I agree with Geddy ... pedestrian bass parts are not interesting to play or listen to ... but an interesting bass line with a distinctive tone is interesting to play and to listen to ...
I wonder if Geddy has ever played a newer 4003 with the 250k ohm tone pots ... he might change his mind about the low end from a Ric Bass ...
Geddy Interview & Demonstration
Moderators: rickenbrother, ajish4
Charly, I don't think people found your comments volatile . . . it's more of a need to clarify what seems to be an ever-present feud between bassists: simplicity vs. complexity.
I believe I'm correct in stating that the simplicity or complexity of a part has little or nothing to do with it's "goodness". Playing 3 notes at 100bpm isn't inherently better than playing 20 notes at 200bpm, and vice versa . . . it's all about context. If I played a the latter in "Green Onions", it would suck. A lot. Same with playing the former in "YYZ".
I believe I'm correct in stating that the simplicity or complexity of a part has little or nothing to do with it's "goodness". Playing 3 notes at 100bpm isn't inherently better than playing 20 notes at 200bpm, and vice versa . . . it's all about context. If I played a the latter in "Green Onions", it would suck. A lot. Same with playing the former in "YYZ".
And I like the former style of music. I don't like a lot of jazz because it sounds like noodling to me.... That is why I said each to his own. I have little desire to be the be all and end all of bass playing. It may have to do with being in band in hgh school. If everyone is playing a lot of notes, nothing is distinguishable. They write parts so the whole is the sum of the parts. That is what I am trying to say. That is the music I like. The praise band I am in used to have two guys who played by themselves their whole career until this band. I constantly had to tell them, not so busy, or, that's my part, or leave that fill to the drummer, etc. I hope that is a little clearer as to what I meant.
-
madscotsman
- New member
- Posts: 89
- Joined: Mon Jun 30, 2003 5:00 am
- Contact:
Wow, I stumbled upon this while surfing Youtube. I had to clear my eyes to make sure I was not seeing things! LOL
The Rick 4001 is back in Geddy's hands on "A Passage to Bangkok" And this is on the S&A tour!!!
This is Cool!! You rock Geddy! ....as Austin Powers would say: "YEA BABY" "YEA"
Check it:
http://www.youtube.com/watch?v=WRl62UAhexU&NR=1
The Rick 4001 is back in Geddy's hands on "A Passage to Bangkok" And this is on the S&A tour!!!
This is Cool!! You rock Geddy! ....as Austin Powers would say: "YEA BABY" "YEA"
Check it:
http://www.youtube.com/watch?v=WRl62UAhexU&NR=1
My dad is a jazz musician so growing up as a kid I mainly listened to jazz, until I really started listening to the Beatles when I was about 8. I'm convinced that both have had a strong influence on how I like to hear bass, which is generally fairly busy; I lean towards the Squires, Lees, Entwistles, Clarkes etc of this world. But as has been pointed out, it's all about context. One of my favourite bassists is Jah Wobble, who I certainly wouldn't describe as busy; I do like a hypnotic bassline too! But then I also love John McVie; some would consider him quite busy and others would no doubt describe him as supportive and straightforward. I think one man's busy can be another man's blah, depending on their perspective.
I do wonder given some of the comments here how much someone's sound factors into whether they're considered busy. To me Geezer Butler isn't that much less busy than Geddy Lee, but his sound is way less trebly, so it's less in-your-face. Same with someone like James Jamerson or JPJ, both busy players but with a much less intrusive (for want of a better word) sound. Are Geddy and Chris considered so busy as much because of their up-front sound as their playing? I tend to feel that may be the case.
I do wonder given some of the comments here how much someone's sound factors into whether they're considered busy. To me Geezer Butler isn't that much less busy than Geddy Lee, but his sound is way less trebly, so it's less in-your-face. Same with someone like James Jamerson or JPJ, both busy players but with a much less intrusive (for want of a better word) sound. Are Geddy and Chris considered so busy as much because of their up-front sound as their playing? I tend to feel that may be the case.
"Be kind, for everyone you meet is fighting a hard battle."
"They write parts so the whole is the sum of the parts."
But so does Yes, Rush, The Who, many jazz groups, etc., and all sorts of bands that are "busy". I don't think I buy it that a busy part equals a lack of caring about the song as a whole. The difference in these cases is number of instruments. I played band and orchestra in high school (piano and cello, respectively), and I know what you mean. When you have cellos, violas, basses, first violins, second violins, and sometimes third violins and second cellos, the parts, you need to take into consideration that there are more parts and thus it is easier for the parts to "step on" each other, so to speak.
In a band with guitar, drums, bass and sparse keys, each part can take up more space. They don't have to, as punk rock demonstrated, but they can.
Also, strangely enough, with a full orchestra, Mozart wrote very repetitive, straightforward cello parts: CCCCCCCCFFFFFFFFGGGGGGGG, etc. With an orchestra of similar makeup, Tchaikovsky wrote very complex cello parts. Obviously, in an orchestra, there is that space. It's just tougher to make it work.
