasn’t been getting enough for it has produced within two weeks of being moved two of the prettiest deep purple pink/red blooms I have ever had. In this plant case the addition of about 2 more hours of intense light has made the difference. Sure glad I kept one this spring when I was dividing my plants. I think I got about three cuttings off this plant and sent them to someone on this list, so someone got a really nice plant. I wish I would have kept one. The difference of a couple of hours of light can make or break some lilies. Tom L.L.
– Hide quoted text — Show quoted text -> > The > > package says Nymphaea Marliacea Albida. Any help anyone? By the way paid > > just $7.00 for it. Thought it was a bargain considering I have paid more > in > > past and got no bloom. > The Nymphaea Maliacea Albida is a hardy lily. > — > Bonnie > NJ > http://hpphoto.com/home/ViewMyAlbum.asp?coll_id=876614 > http://www.users.fast.net/~maebe/index.htm
> The > package says Nymphaea Marliacea Albida. Any help anyone? By the way paid > just $7.00 for it. Thought it was a bargain considering I have paid more in > past and got no bloom.
The Nymphaea Maliacea Albida is a hardy lily. — Bonnie NJ http://hpphoto.com/home/ViewMyAlbum.asp?coll_id=876614 http://www.users.fast.net/~maebe/index.htm
Bought a bare rooted water lily in Franks Nursery ( Staten Island, NY). Planted it in kitty liter a while back. And lo and behold it finally bloomed this week. First ever for me, had water lilies in the past but never had a bloom….. Now my question is, is this a hardy or tropical water lily. The package says Nymphaea Marliacea Albida. Any help anyone? By the way paid just $7.00 for it. Thought it was a bargain considering I have paid more in past and got no bloom.
> Bought a bare rooted water lily in Franks Nursery ( Staten Island, NY). > Planted it in kitty liter a while back. And lo and behold it finally bloomed > this week. First ever for me, had water lilies in the past but never had a > bloom….. Now my question is, is this a hardy or tropical water lily. The > package says Nymphaea Marliacea Albida. Any help anyone? By the way paid > just $7.00 for it. Thought it was a bargain considering I have paid more in > past and got no bloom.
Hardy to Zone 4. Mike Simpson
If you dont get a bloom out of a water lily all season you have a problem. One reason might be that your pond isn’t getting enough sunlight and the other most probable is that you are not fertilizing enough. Last year I had 2 or 3 blooms all season (I didn’t fertilize at all). This year already I have had 5-10 blooms and right now I have atleast 6 buds on the way up now. Several lilies are producing 2 buds at once. And the only difference is that this year I am using the pond tabs. If your pond isn’t getting atleast 6 hours of direct light you need to look into getting some lilies that will bloom in "low light" conditions. Most of these are tropical but there are some hardies that will bloom with less than 6 hours of sunlight.
– Hide quoted text — Show quoted text -> The > package says Nymphaea Marliacea Albida. Any help anyone? By the way paid > just $7.00 for it. Thought it was a bargain considering I have paid more in > past and got no bloom. > The Nymphaea Maliacea Albida is a hardy lily. > — > Bonnie > NJ > http://hpphoto.com/home/ViewMyAlbum.asp?coll_id=876614 > http://www.users.fast.net/~maebe/index.htm
MrVboop55, I usually don’t have a problem with my water lilies, blooming but for the past three years I have had this one plant that year after year has not bloomed. It has grown, because it was divided this spring. I had placed in a back water part of my pond to decide what to do with it. It did what it had done for the last two years, produce pads and that was all. I thought it was getting enough light but as a last ditch effort to give it one last chance I moved it to an area of the pond that definitely got more light. Well, it evidently hasn’t been getting enough for it has produced within two weeks of being moved two of the prettiest deep purple pink/red blooms I have ever had. In this plant case the addition of about 2 more hours of intense light has made the difference. Sure glad I kept one this spring when I was dividing my plants. I think I got about three cuttings off this plant and sent them to someone on this list, so someone got a really nice plant. I wish I would have kept one. The difference of a couple of hours of light can make or break some lilies. Tom L.L.
– Hide quoted text — Show quoted text -> > The > > package says Nymphaea Marliacea Albida. Any help anyone? By the way paid > > just $7.00 for it. Thought it was a bargain considering I have paid more > in > > past and got no bloom. > The Nymphaea Maliacea Albida is a hardy lily. > — > Bonnie > NJ > http://hpphoto.com/home/ViewMyAlbum.asp?coll_id=876614 > http://www.users.fast.net/~maebe/index.htm
> The > package says Nymphaea Marliacea Albida. Any help anyone? By the way paid > just $7.00 for it. Thought it was a bargain considering I have paid more in > past and got no bloom.
The Nymphaea Maliacea Albida is a hardy lily. — Bonnie NJ http://hpphoto.com/home/ViewMyAlbum.asp?coll_id=876614 http://www.users.fast.net/~maebe/index.htm
Bought a bare rooted water lily in Franks Nursery ( Staten Island, NY). Planted it in kitty liter a while back. And lo and behold it finally bloomed this week. First ever for me, had water lilies in the past but never had a bloom….. Now my question is, is this a hardy or tropical water lily. The package says Nymphaea Marliacea Albida. Any help anyone? By the way paid just $7.00 for it. Thought it was a bargain considering I have paid more in past and got no bloom.
> Bought a bare rooted water lily in Franks Nursery ( Staten Island, NY). > Planted it in kitty liter a while back. And lo and behold it finally bloomed > this week. First ever for me, had water lilies in the past but never had a > bloom….. Now my question is, is this a hardy or tropical water lily. The > package says Nymphaea Marliacea Albida. Any help anyone? By the way paid > just $7.00 for it. Thought it was a bargain considering I have paid more in > past and got no bloom.
