Oswaldo Costa
Oswaldo Costa
Have a stratocaster clone with a Modulus graphite neck with no dead spots. Ever try one of those?
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an alternative browser.
You should upgrade or use an alternative browser.
Decoy
- Thread starter Joel Stewart
- Start date
Have a stratocaster clone with a Modulus graphite neck with no dead spots. Ever try one of those?
Eden Mylunsch
Eden Mylunsch
I played a P-Bass with a Modulus fretless neck for awhile and loved it. Only got rid of it when I realized that I didn't really need a fretless bass (and of course, as soon as I dumped the graphite bass I started getting called for fretless stuff so converted a Jazz Bass over to be able to fit in with the Jacoland mania running rampant at that time).
All my Fenders have dead spots (nothing to do with Mr. Lesh) and it's just a matter of playing around the 7th fret D if clarity is necessary. My Tobias (built in his Cahuenga shop) lacks dead spots but with its low-Z pickup it also lacks the soulfulness of a non-preamped bass. This is just personal preference of course; engineers loved this bass in the studio.
-Eden (at the end of the day, it should be about the player, not the instrument)
All my Fenders have dead spots (nothing to do with Mr. Lesh) and it's just a matter of playing around the 7th fret D if clarity is necessary. My Tobias (built in his Cahuenga shop) lacks dead spots but with its low-Z pickup it also lacks the soulfulness of a non-preamped bass. This is just personal preference of course; engineers loved this bass in the studio.
-Eden (at the end of the day, it should be about the player, not the instrument)
Oswaldo Costa
Oswaldo Costa
originally posted by Eden Mylunsch:
-Eden (at the end of the day, it should be about the player, not the instrument)
At the end of the day, there should be no difference!
originally posted by David M. Bueker:
The importance of drums cannot be underestimated. Perhaps the intricate interplay of guitar, keyboard and bass reduced that for the Dead, but one listen to The Who sans Moon or Peter Gabriel sans Manu Katche and the importance of drums is absolutely clear.
Sure, fair enough but importance isn't what was being commented upon. If one is to rank various elements or components of a bands' signature identifying elements (especially to nonmusician fans), drums are generally down the the list. That's why the band was able to continue to expand their career despite losing a drummer. Had they lost Jerry or Phil at that point, it would have been far more significant.
I'll cite Spinal Tap as the the defining example.
Eden, Phil lost the EB-3 in '71, and took up with the Alembicized Guild at that point but his sound didn't and playing style didn't REALLY change till '76-'77. Nearly all aspects of lean and meanness disappeared
and round low fullness took over. That's also when Hart had returned and changes in miking and mixing of drums had resulted in drums getting much more heavy and dense in the overall sound, which may have been a factor.
I dunno about sans, but post the drumming has been unlistenable, and is managing the ostensibly impossible task of making Levin sound sloppy. I guarantee it ain't Levin's fault...Peter Gabriel sans Manu Katch
Joel Stewart
Joel Stewart
Ned, I did mean "side guitar", not slide guitar...is that not a term used in the US? Maybe I've been here too long...Japanese musicians use the term to refer to the rhythm guitarist. And yes, it's a toss up between Donna's voice and Weir's slide for most cringe-inducing moments watching the Dead. That said, I'll give him credit for using it reasonably well (as a rhythmic accompaniment, not solo) on Walking Blues.
More importantly though, I think he is/was one of the most inventive, unique rhythm guitarists in rock. It's not a position many musicians even aspire to, what with all the adulation that the Van Halens and Vai's, etc. get out there as the "lead guitarist"...but Weir continually amazed me with the chords and phrasings he came up with to complement either Jerry's guitar, or whatever else was happening in the band at the moment. What I meant originally was that musically, he lagged behind Jerry and Phil in the early days in terms of ability...so much that he got the boot at least once. (Hard to imagine if you just watch a close up of his work on something like Stella Blue or Row, Jimmy, Row, to pick a couple out of tens of examples.) But I think that, among other specific things, helped create a setting for Phil's more upfront melodic approach back then.
More importantly though, I think he is/was one of the most inventive, unique rhythm guitarists in rock. It's not a position many musicians even aspire to, what with all the adulation that the Van Halens and Vai's, etc. get out there as the "lead guitarist"...but Weir continually amazed me with the chords and phrasings he came up with to complement either Jerry's guitar, or whatever else was happening in the band at the moment. What I meant originally was that musically, he lagged behind Jerry and Phil in the early days in terms of ability...so much that he got the boot at least once. (Hard to imagine if you just watch a close up of his work on something like Stella Blue or Row, Jimmy, Row, to pick a couple out of tens of examples.) But I think that, among other specific things, helped create a setting for Phil's more upfront melodic approach back then.