- Chris Squire and the Dorian mode - Facebook live today from 22h #chrissquire #Yes #bass #basslesson #bassguitar… twitter.com/i/web/status/1… 1 day ago
- New video coming soon #chrissquire #Yes #bass #basslesson #bassguitar #bassline #basslessons #basslove #bassplayer… twitter.com/i/web/status/1… 2 days ago
- Red wine at sunset #bass #basslesson #bassguitar #bassline #basslessons #basslove #bassplayer #onlinebasslessons… twitter.com/i/web/status/1… 3 days ago
- Part 2 of No Opportunity Necessary... Bassline analysis #chrissquire #Yes #timeandaword #bass #basslesson… twitter.com/i/web/status/1… 5 days ago
- No Opportunity Necessary... Bassline analysis #chrissquire #Yes #timeandaword #bass #basslesson #bassguitar… twitter.com/i/web/status/1… 1 week ago
Tag Archives: 4001Video Video Video
An idea that was inspired by the story (many of you may know) behind the very end of Safe (Canon Song).
I am playing my 4001 CS bass which is unplugged. Holding it against the back of my (plugged) 360 guitar… a Rickenbacker Kiss.
I experimented with different guitar tunings that would resonate well with the song’s tonalities. Onward is a based one the I, VI, V and vi of C major, and modulated a step higher afterwards.
The guitar tuning I did (eventually using a capo) was selected to accommodate all these chords. Ones sound better than others. B minor was, for example, a bit less successful, as well as all passages with an F sharp.
Then I adapted the whole piece – melody and a sort of accompaniment with the lower register which is not related to the actual bass line. The initial riff is my transformation of the original intro, and the coda.. I came up with a way to modulate back to C major. A bit dangerous too cause B flat (G minor) and A flat (F minor) were used… but then finally I got the best resonance spot to end the piece on an improvised Safe-like finale.
One very interesting thing is that – after tuning both instruments with the tuner, I found the resonance wasn’t happening… so I fine tuned on my bass by ear, and found the resonance spots for each string… maybe a few cents lower than the “right” tuning. I know it’s still not perfect but it’s a fact that it wasn’t working with both guitars tuned by the tuner. I think this has to do with the tempered scale of the fretboard that is “fighting” with the natural harmonics of the guitar’s open strings.
While not optimal, I decided to post it to show you the idea. It has some interesting sounds and with more time I will come again to it!
Tunings (bottom to top)
Bass – E A D G
Guitar (Capo 8th fret) – C F A D G B
Dear friends, I decided to have a try to cover one of the most incredible songs by Yes, and also one of the most beautiful basslines created by Chris Squire.
I must say that this sole bassline can be a matter of lengthy study. From the chaotic intro to the most subtle note choices and rhythmic interplaying, there is a lot to contemplate. The most important, I feel, is to just listen to the music.
Besides the technical difficulties of the bass playing, there is also the sound. It’s really hard to recreate a similar tone as in the recording. Even more difficult cause the original tone changes a lot in different sections of the song, either by effects added or simply because all settings (accidentally or not) were changed. Some of you may know already how Yes would leave a song unfinished in the studio and take all their gear to do a gig, coming back later to finish the track, so that all settings were never quite the same. Nevertheless I tried to stay as close as possible (and reasonable), namely using my Malekko b:assmaster to play the “fuzzy” middle section. I did have an old plugin (used on the Siberian Khatru audio transcription) which was pleasantly close to the kind of tone present on the Close to the Edge album, but I really have lost it and I don’t remember its name :)
I hope you will enjoy this video, and for those who are still not familiar to Yes, I suggest to take the chance to listen to the original recording – the magnificent “Close to the Edge”. This title track, especially, will be a whole musical experience for you! Thank you for reading and watching!
This is probably the most asked question, so I will try to resume my setup.
Bass: Usually it’s my Rickenbacker 4001 CS. It’s a Chris Squire signature limited edition of 1000 and mine is #605. It was manufactured on the 30th January 1996.