Hardy to Zone 4. Mike Simpson
If you dont get a bloom out of a water lily all season you have a problem. One reason might be that your pond isn’t getting enough sunlight and the other most probable is that you are not fertilizing enough. Last year I had 2 or 3 blooms all season (I didn’t fertilize at all). This year already I have had 5-10 blooms and right now I have atleast 6 buds on the way up now. Several lilies are producing 2 buds at once. And the only difference is that this year I am using the pond tabs. If your pond isn’t getting atleast 6 hours of direct light you need to look into getting some lilies that will bloom in "low light" conditions. Most of these are tropical but there are some hardies that will bloom with less than 6 hours of sunlight.
> > Five To One (Doors) > Not To Touch The Earth (Doors) > Shaman’s Blues (Doors)
Shouldn’t this have been: "Favorite Basslines on a keyboard?" Lyndon —
Good list. May I add: It’s the Same Old Song (4 Tops, James Jamerson, Bass) Time is Tight (Booker T & the MG’s, Donald "Duck" Dunn, Bass) Crossroads (Cream, Jack Bruce, Bass) Heartbreaker (Led Zep, John Paul Jones, Bass) Take Me For a Little While (Vanilla Fudge, Tim Bogert, Bass) Just off the top of my head Dave
– Hide quoted text — Show quoted text -> People on this NG seem to love voicing their opinions so > why not offer yet another opportunity? This one I’ve tried > to make a little different by getting away from the > competitive aspects of those I’ve so far contributed to. > This one has nothing to do with who’s the best at anything. > Being a gifted home-bound bass player I thought I’d see what > other music fans found to be their favourite bass lines. > Totally off the top of my head! Hope this uncovers stuff > I have never heard of (usually the case). > Songs containing some of my favorite 1960s basslines would include: > Amphetamine Gazelle (Mad River) > A Question Of Temperature (Balloon Farm) > Aztec (Bo Diddley) > Bassism (Sun Ra) > Coming Down (United States Of America) > Dark Side Of The Mushroom (Chocolate Watch Band) > Earthquake (Thirteenth Floor Elevators) > Eight Miles High (Byrds) > Electricity (Captain Beefheart And His Magic Band) > Eskimo Blue Day (Jefferson Airplane) > Five To One (Doors) > Frenzy (Fugs) > Good Vibrations (Beach Boys) > Greasy Heart (Jefferson Airplane) > He (Moby Grape) > Hot Smoke And Sassafras (Bubble Puppy) > Hungry (Paul Revere And The Raiders) > If Six Was Nine (Jimi Hendrix) > I Had Too Much To Dream (Electric Prunes) > I’m Waiting For The Man (Velvet Underground) > In-A-Gadda-Da-Vida (Iron Butterfly) > I Think We’re Alone Now (Tommy James And The Shondells) > I Wanna Be Your Dog (Stooges) > Journey To The Center Of The Mind (Amboy Dukes) > Just Dropped In (First Edition) > Just Like Me (Paul Revere And The Raiders) > Let’s Live For Today (Grass Roots) > Mechanical World (Spirit) > Mister Soul (Buffalo Springfield) > Not To Touch The Earth (Doors) > Nuthin’ Yet (Blues Magoos) > Purple Haze (Jimi Hendrix) > Pushin’ Too Hard (Seeds) > Revelation Revolution (Lovin’ Spoonful) > Seven And Seven Is (Love) > Shaman’s Blues (Doors) > Shape Of Things To Come (Max Frost And The Troopers) > She’s My Girl (Turtles) > Some Velvet Morning (Vanilla Fudge) > Starship (MC5) > Talk Talk (Music Machine) > Third Stone From The Sun (Jimi Hendrix) > Time Has Come Today (Chambers Brothers) > Time Won’t Let Me (Outsiders) > Valleri (Monkees) > White Rabbit (Jefferson Airplane) > Who Are The Brain Police (Mothers Of Invention) > You’re Lost Little Girl (Doors) > — > TODD TAMANEND CLARK > Poet/Composer/Multi-Instrumentalist/Cultural Historian > Now Available: "OWLS IN OBSIDIAN" on compact disc from > Primal Pulse Records, PO Box 98, Greensboro PA 15338
Since nobody has given my man the space yet, Rock Steady(Aretha + Chuck Rainey) and pardon my slight, Son of a Preacher Man(a song that’s always in my groove, but the names always escape me) -rob
– Hide quoted text — Show quoted text -> Good list. May I add: > It’s the Same Old Song (4 Tops, James Jamerson, Bass) > Time is Tight (Booker T & the MG’s, Donald "Duck" Dunn, Bass) > Crossroads (Cream, Jack Bruce, Bass) > Heartbreaker (Led Zep, John Paul Jones, Bass) > Take Me For a Little While (Vanilla Fudge, Tim Bogert, Bass) > Just off the top of my head > Dave > > People on this NG seem to love voicing their opinions so > > why not offer yet another opportunity? This one I’ve tried > > to make a little different by getting away from the > > competitive aspects of those I’ve so far contributed to. > > This one has nothing to do with who’s the best at anything. > > Being a gifted home-bound bass player I thought I’d see what > > other music fans found to be their favourite bass lines. > > Totally off the top of my head! Hope this uncovers stuff > > I have never heard of (usually the case). > Songs containing some of my favorite 1960s basslines would include: > Amphetamine Gazelle (Mad River) > A Question Of Temperature (Balloon Farm) > Aztec (Bo Diddley) > Bassism (Sun Ra) > Coming Down (United States Of America) > Dark Side Of The Mushroom (Chocolate Watch Band) > Earthquake (Thirteenth Floor Elevators) > Eight Miles High (Byrds) > Electricity (Captain Beefheart And His Magic Band) > Eskimo Blue Day (Jefferson Airplane) > Five To One (Doors) > Frenzy (Fugs) > Good Vibrations (Beach Boys) > Greasy Heart (Jefferson Airplane) > He (Moby Grape) > Hot Smoke And Sassafras (Bubble Puppy) > Hungry (Paul Revere And The Raiders) > If Six Was Nine (Jimi Hendrix) > I Had Too Much To Dream (Electric Prunes) > I’m Waiting For The Man (Velvet Underground) > In-A-Gadda-Da-Vida (Iron Butterfly) > I Think We’re Alone Now (Tommy James And The Shondells) > I Wanna Be Your Dog (Stooges) > Journey To The Center Of The Mind (Amboy Dukes) > Just Dropped In (First Edition) > Just Like Me (Paul Revere And The Raiders) > Let’s Live For Today (Grass Roots) > Mechanical World (Spirit) > Mister Soul (Buffalo Springfield) > Not To Touch The Earth (Doors) > Nuthin’ Yet (Blues Magoos) > Purple Haze (Jimi Hendrix) > Pushin’ Too Hard (Seeds) > Revelation Revolution (Lovin’ Spoonful) > Seven And Seven Is (Love) > Shaman’s Blues (Doors) > Shape Of Things To Come (Max Frost And The Troopers) > She’s My Girl (Turtles) > Some Velvet Morning (Vanilla Fudge) > Starship (MC5) > Talk Talk (Music Machine) > Third Stone From The Sun (Jimi Hendrix) > Time Has Come Today (Chambers Brothers) > Time Won’t Let Me (Outsiders) > Valleri (Monkees) > White Rabbit (Jefferson Airplane) > Who Are The Brain Police (Mothers Of Invention) > You’re Lost Little Girl (Doors) > — > TODD TAMANEND CLARK > Poet/Composer/Multi-Instrumentalist/Cultural Historian > Now Available: "OWLS IN OBSIDIAN" on compact disc from > Primal Pulse Records, PO Box 98, Greensboro PA 15338
"Oh, Darling!" – Beatles – Hide quoted text — Show quoted text -> People on this NG seem to love voicing their opinions so > why not offer yet another opportunity? This one I’ve tried > to make a little different by getting away from the > competitive aspects of those I’ve so far contributed to. > This one has nothing to do with who’s the best at anything. > Being a gifted home-bound bass player I thought I’d see what > other music fans found to be their favourite bass lines. > Totally off the top of my head! Hope this uncovers stuff > I have never heard of (usually the case). >Songs containing some of my favorite 1960s basslines would include: >Amphetamine Gazelle (Mad River) >A Question Of Temperature (Balloon Farm) >Aztec (Bo Diddley) >Bassism (Sun Ra) >Coming Down (United States Of America) >Dark Side Of The Mushroom (Chocolate Watch Band) >Earthquake (Thirteenth Floor Elevators) >Eight Miles High (Byrds) >Electricity (Captain Beefheart And His Magic Band) >Eskimo Blue Day (Jefferson Airplane) >Five To One (Doors) >Frenzy (Fugs) >Good Vibrations (Beach Boys) >Greasy Heart (Jefferson Airplane) >He (Moby Grape) >Hot Smoke And Sassafras (Bubble Puppy) >Hungry (Paul Revere And The Raiders) >If Six Was Nine (Jimi Hendrix) >I Had Too Much To Dream (Electric Prunes) >I’m Waiting For The Man (Velvet Underground) >In-A-Gadda-Da-Vida (Iron Butterfly) >I Think We’re Alone Now (Tommy James And The Shondells) >I Wanna Be Your Dog (Stooges) >Journey To The Center Of The Mind (Amboy Dukes) >Just Dropped In (First Edition) >Just Like Me (Paul Revere And The Raiders) >Let’s Live For Today (Grass Roots) >Mechanical World (Spirit) >Mister Soul (Buffalo Springfield) >Not To Touch The Earth (Doors) >Nuthin’ Yet (Blues Magoos) >Purple Haze (Jimi Hendrix) >Pushin’ Too Hard (Seeds) >Revelation Revolution (Lovin’ Spoonful) >Seven And Seven Is (Love) >Shaman’s Blues (Doors) >Shape Of Things To Come (Max Frost And The Troopers) >She’s My Girl (Turtles) >Some Velvet Morning (Vanilla Fudge) >Starship (MC5) >Talk Talk (Music Machine) >Third Stone From The Sun (Jimi Hendrix) >Time Has Come Today (Chambers Brothers) >Time Won’t Let Me (Outsiders) >Valleri (Monkees) >White Rabbit (Jefferson Airplane) >Who Are The Brain Police (Mothers Of Invention) >You’re Lost Little Girl (Doors)
"*** Wastin’ Away Again In Margarittaville ***"
Beatles – "She Came In Through the Bathroom Window" (just barely ’60s)
"Groovy Situation" by Gene Chandler
"The Consul at Sunset" – Jack Bruce All of Sgt Pepper’s LHB
> All of Sgt Pepper’s LHB
IMHO Rubber Soul is the best Beatles album for basslines. For some reason old Macca was given a greater prominence in the final mix than on previous albums, and to good effect. Bluesy, but with the odd unexpected twist adding an edge to the songs. BTN
Hey….how ’bout "Memphis" by Johnny Rivers….so simple..even I was able to decipher it….and if’n ya’ want some good swamp-bottom bass, check out "Chain of Fools" by Aretha….oh yeah..can’t leave out Tony Joe White’s "Polk Salad Annie"…. H.I.B. Archives Dept. Hawkeye
> Son of a Preacher Man(a song that’s always in my groove, but the names > always escape me) > -rob
Dusty Springfield, w/ Tommy Cogbill on bass (who is also heard on Aretha’s "Respect").
