Chris Squire's bass
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- squirebass
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I believe he has switched to large Ampeg Amplifiers since the early '90s... As for the early albums like The Yes Album, you can hear a lot of overdrive on his bass on several cuts, "Yours is no Disgrace" coming to mind first...I think Eddie Offord put him right up front in the mix and probably had a whole bag of tricks for producing that sound. The funny thing is, I'll bet if you listened to the master tapes from The Yes Album sessions and muted all the tracks except the bass, it would sound like ****! Its how it sits with the other tracks that makes it, I'd wager...
As for his recent tone, I really liked his tone on "Keys to Ascention"(sic) and Keys II, which were recorded live in San Luis Obisbo. And I am pretty darned sure he was using "the bass" on all of those tracks...
As for his recent tone, I really liked his tone on "Keys to Ascention"(sic) and Keys II, which were recorded live in San Luis Obisbo. And I am pretty darned sure he was using "the bass" on all of those tracks...
"This is the big one, Elizabeth, I'm coming to join ya, honey!"
I think part of the problem with Squire is that he gives different answers to the stock gear questions at different times.
Contrast that with Steve Howe, who can probably tell you exact EQ settings for each track.
As for the Rick, I've always thought, since 90125 era, that the growl and clang seemed to have lost some of it's teeth (I did think that it was his personal choice though - like maybe choosing to emphasize the neck pickup - as opposed to the instrument flaws due to age). As for examples, I go even further and compare the Yesssongs version of The Fish vs Whitefish - it's like night and day to me (I prefer the former by a long shot).
BTW - pictures of that 8 string would be fantastic!
Contrast that with Steve Howe, who can probably tell you exact EQ settings for each track. As for the Rick, I've always thought, since 90125 era, that the growl and clang seemed to have lost some of it's teeth (I did think that it was his personal choice though - like maybe choosing to emphasize the neck pickup - as opposed to the instrument flaws due to age). As for examples, I go even further and compare the Yesssongs version of The Fish vs Whitefish - it's like night and day to me (I prefer the former by a long shot).
BTW - pictures of that 8 string would be fantastic!

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jwr2
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jwr2
I have an article from the November 1994 edition of Bass Player which says, in part: "...his original, circa 1967 Rickenbacker 4001s, which (like all his basses) is wired stereo. 'By having a neck pickup output and a bridge pickup output, Chris can route each signal through different effects in his rack' [says Richard Davis, his tech].
After using Marshall amps for decades, Squire has switched to Ampeg for the current [1994] tour. His stage setup includes two SVT-ProII heads and two 8x10 SVT810E cabinets [on the right], and a third 8x10 cabinet driven by SVT300 power amp [on the left]." (The information in the brackets is my paraphrasing of the article.)The article then lists the effects he was using at the time.
On "Keys To Ascention", which was recorded in 1997 (?) I believe he was using the Marshall again.
After using Marshall amps for decades, Squire has switched to Ampeg for the current [1994] tour. His stage setup includes two SVT-ProII heads and two 8x10 SVT810E cabinets [on the right], and a third 8x10 cabinet driven by SVT300 power amp [on the left]." (The information in the brackets is my paraphrasing of the article.)The article then lists the effects he was using at the time.
On "Keys To Ascention", which was recorded in 1997 (?) I believe he was using the Marshall again.
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ken_swearingen
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mortivan
- squirebass
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