Other basses are:
- early 70’s Fiesta Red Fender Jazz Bass
- late 90’s transparent amber Zon Sonus 8 eight-string bass
- defretted sunburst jazz bass copy
- early 90’s Warwick Thumb bass 5 – neck-through, bubinga-wenge, bartolini pickups
- Japanese Fender VI
Strings: I prefer the exact strings Chris Squire uses – Rotosound RS66LD “swing bass” (stainless steel, .45-.105 gauge). However I experiment some other brands, but the important thing is that I try to use very new strings when I am about to record. Chris Squire uses a new set of strings for every gig, that would be optimal but I can’t do that. I got a really nice sound with Dean Markley Blue Steels (Parallels) and recently I used really cheap strings from Warwick and they sound great. The main features are:
- roundwound (always)
- .45-.105 (always)
- stainless steel (nearly always)
- brand new (according to my possibilities)
One last word about the gauge. Some of you may think to get lighter gauge because .45-.105 is too “hard”. Really… it’s a) very relative b) a matter of practice. The fact is that a lighter gauge will not have the ability to sound the same. Try to win the ease to play the gauge that you feel it sounds better with your bass. Practice will be where you gain the technique, the ability to play it, rather than picking an “easier” gauge and be limited on sound. I don’t have the strongest fingers on earth so .45-.105 can’t be that scary… try to play the double-bass and you will look to electric bass strings in another perspective :).
Pick: I use Jim Dunlop’s Herco Flex 75 – it’s a grey-silver nylon pick. It’s the same pick used by Chris Squire. I will write an article dedicated to picking technique.
Amplifier: On most of the videos I plug my bass to my Sansamp Bass Driver DI. It’s a preamp/DI box with controls similar to a valve tube bass head. The knob settings vary and here you may follow your ears… I just make sure that I adjust the “Level” output to the input on my soundcard and that I “Blend” 100% (maximum) of the signal through the preamp (no dry signal). “Bass”, “Treble” and “Presence” are most likely 12 o’clock (+/- 2 hours) and I will add “Drive” if I want a dirtier, saturated sound.
I used on a couple of videos a real valve-tube bass head. My Ampeg SVT II pro (also a limited edition model). I only took it’s preamp output (no speaker and microphone) and it sounds brilliant, but the Sansamp is really good and practical for using at home.
Effects: Whenever I needed effects, I got them from software plugins such as Guitar Rig. These are specific situations and they are not really part of “my sound” because they depend of the application I am using them. I only used a real pedal on “Amazing Grace” solo because I couldn’t find a satisfactory plugin by then. On the clip “On the Silent Wings of Freedom” I installed at the time a demo version of Guitar Rig (2 or 3) and I combined 2 effects to emulate Chris Squire’s effect. The “Autofilter” effect dubbed the original “Mutron III” envelope filter pedal, and I added a Chorus preset that I seem to hear blended on the original Tormato recording (possibly made from an Eventide harmonizer). I couldn’t save the settings but it’s difficult to adjust the filter controls on that plugin because it’s very sensitive to changes. I am currently building a Mutron-like pedal that I hope will do the trick in the future.
So, the signal path is really straight forward bass-sansamp-computer. For me the most important points are the quality of the bass, the strings and the (pre)amp. Those really can affect your sound. I would really advise you to work the sound from these 3 elements rather than from effect tweaking because once you get your sound from the bass-strings-amp combination, then you can be sure that your sound will work good with effects, and perhaps most important – without!
Finally, don’t forget one last thing and maybe the most important factor on your sound – You. The way you play will affect your sound. As guitar luthier Mike Tobias said about Chris (and this is not word by word, but it’s on a Guitar World interview from September 1987) and goes like this: “Most of the tone comes from his fingers. Whether it’s the Rickenbacker or another instrument, it will still be the sound of Chris Squire playing bass”
Transcription and audio from 2002, I already found one or two “bugs” :))
Download the pdf transcription here!