> Since nobody has given my man the space yet, > Rock Steady(Aretha + Chuck Rainey) > and pardon my slight, > Son of a Preacher Man(a song that’s always in my groove, but the names > always escape me) > -rob
Preacher,,,, Dusty Springfield sang it,,, I am not sure who layed down the bass.
Tommy Cogbill. Brad – Hide quoted text — Show quoted text -> Since nobody has given my man the space yet, > Rock Steady(Aretha + Chuck Rainey) > and pardon my slight, > Son of a Preacher Man(a song that’s always in my groove, but the names > always escape me) > -rob >Preacher,,,, Dusty Springfield sang it,,, I am not sure who layed down the >bass.
I listened to Revolver the other day. I was reminded how much I like the bass line in "Tell Me Why". Rusty
- Hide quoted text — Show quoted text – > << I listened to Revolver the other day. I was reminded how much I like the > bass line in "Tell Me Why". >> > Pretty good trick, since "Tell Me Why" is on the "Hard Day’s Night" album! > But I agree, it has a great bassline. And it’s also a great song. I about lost > it when I read Ian (whose opinions I usually respect) dismiss "Tell Me Why" so > harshly in the "Beatles most disposable songs" thread. > In addition to the bass, it has great drumming, a superb Lennon vocal, some of > The Beatles’ richest harmonies ever, and an overall energy that’s seldom > matched in The Beatles’ canon. I just can’t imagine how it could fail to reach > someone.
Is my face red. You are so right. I was listening to "A Hard Day’s Night". It must be the generic ibuprofen talking. However, I listened to "Revolver" as well, really I did!!
>It’s The Same Old Song
That’s the first song i ever tried playing on bass. It’s an easy one. Still sounds good though.
check that – it was Tears Of A Clown i learned first. but, Same Old Song was right behind.
how bout funky broadway by WP.. Jerry Jemmott groovin…
I thought that was Tommy Cogbill <sp?> Aloha, Jerry
I Want You Back – Jackson 5 (bass played by James Jamerson) See Emily Play – The Pink Floyd 1969 – The Stooges Sympathy For The Devil (bass played by Keith Richards) Led Zeppelin – The Lemon Song Jimi Hendrix Experince – All Along The Watchtower (bass played by Jimi Hendrix) If anyone has named any of these songs already my apologies
Even though I’m probably sharing my opinion with a lot of other folks, I gotta put my vote in for Jack Bruce’s lines in Cream’s "Crossroads." Not to take away from other Cream songs though… Joe. – Hide quoted text — Show quoted text – > "Groovy Situation" by Gene Chandler
Here’s another one that’s pretty dang cool: "Weatherman" by The Rainy Daze Kind of a "Taxman" rip off but the bass part kicks all kinds of booty!!!!
>I Want You Back – Jackson 5 (bass played by James Jamerson)
Ugh….Err….Me thinks Wilton Felder was responsible for this all-time most recognizable bass line….. Hawkeye
My man Hawk…keepin’ it real :^) Brad – Hide quoted text — Show quoted text ->I Want You Back – Jackson 5 (bass played by James Jamerson) >Ugh….Err….Me thinks Wilton Felder was responsible for this all-time most >recognizable bass line….. >Hawkeye
> People on this NG seem to love voicing their opinions so > why not offer yet another opportunity? This one I’ve tried > to make a little different by getting away from the > competitive aspects of those I’ve so far contributed to. > This one has nothing to do with who’s the best at anything. > Being a gifted home-bound bass player I thought I’d see what > other music fans found to be their favourite bass lines. > Totally off the top of my head! Hope this uncovers stuff > I have never heard of (usually the case).
Songs containing some of my favorite 1960s basslines would include: Amphetamine Gazelle (Mad River) A Question Of Temperature (Balloon Farm) Aztec (Bo Diddley) Bassism (Sun Ra) Coming Down (United States Of America) Dark Side Of The Mushroom (Chocolate Watch Band) Earthquake (Thirteenth Floor Elevators) Eight Miles High (Byrds) Electricity (Captain Beefheart And His Magic Band) Eskimo Blue Day (Jefferson Airplane) Five To One (Doors) Frenzy (Fugs) Good Vibrations (Beach Boys) Greasy Heart (Jefferson Airplane) He (Moby Grape) Hot Smoke And Sassafras (Bubble Puppy) Hungry (Paul Revere And The Raiders) If Six Was Nine (Jimi Hendrix) I Had Too Much To Dream (Electric Prunes) I’m Waiting For The Man (Velvet Underground) In-A-Gadda-Da-Vida (Iron Butterfly) I Think We’re Alone Now (Tommy James And The Shondells) I Wanna Be Your Dog (Stooges) Journey To The Center Of The Mind (Amboy Dukes) Just Dropped In (First Edition) Just Like Me (Paul Revere And The Raiders) Let’s Live For Today (Grass Roots) Mechanical World (Spirit) Mister Soul (Buffalo Springfield) Not To Touch The Earth (Doors) Nuthin’ Yet (Blues Magoos) Purple Haze (Jimi Hendrix) Pushin’ Too Hard (Seeds) Revelation Revolution (Lovin’ Spoonful) Seven And Seven Is (Love) Shaman’s Blues (Doors) Shape Of Things To Come (Max Frost And The Troopers) She’s My Girl (Turtles) Some Velvet Morning (Vanilla Fudge) Starship (MC5) Talk Talk (Music Machine) Third Stone From The Sun (Jimi Hendrix) Time Has Come Today (Chambers Brothers) Time Won’t Let Me (Outsiders) Valleri (Monkees) White Rabbit (Jefferson Airplane) Who Are The Brain Police (Mothers Of Invention) You’re Lost Little Girl (Doors) — TODD TAMANEND CLARK Poet/Composer/Multi-Instrumentalist/Cultural Historian Now Available: "OWLS IN OBSIDIAN" on compact disc from Primal Pulse Records, PO Box 98, Greensboro PA 15338