But so does Yes, Rush, The Who, many jazz groups, etc., and all sorts of bands that are "busy". I don't think I buy it that a busy part equals a lack of caring about the song as a whole. The difference in these cases is number of instruments. I played band and orchestra in high school (piano and cello, respectively), and I know what you mean. When you have cellos, violas, basses, first violins, second violins, and sometimes third violins and second cellos, the parts, you need to take into consideration that there are more parts and thus it is easier for the parts to "step on" each other, so to speak.
In a band with guitar, drums, bass and sparse keys, each part can take up more space. They don't have to, as punk rock demonstrated, but they can.
Also, strangely enough, with a full orchestra, Mozart wrote very repetitive, straightforward cello parts: CCCCCCCCFFFFFFFFGGGGGGGG, etc. With an orchestra of similar makeup, Tchaikovsky wrote very complex cello parts. Obviously, in an orchestra, there is that space. It's just tougher to make it work.
Agreed Robert. It's all about making a piece of music work. Obviously the problem is that individual tastes ultimately dictate quite whether a particular piece of music is perceived as working or not.
A friend who's a very good guitarist often jokes that jazz sounds like a bunch of guys all playing different tunes at the same time. To me, having grown up with that "language", it generally makes sense and doesn't sound cluttered or disjointed at all (although there are exceptions, as always!).
A while back I played another guitarist (whose hero is Hank Marvin) some John McLaughlin. They didn't like it at all, and after some discussion I realised that they weren't hearing what he was actually playing in terms of notes, melodies etc so much as just hearing the amount of notes he was using. To them it was like hearing a person speak so fast that they couldn't tell what was being said. It just made no sense. Whereas to me, growing up listening to jazz soloists and having an ear that has been subconsciously tuned over time to that degree of speed and complexity of delivery, he was speaking relatively clearly.
A friend who's a very good guitarist often jokes that jazz sounds like a bunch of guys all playing different tunes at the same time. To me, having grown up with that "language", it generally makes sense and doesn't sound cluttered or disjointed at all (although there are exceptions, as always!).
A while back I played another guitarist (whose hero is Hank Marvin) some John McLaughlin. They didn't like it at all, and after some discussion I realised that they weren't hearing what he was actually playing in terms of notes, melodies etc so much as just hearing the amount of notes he was using. To them it was like hearing a person speak so fast that they couldn't tell what was being said. It just made no sense. Whereas to me, growing up listening to jazz soloists and having an ear that has been subconsciously tuned over time to that degree of speed and complexity of delivery, he was speaking relatively clearly.
"Be kind, for everyone you meet is fighting a hard battle."
Although Harrison is purported to have done the bass for Bulldog... pretty jumpy, snappy and chuck full of notes (but that is another thread).
I'm thinking that rhythm or melody, fat or thin, lots of notes or few... as long as it fits the tune and you like it (the big subjective here) then it is good!
To get back on topic here, I think the video is neat and gives a couple of cool insights into a very creative, popular and prolific bass player. He is still evolving as a player and I think appreciates his fans.
I'm thinking that rhythm or melody, fat or thin, lots of notes or few... as long as it fits the tune and you like it (the big subjective here) then it is good!
To get back on topic here, I think the video is neat and gives a couple of cool insights into a very creative, popular and prolific bass player. He is still evolving as a player and I think appreciates his fans.
The only thing we can perceive are our perceptions - George Berkeley
-
markbass99
- Intermediate Member
- Posts: 1267
- Joined: Sun Mar 14, 2004 7:23 am
Geddy's appreciation for his fan's is evident by his playing the rick for the one encore song. Can you imagine, he's probably thinking "****,I gotta play that damn rick again" just before that song. From watching the video demo you can tell that skinny necked F*nders are his true passion. It doesn't matter, the Exit Stage Left sound will always be the definitive Rush bass sound for those of us that grew up during that era.
73 Feb 4001, 73 March 4001, 73 April 4001, 73 May 4001, 73 June 4001, 73 July 4001
04 MM Bongo 5HSp, 07 MM Bongo 5HS, 09 MM Bongo 5HS, 09 MM Bongo 5Hp, 11 MM Bongo 5H
04 MM Bongo 5HSp, 07 MM Bongo 5HS, 09 MM Bongo 5HS, 09 MM Bongo 5Hp, 11 MM Bongo 5H
I never thought George did "Hey Bulldog", the bass part smacks of McCartney's bouncy picking style. Then I found this studio promo video:
http://www.youtube.com/watch?v=PzJa9pJIuAo
http://www.youtube.com/watch?v=PzJa9pJIuAo
John, thanks for clearing that up. I was thinking George was more talented than he was. Always like the bass line no matter who did it. Wait until I share the link with a couple folks who told me that! This Forum is better than Snopes!! Thanks again John.
The only thing we can perceive are our perceptions - George Berkeley
As it turns out, Paul actually played lead guitar on "Tax Man" and other Beatles' tunes. He had a lot of melodies coming out of him.
Once you hear enough of Paul's lead guitar solos you can pretty much tell it is him. My gut feeling from when I was 10 (back in 1972!) is that he was always the best natural musician of the four. Playing different instruments also seemed to come easy to him.
Once you hear enough of Paul's lead guitar solos you can pretty much tell it is him. My gut feeling from when I was 10 (back in 1972!) is that he was always the best natural musician of the four. Playing different instruments also seemed to come easy to him.
"Practice does not make perfect. Only perfect practice makes perfect." Vince Lombardi