The Bass Geek

We’re starting to record some more songs for the Warner Gear, and we’re going to look at some different ideas for recording the bass.  Last time, we ran it through a SansAmp Bass DI direct into the computer - we’re going to stick with this setup, but we’re going to toss in quite a bit more highs and crank up the “presence” knob a bit.  We’re thinking about some advice “Duck” Dunn put forth in “Bass Player” magazine a few years ago (and there’s really no better source) about tossing in every frequency and letting it get adjusted in the mix.  After all, it’s easier to take frequencies out than to boost them when they’re not there.  I don’t normally cut them in my playing, but we’re thinking it might make things easier down the line.  Last time, we also did some faux “tic-tac” bass sounds using an old Danelectro (it just sounded right on some of the songs).  I’m not sure the material is leaning that way this time, which is another reason to try increased high-end.  We should be doing bass and drums in the next few weeks, so I’ll know soon.  Duck wouldn’t lead me wrong, though.Is it wrong that I’m contemplating this issue while watching a bass lesson about slapped arpeggios? 

Although the name makes me think more of extreme BASE jumps, the Mos Vertical Jump Bass still looks pretty intriguing. I know it’s not going to please full-on upright players with accuracy, but the ability to shift to that position is slightly intriguing to the hands that didn’t quite make the transition to the doghouse. And I like the graphite - I found it by searching for replacement necks for my weary Stingray, and my Jazz bass was purchased in no small part due to the graphite inserts that help keep the neck from twisting.

How does it sound? Dunno. This isn’t a review, it’s just bass porn. Enjoy.

I’m being blown away recently by this CD my wife picked up for me in New Orleans from the Lil Rascals Brass Band, if only because of the audacious take on “For The Love Of Money.” That’s a hell of a lot to ask of a tuba player, but he manages to pull it off.

I think it’s that need of space for breath and stamina that makes it so appealing, though. Each note has to be chosen and executed well, because you’ve got to take another breath to get ready for the next round. Consequently, you end up with some spare but extremely funky lines for the rest of the horns to play over.

This whole CD doesn’t let up - good stuff all around. The place where she got it from (Odyssey Records) doesn’t have a web presence, and the band’s site seems about ten years out of date. It looks like you can order it from this location, though. The site seems to have better liner notes than the CD, too - I’m just now noticing the Cyril Neville and Kermit Ruffin credits. It’s not a new recording by any means, but there you go.

Sounds passable at least, and the price is hard to beat, at least for novelty’s sake.

I forgot to mention that we tried watching “Nightwatch” this weekend, and the power went out during the viewing. The movie hadn’t been making sense up to that point anyway, though, so we didn’t feel bad for the interruption.

If you’re otherwise disengaged and in Fountain Square this evening, there’s a free show from British singer/songwriter Newton Faulkner at Radio Radio. As it’s free and sponsored by a local radio station, I’d expect it to be packed soon, so arrive early if interested.

I have no idea how this bass would sound - the only Conklins I’ve ever played have been the production 4-string and the monstrous 11-string (allegedly played in one of the official armed services ensembles - they practice overwhelming force even in their music groups!). It’s just an amazing piece of bass art.

Also, my iPod just jumped from a podcast about the rise and fall of jingles in American commercials straight to a Betty Davis track. Now that most advertisers eschew jingles for tracks from already established acts, I think I’m going to spend the rest of the afternoon trying to figure out what product this music would sell.