Remember Rick Nelson’s "Summertime"? The bass line was so good that Deep Purple ripped it off and used it as the underlying riff in "Black Night" (or was it ‘Knight’!). cheers Chas – Hide quoted text — Show quoted text – > Songs containing some of my favorite 1960s basslines would include: > Amphetamine Gazelle (Mad River) > A Question Of Temperature (Balloon Farm) > Aztec (Bo Diddley) > Bassism (Sun Ra) > Coming Down (United States Of America) > Dark Side Of The Mushroom (Chocolate Watch Band) > Earthquake (Thirteenth Floor Elevators) > Eight Miles High (Byrds) > Electricity (Captain Beefheart And His Magic Band) > Eskimo Blue Day (Jefferson Airplane) > Five To One (Doors) > Frenzy (Fugs) > Good Vibrations (Beach Boys) > Greasy Heart (Jefferson Airplane) > He (Moby Grape) > Hot Smoke And Sassafras (Bubble Puppy) > Hungry (Paul Revere And The Raiders) > If Six Was Nine (Jimi Hendrix) > I Had Too Much To Dream (Electric Prunes) > I’m Waiting For The Man (Velvet Underground) > In-A-Gadda-Da-Vida (Iron Butterfly) > I Think We’re Alone Now (Tommy James And The Shondells) > I Wanna Be Your Dog (Stooges) > Journey To The Center Of The Mind (Amboy Dukes) > Just Dropped In (First Edition) > Just Like Me (Paul Revere And The Raiders) > Let’s Live For Today (Grass Roots) > Mechanical World (Spirit) > Mister Soul (Buffalo Springfield) > Not To Touch The Earth (Doors) > Nuthin’ Yet (Blues Magoos) > Purple Haze (Jimi Hendrix) > Pushin’ Too Hard (Seeds) > Revelation Revolution (Lovin’ Spoonful) > Seven And Seven Is (Love) > Shaman’s Blues (Doors) > Shape Of Things To Come (Max Frost And The Troopers) > She’s My Girl (Turtles) > Some Velvet Morning (Vanilla Fudge) > Starship (MC5) > Talk Talk (Music Machine) > Third Stone From The Sun (Jimi Hendrix) > Time Has Come Today (Chambers Brothers) > Time Won’t Let Me (Outsiders) > Valleri (Monkees) > White Rabbit (Jefferson Airplane) > Who Are The Brain Police (Mothers Of Invention) > You’re Lost Little Girl (Doors) > — > TODD TAMANEND CLARK > Poet/Composer/Multi-Instrumentalist/Cultural Historian > Now Available: "OWLS IN OBSIDIAN" on compact disc from > Primal Pulse Records, PO Box 98, Greensboro PA 15338
I was wondering if anyone here played at loud enough volumes where hearing protection was required. Please share what kind of ear plugs you are using. I have a foam type that seems to irritate my ears and was hoping there was something better. You guys ever gig with hearing protection or do you find that your stage volumes aren’t that high?
>I was wondering if anyone here played at loud enough volumes where hearing >protection was required. Please share what kind of ear plugs you are using. >I have a foam type that seems to irritate my ears and was hoping there was >something better. >You guys ever gig with hearing protection or do you find that your stage >volumes aren’t that high?
Hmmm I get mine at work, take a tour of a nearby factory of some sort, chances are you’ll be required to wear a disposable earplug of one type ot another…. we have several, foam, rubber, even a feathery type…… C’ya Steve http://www.onlinerock.com/musicians/zaghost/ ICQ 3839381 Running Intel Free
> I was wondering if anyone here played at loud enough volumes where hearing > protection was required. Please share what kind of ear plugs you are using. > I have a foam type that seems to irritate my ears and was hoping there was > something better. > You guys ever gig with hearing protection or do you find that your stage > volumes aren’t that high?
Industrial supply places should/will have headset-type hearing protectors. I have a pair from when I used to work at a steel mill 20 some odd years ago. They still work great – I can stand almost next to the stage (but clear of the mosh pit) at a Rollins Band gig and still hear the music clearly, but not get ear ringing. Another place to get headset-type hearing protectors is at a sporting goods store that has firearm supplies (in other words, not your typical Sports Authority). These are active headsets (they have electronics). Most have volume controls, some for each ear. Yes, they do hear in stereo. Allows one to hear normal speech, but will muffle (but not totally block out) gun shots, which sound level wise are on a par with sound levels coming from a stage. — JackN2MPU Modeling the NYC and NYNH&H in HO and CPRail and D&H in N Proud NRA member
> I was wondering if anyone here played at loud enough volumes where hearing > protection was required. Please share what kind of ear plugs you are > using. > I have a foam type that seems to irritate my ears and was hoping there was > something better. > You guys ever gig with hearing protection or do you find that your stage > volumes aren’t that high?
