Quote: "You guys are living in the past, try getting into your average band with a bass that sounds like a hollow gritch-ping meatgrinder today, you'll get the door shown to you unless it's a 70's prog rock tribute band."
well I play a lot of modern rock with a distorted grinding sound and I was in a band where they loved it ... I use a nasty tone for everything I play ... blues, rock, modern rock, metal, classic rock, pop, power pop, ballads, Christian, progressive rock, nu-metal, alternative ... I find having a more specific Ric grinding tone gives my low B more definition and growl ... I sometimes get flak from the real retro pre-Beatles types ... but gee I really don't want to play with them anyway ...
Most of the time I get compliments on my tone ...
The funniest descriptions of the Rick bass sound.
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sabbath_of_bass
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"You guys are living in the past, try getting into your average band with a bass that sounds like a hollow gritch-ping meatgrinder today, you'll get the door shown to you unless it's a 70's prog rock tribute band."
Which is possibly one of the reasons why music today keeps getting ********: everyone has the idea that a bass should sound as anonymous as possible, and be two octaves below the three ultra-distorted detuned guitars, rendering it pretty much inaudible. And then have it play exactly the same beats as the kickdrum (or rather, play the kickdrum on every bass note), causing the bass to be pointless and redundant.
At school here, I have had nothing but incredibly positive responses from every musician I've jammed with, and only one of these people has had any remote interest in 70s prog rock at all, or even 70s hard rock beyond Black Sabbath and Led Zeppelin, both of which have bass sounds that I would describe as distinctly not Rickenbacker (P-bass and J-bass, I believe?). These are all people interested in playing folk, acoustic rock, dance rock, reggae/dub, and piano-rock a la Elton John and Ben Folds, and stuff like the Doors. They adore the aggressive grindy sound of my bass. If I want to soften it up, I just switch to the neck pickup and hit the strings with less force.
But yeah, maybe college students think differently, but everyone who has heard my bass loves it.
Also, I like the word "honk" and "grind" as descriptions for my ideal Ric tone. Also, though, I *love* McCartney's flats tone, that round "bwop" sound with just a teensy-weensy bit of Ric growl behind it. If I put flats on my Ric again, I want it to be distinct and up front, but still laid-back. Maybe something like Dee Murray or Ray Shulman's P-bass tone.
Which is possibly one of the reasons why music today keeps getting ********: everyone has the idea that a bass should sound as anonymous as possible, and be two octaves below the three ultra-distorted detuned guitars, rendering it pretty much inaudible. And then have it play exactly the same beats as the kickdrum (or rather, play the kickdrum on every bass note), causing the bass to be pointless and redundant.
At school here, I have had nothing but incredibly positive responses from every musician I've jammed with, and only one of these people has had any remote interest in 70s prog rock at all, or even 70s hard rock beyond Black Sabbath and Led Zeppelin, both of which have bass sounds that I would describe as distinctly not Rickenbacker (P-bass and J-bass, I believe?). These are all people interested in playing folk, acoustic rock, dance rock, reggae/dub, and piano-rock a la Elton John and Ben Folds, and stuff like the Doors. They adore the aggressive grindy sound of my bass. If I want to soften it up, I just switch to the neck pickup and hit the strings with less force.
But yeah, maybe college students think differently, but everyone who has heard my bass loves it.
Also, I like the word "honk" and "grind" as descriptions for my ideal Ric tone. Also, though, I *love* McCartney's flats tone, that round "bwop" sound with just a teensy-weensy bit of Ric growl behind it. If I put flats on my Ric again, I want it to be distinct and up front, but still laid-back. Maybe something like Dee Murray or Ray Shulman's P-bass tone.
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clankchris
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Quote: "You guys are living in the past, try getting into your average band with a bass that sounds like a hollow gritch-ping meatgrinder today, you'll get the door shown to you unless it's a 70's prog rock tribute band."
Quote: "Which is possibly one of the reasons why music today keeps getting ********: everyone has the idea that a bass should sound as anonymous as possible, and be two octaves below the three ultra-distorted detuned guitars, rendering it pretty much inaudible. And then have it play exactly the same beats as the kickdrum (or rather, play the kickdrum on every bass note), causing the bass to be pointless and redundant."
Listen to The Mars Volta's "Frances the Mute" album - it's one of the most progressive rock albums to come out in a long time.
In "Cassandra Gemini: A. Tarantism"(track
there is plenty of progressive, grinding, distorted P-bass goodness(plus a mammoth bass solo with fuzz and wah pedal that ends up sounding like a chainsaw
), and a gritty Ric would fit in there just fine too.
