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The left and right Rubicon 8s were set up about 9 feet apart, with the back of the speakers a bit less than 4 feet from the wall (https://powered-paraglider.com/content/uploads/files/download/wall-hack-point-blank-brasil-music.zip) behind them. The left speaker was 3/5 feet from the left side wall; the right speaker has no nearby side wall, as it sits next to a wall-sized opening leading to another part of the open concept space.
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Both of the bands Dave Pegg played in, Fairport Convention and Jethro Tull, have a history of remarkable bassists (take a bow, Ashley Hutchings and the late Glenn Cornick). But Pegg stands out for his dexterity, his swing, and his ability to ignore any folk/rock boundaries.
Chirs Squire’s basslines in Yes were full of melodic imagination, and often the song’s main instrumental hook (see “Roundabout”). But check out his wah-wah extravaganza on the deep track “On The Silent Wings Of Freedom” for one of prog rock’s great kick-it-out moments.
Putting the bottom end into The Wrecking Crew, Carol Kaye played the indelible parts on “Midnight Confessions,” “River Deep – Mountain High,” The Beach Boys’ “Good Vibrations” and an estimated 10,000 other tracks. Female bassists stopped being pigeonholed as a novelty the minute she picked up the instrument.
As if a precursor to his wide-ranging solo output, Sting blended funk, punk, and reggae in The Police. While he largely moved on from playing bass during his solo career, you can always revisit the atmospheric bassline to “Walking On The Moon,” which remains a thing of beauty.
Albeit better known as a producer (Elvis Costello, Graham Parker, The Damned), Nick Lowe not only knew how to play fluid, often sophisticated basslines in a hard-driving rock’n’roll context but mastered how to make them sound killer on record. Look no further than his solo work or with pub rock supergroups Brinsley Schwarz, Rockpile, and Little Village. Pity that he’s largely gone off bass playing in recent years.
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As co-founder of the Minutemen, Mike Watt and his cohorts made unabashed virtuosity fun again; and through his group fIREHOSE and solo years, he’s remained one of the most adventurous musicians in the indie world. Not to mention a few years kicking butt in the reunited Stooges.
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Grilles are also included for all the speakers, but the honeycombed plastic structure supporting their grille cloths suggests that they’re less than acoustically benign. I normally don’t use grilles anyway, and I didn’t use these.
As one of the most exploratory jazz bassists out there, Charlie Haden expanded the sonic possibilities of double bass beginning with Ornette Coleman’s landmark album The Shape Of Jazz to Come. He also had productive stays with Keith Jarrett and Pat Metheny, and played selectively on rock sessions, including the closing track “Ramshackle” on Beck’s Odelay.
Careful trial and error with placement, and perhaps the addition of a good subwoofer for movies with crushing bass will be needed for getting the best out of the DALI Rubicons. But the best this system offers is compelling.
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As one of the greatest bassists in hard rock, Lemmy played the bass with more attitude than anybody, with a grisly tone that defied you to think of the bass as a support instrument. Half the times you think you’re hearing lead guitar on a Motörhead record (including the intro to “Ace Of Spades”), it’s really Lemmy wailing away.
With Bela Fleck and as a solo artist, Victor Wooten took the Stanley Clarke style of fusion bass and upped the ante with more sounds, more flash and a more daring style. Often described as the second coming of Jaco Pastorius, the Grammy-winning bass master is rightly beloved by the jam-band crowd and beyond.
The quietest of the quiet ones, Bill Wyman may invariably be the last guy you noticed in The Rolling Stones, but he was the consummate bassist in the sense that he knew how to support the songs without getting in the way. Without any flashy solos, Wyman remains underrated, but listen to any of the basslines on “Shattered” or “19th Nervous Breakdown” and tell us you haven’t missed him since he’s been gone.
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No slight meant on his solid Imposters replacement Davey Farragher, but Bruce Thomas’ work on all the Elvis Costello & The Attractions albums was the stuff of greatness – fluid, inventive, and always in three or four places at once. Too bad he could do everything but get along with the frontman.
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Stanley Clarke was a bass virtuoso with a canny sense of riffs and grooves, plus a few great tricks like that finger-strum trademark. Probably not the first bass player to record a side-long bass solo (on Return to Forever’s 1978 live album) but perhaps the first to perform one you’d want to hear twice.
Bootsy Collins got kicked out of James Brown’s band for being far too trippy, then became a key bass player in the P-Funk universe for pretty much the same reason. One of the greatest bassists of funk, he made “Super Bad” one of Brown’s defining hits.
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This oft-recorded master was the answer to 70s Los Angeles’ prayers. A cool jazz musician who could play rock if it was sophisticated enough, Rainey wound up doing an equal number of jazz (Eddie Harris, Quincy Jones), rock (Nile Lofgren, Dave Mason), and soul sessions, (Roberta Flack, Aretha Franklin), and was largely the reason Steely Dan’s Walter Becker moved over to guitar.
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The Meters’ founding bassist is also the most prolific member of his circle, leading countless spinoff bands and playing on notable sessions (including David Byrne’s Uh-Oh album). The landmark groove of “Cissy Strut” was just the beginning, and Porter, Jr, is one of the greatest bassists who embodies New Orleans’ slinky approach to funk.
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Find the perfect Wall (have a peek at this site) Edge stock photos and editorial news pictures from Getty Images. Award-winning music school with courses in London, LA, Ibiza, Mumbai & online. January, 1996 //// ===== Edited by Richard Baker WUN Electronic Edition Editor [email protected] COPYRIGHT 1996 WUN This newsletter is from the first dedicated electronic utility club in the world; the Worldwide UTE News (WUN). By using our website and our services.
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As one of the first key players to join Bob Marley & The Wailers (and still with the group now), Aston Barrett laid the groundwork for all reggae to come. Along with his brother Carlton Barrett, who played drums for The Wailers, the duo were one of the tightest rhythm sections on record.