I do. I have to. I lost some of my hearing and developed tinnitus from playing with some shitheads a while back who refused to play at reasonable levels. Now, while it subsides if I don’t listen to very loud music, anything louder than "moderate" levels triggers it and it really sucks, let me tell you. I use the E.A.R. plugs, the roll up yellow foam jobs. I hate them, but I use them if I thinks it’s gonna get loud. Really distorts your perspective when it comes to singing, because all you hear is "head" sound through your cranium. So I’ll take one out at times, just to be able to sing. The best bet is to use common sense when you set the levels on your amp. If the band won’t come down, you have two choices – use your earplugs or QUIT the band. Nothing is worth losing your hearing for, nevermind some jam or gig in a bar full of drunks. That you can go deaf is no exageration and it sure ain’t a pretty prospect. – Kent Pearson
> I have the $130 custom plugs, but I prefer the silicon. Much better than > the foam tampons too.
I wanna hear more about these $130 ear plugs! Are you serious? (Not that you can put a dollar value on your hearing, but…) – Kent Pearson
> The custom plugs are available from an audiologist and are custom fit > to your ear – which is why they cost that much. > Still, it’s peanuts compared to having your ears fucked up from the > sound pressure levels
Interesting. And yes, you’re absolutely right. – Kent Pearson
> Where are you guys playing that you need ear protection. If it’s that loud > on stage it’s louder in the audience.
Outside, for one. Some big rooms, some small ones. >Does everybody in the audience need > ear protection too?
One might think so. Yet I see people sit at tables directly in front of the PA bins and dance right in front of the stage with no obvious discomfort. And when you ask them if it’s too loud, the answer is often times "Turn it up!" > Just turn it down and get a good stage volume, and turn the PA up only as > loud as the place needs.
That’s too sensible. Unfortunately, too often you get band members who are unwilling to cooperate, who complain that they can’t hear themselves while they deafen the rest of the band. The obvious answer is that if it’s not working, make a change. But what about the one gig that they blasted your ears to hell? It doesn’t take all that much to do permanent damage. I used to say the same thing, but now I NEVER play out without at least having my plugs within easy reach if I need them. Better safe than stupid I’ve learned. – Kent Pearson
Absolutely. Cymbals are a killer, and probably why I’m deafer in one ear than the other. – Kent Pearson – Hide quoted text — Show quoted text -> I’m not necessarily talking about my amp. Stand right next to the drum > kit for any length of time. The crash and ride cymbals can do just as > much damage over time as a raging stack. I should also have mentioned > that frequency of sound can have the same impact as volume.
Good post… I’ve played MANY times in bands, sessions, or shows that required ear plugs. I’ve had them in my gig bag for a while. I can usually tell from the first set (song) if it’s going to get loud. I don’t like them but use them. gtski – Hide quoted text — Show quoted text -> I was wondering if anyone here played at loud enough volumes where hearing > protection was required. Please share what kind of ear plugs you are > using. > I have a foam type that seems to irritate my ears and was hoping there was > something better. > You guys ever gig with hearing protection or do you find that your stage > volumes aren’t that high? >I do. I have to. I lost some of my hearing and developed tinnitus from >playing with some shitheads a while back who refused to play at reasonable >levels. Now, while it subsides if I don’t listen to very loud music, >anything louder than "moderate" levels triggers it and it really sucks, let >me tell you. >I use the E.A.R. plugs, the roll up yellow foam jobs. I hate them, but I >use them if I thinks it’s gonna get loud. Really distorts your perspective >when it comes to singing, because all you hear is "head" sound through your >cranium. So I’ll take one out at times, just to be able to sing. >The best bet is to use common sense when you set the levels on your amp. If >the band won’t come down, you have two choices – use your earplugs or QUIT >the band. Nothing is worth losing your hearing for, nevermind some jam or >gig in a bar full of drunks. That you can go deaf is no exageration and it >sure ain’t a pretty prospect. >- Kent Pearson
I use Mack’s Earwax silicon plugs. You can get them at WalMart or any drugstore. Each blob will make two plugs and you can still sing with them in. I have the $130 custom plugs, but I prefer the silicon. Much better than the foam tampons too. Kevin – Hide quoted text — Show quoted text – > Good post… > I’ve played MANY times in bands, sessions, or shows that required ear plugs. > I’ve had them in my gig bag for a while. I can usually tell from the first > set (song) if it’s going to get loud. I don’t like them but use them. > gtski >> I was wondering if anyone here played at loud enough volumes where > hearing >> protection was required. Please share what kind of ear plugs you are >> using. >> I have a foam type that seems to irritate my ears and was hoping there > was >> something better. >> You guys ever gig with hearing protection or do you find that your stage >> volumes aren’t that high? >I do. I have to. I lost some of my hearing and developed tinnitus from >playing with some shitheads a while back who refused to play at reasonable >levels. Now, while it subsides if I don’t listen to very loud music, >anything louder than "moderate" levels triggers it and it really sucks, let >me tell you. >I use the E.A.R. plugs, the roll up yellow foam jobs. I hate them, but I >use them if I thinks it’s gonna get loud. Really distorts your perspective >when it comes to singing, because all you hear is "head" sound through your >cranium. So I’ll take one out at times, just to be able to sing. >The best bet is to use common sense when you set the levels on your amp. > If >the band won’t come down, you have two choices – use your earplugs or QUIT >the band. Nothing is worth losing your hearing for, nevermind some jam or >gig in a bar full of drunks. That you can go deaf is no exageration and it >sure ain’t a pretty prospect. >- Kent Pearson
>> I have the $130 custom plugs, but I prefer the silicon. Much better than > the foam tampons too. >I wanna hear more about these $130 ear plugs! Are you serious? (Not that >you can put a dollar value on your hearing, but…)
The custom plugs are available from an audiologist and are custom fit to your ear – which is why they cost that much. Still, it’s peanuts compared to having your ears fucked up from the sound pressure levels Random Alias
Where are you guys playing that you need ear protection. If it’s that loud on stage it’s louder in the audience. Does everybody in the audience need ear protection too? Just turn it down and get a good stage volume, and turn the PA up only as loud as the place needs. TT
– Hide quoted text — Show quoted text ->> I have the $130 custom plugs, but I prefer the silicon. Much better than >> the foam tampons too. >I wanna hear more about these $130 ear plugs! Are you serious? (Not that >you can put a dollar value on your hearing, but…) > The custom plugs are available from an audiologist and are custom fit > to your ear – which is why they cost that much. > Still, it’s peanuts compared to having your ears fucked up from the > sound pressure levels > Random Alias
Cheap hearing saver tip… use cigarette butts! Use fresh (unsmoked ones) if you can get ‘em… bum two cigarettes, pluck off the nasty tobacco part, and insert (twisting gently) the *mouth* end of the filter in the ear canal. Saved my hearing more than once… sometimes the best seats are near the PA stack. __ Steve .