This is my Christmas video – Silent Night / Night of Silence, where I perform all instruments and vocals. Wish you a Merry Christmas!
November is the Fragile month! This was my first attempt to transcribe and play Heart of the Sunrise back in 2003. Apart from the Rickenbacker 4001CS connected to the Sansamp DI, I used a Boss TR-2 Tremolo pedal.
Download the pdf transcription here!
The Gates Of Delirium comes to its finale! I invite you to comment on this entry and share your interpretation of “Soon” – a wonderful poem that may have many personal meanings for each of you…
Translations wanted – let’s write “Soon” in all languages of the world! A few guidelines:
- create a singable version with the original vocal melody.
- no need to translate word by word – be creative – write your own meaning.
- change the words as to flow naturally in your own language.
- back-translate into English – to explain your translation literally.
- Read other people’s comments – it will give you some ideas.
- If you are a native English-speaker, you can write by your own words your interpretation of “Soon”
A future video collaboration with your version of “Soon” can be arranged – to be discussed later.
Thank you very much!
Original (English version)
Soon oh soon the light
Pass within and soothe this endless night
And wait here for you
Our reason to be here
Soon oh soon the time
All we move to gain will reach and calm
Our heart is open
Our reason to be here
Long ago, set into rhyme
Soon oh soon the light
Ours to shape for all time, ours the right
The sun will lead us
Our reason to be here
Pilence Pee (Пиленце пее) is my latest musical adventure. This song features a traditional Bulgarian choir arrangement, adapted by me to an ensemble of bass instruments.
Sometimes an idea is just an idea… the idea of making this arrangement has been haunting me for the last 8 months and for 8 whole months I worked on it. This is the second effort of my BEBE, following the test experience of “Svatba”. My dear channel viewers sent me an incredible loving feedback by then, including some very own native Bulgarian friends. I thank you all for your encouragement and I really hope that this time it will please you too.
Having in mind, once again, that the Bulgarian female choir voices *are* irreplaceable, I tried again to absorb the inspiration of those wondrous sounds and, somehow, to speak my soul through my playing.
The original BEBE concept had to be extended. To achieve the expression of the sustained pairs of voices, I used effects on some basses, namely, the Malekko b:assmaster (second appearence after “Amazing Grace“) and a Sansamp TRI O.D.. My BEBE (Bulgarian Electric Bass Ensemble) had a very special non “electric” guest – one of my doublebasses had an important contribution for the final texture of the sound. BEBE’s veteran members Rickenbacker 4001CS and Fender VI also welcomed the Zon Sonus 8-string and the Warwick Thumb Bass.
The notes were taken all by ear and, later, checked with the help of a friend of mine. Then many changes were (as in Svatba) made, as to adapt the song to my own taste and style of playing, hopefully without spoiling it too much. On the outro I did take some more freedom, harmonically, and in general drifted away from the original Krassimir Kiurktchiiski’s arrangement.
Pilence Pee (sounds like “Pilentse Peh”) is a Bulgarian folk song and it means something like “Little bird sings”. I just know a little Bulgarian and I searched for the meaning of this song, with the generous contribution of some friends. For 20 years, since I heard this song released on the album by 4AD, I sang it without understanding a word, just sounds. But, having understood the lyrics this year, I honestly had the sensation that I already had got the message. The message is beautifully composed and yet extremely tragic. And if there is a sign of hope for the years to come, the beauty of the Bulgarian Music that blossomed from its people, in spite of five centuries of slavery couldn’t be a better example. Love now – because it may be too late and you will regret it. Hear what the little bird speaks.
high (main):Rickenbacker 4001CS + b:assmaster
high (pedal):Warwick ThumBass + TRI-O.D.
mid (main & pedal):Fender VI and doublebass
low (main):Rickenbacker 4001CS + b:assmaster
low (pedal): Zon Sonus 8