Omar Rodriguez'(guitarist and founder of MV) style has been compared to Robert Fripp's many a time, and they've been quoted as sounding like "Mexicans on Pink Floyd"(they are Spanish)
I hear elements of Crimson, Yes, Pink Floyd, Santana, and Zeppelin when I listen to them, and truly believe they swim in the same waters as these earlier pioneers.
Quote: "Which is possibly one of the reasons why music today keeps getting ********: everyone has the idea that a bass should sound as anonymous as possible, and be two octaves below the three ultra-distorted detuned guitars, rendering it pretty much inaudible. And then have it play exactly the same beats as the kickdrum (or rather, play the kickdrum on every bass note), causing the bass to be pointless and redundant."
Listen to The Mars Volta's "Frances the Mute" album - it's one of the most progressive rock albums to come out in a long time.
In "Cassandra Gemini: A. Tarantism"(track
there is plenty of progressive, grinding, distorted P-bass goodness(plus a mammoth bass solo with fuzz and wah pedal that ends up sounding like a chainsaw), and a gritty Ric would fit in there just fine too. Omar Rodriguez'(guitarist and founder of MV) style has been compared to Robert Fripp's many a time, and they've been quoted as sounding like "Mexicans on Pink Floyd"(they are Spanish)
I hear elements of Crimson, Yes, Pink Floyd, Santana, and Zeppelin when I listen to them, and truly believe they swim in the same waters as these earlier pioneers.
My girlfriend's dad is a guitarist and his hero is Hank Marvin,he loves Cliff Richard and stuff like that. He came round recently and I was playing my Rics; I played each one to him to show the difference between them and he said "that's a really nice bass sound" to each and every one. This bearing in mind I'm vaguely in Glover territory sound-wise, and he certainly isn't a fan of hard rock, prog rock, or any kind or rock really, with the possible exception of the Eagles. But some bands are funny about that sound; as I don't play in those sorts of bands it's not a problem for me.
A friend of mine has some great descriptions for Rics; he's described my 4000 as sounding like "bottles being thrown at a greenhouse", "slates being flung from a roof", "a 4001 that has stubbed its toe", or as "suffering from the bass version of Touret's"....
A friend of mine has some great descriptions for Rics; he's described my 4000 as sounding like "bottles being thrown at a greenhouse", "slates being flung from a roof", "a 4001 that has stubbed its toe", or as "suffering from the bass version of Touret's"....
"Be kind, for everyone you meet is fighting a hard battle."
"Listen to The Mars Volta's "Frances the Mute" album - it's one of the most progressive rock albums to come out in a long time."
Oh believe me, I am no stranger to the Mars Volta. I've been a fan since "De-Loused in the Comatorium" came out. Seen them in concert only once, but hope to see them many more times (my friends and I sang along to "l'Via l'Viaquez" and "Day of the Baphomets" on the way back from the concert). Omar Rodriguez-Lopez is my favorite guitarist ever, other than Steve Howe. There's always good music out there. It's just you have to search for it. I've only ever heard the Mars Volta on the radio once, and it was the single version of "The Widow", so yeah, that tells you how mainstream they are . . .
Juan Alderete has a great bass tone, no doubt about that.
Oh believe me, I am no stranger to the Mars Volta. I've been a fan since "De-Loused in the Comatorium" came out. Seen them in concert only once, but hope to see them many more times (my friends and I sang along to "l'Via l'Viaquez" and "Day of the Baphomets" on the way back from the concert). Omar Rodriguez-Lopez is my favorite guitarist ever, other than Steve Howe. There's always good music out there. It's just you have to search for it. I've only ever heard the Mars Volta on the radio once, and it was the single version of "The Widow", so yeah, that tells you how mainstream they are . . .
Juan Alderete has a great bass tone, no doubt about that.
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sloop_john_b
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Which is possibly one of the reasons why music today keeps getting ********: everyone has the idea that a bass should sound as anonymous as possible, and be two octaves below the three ultra-distorted detuned guitars, rendering it pretty much inaudible. And then have it play exactly the same beats as the kickdrum (or rather, play the kickdrum on every bass note), causing the bass to be pointless and redundant.
Is that what music is like today? Sounds like you're listening to the wrong stuff. "Everyone" has the idea that bass sould be anonymous?! It sounds like you need to open your mind to more than just heavy music.
You're about my age IIRC; The Beatles are my favorite band ever and there's plenty of new music I like (and plenty of it I don't), but I learned a long time ago that we can't complain about "new music sucking", because it's up to people like you and I to not make it suck.