>Cheap hearing saver tip… use cigarette butts! >Use fresh (unsmoked ones) if you can get ‘em… bum >two cigarettes, pluck off the nasty tobacco part, and >insert (twisting gently) the *mouth* end of the filter >in the ear canal. Saved my hearing more than once… >sometimes the best seats are near the PA stack. >__ >Steve
Paper towels from the restroom. Roll them up, dampen slightly with water (really cuts the SPL when a bit wet) and put them in your ears. — Dr. Nuketopia Spam filtering is off. AO-Hell catches most of it now.
I’m not necessarily talking about my amp. Stand right next to the drum kit for any length of time. The crash and ride cymbals can do just as much damage over time as a raging stack. I should also have mentioned that frequency of sound can have the same impact as volume. >Where are you guys playing that you need ear protection. If it’s that loud >on stage it’s louder in the audience. Does everybody in the audience need >ear protection too? >Just turn it down and get a good stage volume, and turn the PA up only as >loud as the place needs. >TT
Random Alias
> Absolutely. Cymbals are a killer, and probably why I’m deafer in one ear > than the other.
Huh? Pardon me?
>Absolutely. Cymbals are a killer, and probably why I’m deafer in one ear >than the other.
The only discomfort I’ve had in recent years is from the first whack on the snare and the first cymbal hit on a small stage. Yeah, I’m on stage left. May resort to a plug in the right ear. Ron
Kent Pearson SAID, That’s too sensible. Unfortunately, too often you get band members who are > unwilling to cooperate, who complain that they can’t hear themselves while > they deafen the rest of the band.
Yeah, I used to play with THOSE guys. TT – Hide quoted text — Show quoted text -> Where are you guys playing that you need ear protection. If it’s that loud > on stage it’s louder in the audience. > Outside, for one. Some big rooms, some small ones. >Does everybody in the audience need > ear protection too? > One might think so. Yet I see people sit at tables directly in front of the > PA bins and dance right in front of the stage with no obvious discomfort. > And when you ask them if it’s too loud, the answer is often times "Turn it > up!" > Just turn it down and get a good stage volume, and turn the PA up only as > loud as the place needs. > That’s too sensible. Unfortunately, too often you get band members who are > unwilling to cooperate, who complain that they can’t hear themselves while > they deafen the rest of the band. The obvious answer is that if it’s not > working, make a change. But what about the one gig that they blasted your > ears to hell? It doesn’t take all that much to do permanent damage. I used > to say the same thing, but now I NEVER play out without at least having my > plugs within easy reach if I need them. Better safe than stupid I’ve > learned. > – Kent Pearson
Kent Pearson SAID, >That’s too sensible. Unfortunately, too often you get band members who are > unwilling to cooperate, who complain that they can’t hear themselves while > they deafen the rest of the band.
The guitars in my band all run through combos (Marshall 4104 & Boogie DC-5), but we both use extension cabs. More to get the sound up near the player than for any other reason. Makes it a lot easier to get a stage balance at a reasonable volume if the guitars aren’t blowing past your ankles. I like the Zappa rule, "you can use any amp you want, as loud as you want, just so long as it is pointed at _your_ head." Ron
I like the Zappa rule, "you can use any amp you want, as loud as you > want, just so long as it is pointed at _your_ head." > Ron
And some called him a freak.,,, That Frank Zappa fella sure knew his shit. TT
– Hide quoted text — Show quoted text -> Kent Pearson SAID, >That’s too sensible. Unfortunately, too often you get band members who are > unwilling to cooperate, who complain that they can’t hear themselves while > they deafen the rest of the band. > The guitars in my band all run through combos (Marshall 4104 & Boogie > DC-5), but we both use extension cabs. More to get the sound up near > the player than for any other reason. Makes it a lot easier to get a > stage balance at a reasonable volume if the guitars aren’t blowing > past your ankles. > I like the Zappa rule, "you can use any amp you want, as loud as you > want, just so long as it is pointed at _your_ head." > Ron
> Deep Purple! Does anyone remember them doing a song called "Hush"?
Yeah, the first album with Rod Evans on vocals, covering the Joe South song. – KP
Deep Purple! Does anyone remember them doing a song called "Hush"? Much cooler that "Smoke on the water". Pete – Hide quoted text — Show quoted text – > i once went to a deep purple concert !!! about 25 ft. from a bank of speakers, > good clean sound , standing on seat-jacket between legs & every time > the drummer hit kick the jacket would move. that was in early 90’s ears still > ring > use ear plugs when needed. smarter now!!!! > Kent Pearson SAID, > That’s too sensible. Unfortunately, too often you get band members who are > > unwilling to cooperate, who complain that they can’t hear themselves while > > they deafen the rest of the band. > Yeah, I used to play with THOSE guys. > TT > > > Where are you guys playing that you need ear protection. If it’s that > loud > > > on stage it’s louder in the audience. > > Outside, for one. Some big rooms, some small ones. > > >Does everybody in the audience need > > > ear protection too? > > One might think so. Yet I see people sit at tables directly in front of > the > > PA bins and dance right in front of the stage with no obvious discomfort. > > And when you ask them if it’s too loud, the answer is often times "Turn it > > up!" > > > Just turn it down and get a good stage volume, and turn the PA up only > as > > > loud as the place needs. > > That’s too sensible. Unfortunately, too often you get band members who > are > > unwilling to cooperate, who complain that they can’t hear themselves while > > they deafen the rest of the band. The obvious answer is that if it’s not > > working, make a change. But what about the one gig that they blasted your > > ears to hell? It doesn’t take all that much to do permanent damage. I > used > > to say the same thing, but now I NEVER play out without at least having my > > plugs within easy reach if I need them. Better safe than stupid I’ve > > learned. > > – Kent Pearson
– Of course I can talk, I’m a monster, not a mime –Whackhammer
i once went to a deep purple concert !!! about 25 ft. from a bank of speakers, good clean sound , standing on seat-jacket between legs & every time the drummer hit kick the jacket would move. that was in early 90’s ears still ring use ear plugs when needed. smarter now!!!! – Hide quoted text — Show quoted text – > Kent Pearson SAID, > That’s too sensible. Unfortunately, too often you get band members who are > unwilling to cooperate, who complain that they can’t hear themselves while > they deafen the rest of the band. > Yeah, I used to play with THOSE guys. > TT > > Where are you guys playing that you need ear protection. If it’s that > loud > > on stage it’s louder in the audience. > Outside, for one. Some big rooms, some small ones. > >Does everybody in the audience need > > ear protection too? > One might think so. Yet I see people sit at tables directly in front of > the > PA bins and dance right in front of the stage with no obvious discomfort. > And when you ask them if it’s too loud, the answer is often times "Turn it > up!" > > Just turn it down and get a good stage volume, and turn the PA up only > as > > loud as the place needs. > That’s too sensible. Unfortunately, too often you get band members who > are > unwilling to cooperate, who complain that they can’t hear themselves while > they deafen the rest of the band. The obvious answer is that if it’s not > working, make a change. But what about the one gig that they blasted your > ears to hell? It doesn’t take all that much to do permanent damage. I > used > to say the same thing, but now I NEVER play out without at least having my > plugs within easy reach if I need them. Better safe than stupid I’ve > learned. > – Kent Pearson
Is 1999 the first year models for the newest Accord body styles? What are some of the differences between the 1999 and 2000 model Accords?? What’s the easiest way to tell them apart on the road? Micahel M.
>Is 1999 the first year models for the newest Accord body styles? What >are some of the differences between the 1999 and 2000 model Accords?? >What’s the easiest way to tell them apart on the road? >Micahel M.
Their are no differences that you can tell by looking at them from what I know as far as the coupe is concerned. I know one difference is that the 2000 has a different fuel delivery system, but that’s the only difference I am aware of
: Is 1999 the first year models for the newest Accord body styles? What : are some of the differences between the 1999 and 2000 model Accords?? : What’s the easiest way to tell them apart on the road? The Gen6 Accords began with model year 1998. One major difference between the 99 and 00 Accords are that side airbags are now available. On the road, they are pretty much the same. One easy way for a few of the cars is their color. For 98-99, Honda sold the Accord with the color "Heather Mist" (it was a very light beige) and was very popular. This color was replaced with a horrendously ugly, gold color called "Naples Gold".
Thanks for the info. My 2000 EX Sedan has 3 attach points for child safety seats behind the back seats, under the back window. These are pretty visible from the road. Are these on all 2000 Accords? Do they exist on the ’98s or ’99s? – Hide quoted text — Show quoted text -> The Gen6 Accords began with model year 1998. > One major difference between the 99 and 00 Accords are that side airbags are > now available. > On the road, they are pretty much the same. One easy way for a few of the > cars is their color. For 98-99, Honda sold the Accord with the color > "Heather Mist" (it was a very light beige) and was very popular. This color > was replaced with a horrendously ugly, gold color called "Naples Gold".
They also discontinued Black Currant Pearl (deep purple) in 99 i think. That’s disappointing — when I bought my 98 EX, they said they couldn’t keep that color in stock, and it originally came out with the 25th Anniversary model (96???). Pretty color on the Accord, and my second fav was the Heather Mist. Oh well. Also, my 98 doesn’t have side airbags nor child safety seat attach points. And, I can’t see a lot of difference in the 99/00 from my 98 from the outside. The 00 seems to have a very slightly different angling in the back (lights/trunk angles), but the basic design’s the same. This is equivalent of the minute changes in the 5th generation Accords, which I also noticed mainly in the rear of the cars. BTW, Honda changes body styles every 4 years now, and as conANDave stated, Accords are in their 6th generation. Michael Stringer 98 Accord EX 64,000 miles (and taking it beautifully)
– Hide quoted text — Show quoted text – > : Is 1999 the first year models for the newest Accord body styles? What > : are some of the differences between the 1999 and 2000 model Accords?? > : What’s the easiest way to tell them apart on the road? > The Gen6 Accords began with model year 1998. > One major difference between the 99 and 00 Accords are that side airbags are > now available. > On the road, they are pretty much the same. One easy way for a few of the > cars is their color. For 98-99, Honda sold the Accord with the color > "Heather Mist" (it was a very light beige) and was very popular. This color > was replaced with a horrendously ugly, gold color called "Naples Gold".