I never strive for the Squire sound, although I love it. I hae accidentally come close a few times, usually from digging in really agressively and getting some clipping/distortion out of my rig.
And now that I'm a 4004 boy, it's even further from that "meatgrinder". But it's me!
And now that I'm a 4004 boy, it's even further from that "meatgrinder".
But it's me!Above e-mail is inactive. try ed_ardzinski@**** where **** is Hotmail.com or Yahoo.com. I tend to see things inthe hotmail box quicker...
Got you guys going huh, haha! I think they are very versatile which is why I play them. I agree with Morrow, with the same bass I can just about run the gamut of bass sound with a Ric bass with flats. I play right with the kick drum, gives the bands balls to say the least. I like the classic 4001 Ric/Rotosound sound also which Squire epitomizes but it's not a real practical sound today. I'm 53, if I were 23 and playing original rock I would probably use that sound or at least a very aggressive sound as I can still do it if need be but I play blues and mostly older rock and mellow originals now and love the thump sound now which Rics also excel at doing.
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sabbath_of_bass
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John, I think he just means the bands that al these kids are listening to (including me as a kid but not within this group) just suck. Maybe its just the olde man in my but i get really sick of hearing all these guitarist with their distortion, double bass (like riding a bike) on the drums, and not being able to hear the bass. Not that it matters because most of these musicians aren't playing much of anything worth listening too.
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rickenbrother
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"Deadwing album by Porcupine Tree."
Got that too; quite incredible. THAT is a bass sound that would fit in any environment. I believe Colin Edwin uses 5-string Wals, fretted and fretless. But yeah, the bass on that album is like the ultimate "versatile" sound: present, clear, and articulate, yet warm and thick. I wish bands like Against Me and such would take a tip or two from "The Book of Good Studio Production".
I realize that it's a bit unfair to say that music sucks today; it probably sucks just as much (or just as little, depending on your viewpoint) as it did 5, 10, 15, or 50 years ago. That being said, there is a definite trend in modern popular rock music to be as loud and distorted as possible, but to have the vocals be up front too, so you end up with this incomprehensible mass of echoing crashing cymbals every other beat and a bassist with a five-string dialing in his most banal tone ever. If you're gonna lock in with the kickdrum, at least don't make your bass sound like a kickdrum as well. It's like, they have no tone, but they have no thump either, it's just dead air. My perfect example of the RIGHT thing to do when grooving with your drummer would be the Indigo Girls concert I saw recently. The band opening for them was a hard rock group called Three5Human, and their bassist and drummer were so together it was like they were one person, and yet you could hear everything perfectly, and it sounded amazing. There was so much groove there you wanted to get up and dance . . . to hard rock, no less! And this was in a *live* setting; you'd think bands would be able to do this all the time in the studio.
"You're about my age IIRC"
I'll be 20 in June. I don't remember anyone's age here until they post about it . . . the only thing I ever recall is that Jacob is younger than me, and I believe Nate is too, so I'm not the littlest guy here.
Got that too; quite incredible. THAT is a bass sound that would fit in any environment. I believe Colin Edwin uses 5-string Wals, fretted and fretless. But yeah, the bass on that album is like the ultimate "versatile" sound: present, clear, and articulate, yet warm and thick. I wish bands like Against Me and such would take a tip or two from "The Book of Good Studio Production".
I realize that it's a bit unfair to say that music sucks today; it probably sucks just as much (or just as little, depending on your viewpoint) as it did 5, 10, 15, or 50 years ago. That being said, there is a definite trend in modern popular rock music to be as loud and distorted as possible, but to have the vocals be up front too, so you end up with this incomprehensible mass of echoing crashing cymbals every other beat and a bassist with a five-string dialing in his most banal tone ever. If you're gonna lock in with the kickdrum, at least don't make your bass sound like a kickdrum as well. It's like, they have no tone, but they have no thump either, it's just dead air. My perfect example of the RIGHT thing to do when grooving with your drummer would be the Indigo Girls concert I saw recently. The band opening for them was a hard rock group called Three5Human, and their bassist and drummer were so together it was like they were one person, and yet you could hear everything perfectly, and it sounded amazing. There was so much groove there you wanted to get up and dance . . . to hard rock, no less! And this was in a *live* setting; you'd think bands would be able to do this all the time in the studio.
"You're about my age IIRC"
I'll be 20 in June. I don't remember anyone's age here until they post about it . . . the only thing I ever recall is that Jacob is younger than me, and I believe Nate is too, so I'm not the littlest guy here.