Tag Archives: Miguel

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Starship Trooper – BASS AUDIO with TRANSCRIPTION

This is an old cover from 2001 where I added some non-bass parts played on the bass, to fill in for “Disillusion” and the guitar intro of Würm. The tremolo effect is a Boss TR-2 pedal, while the final fuzz was done with the multi-effects Boss ME-8B, along with it’s octave effect at the very end. The transcription is another kind contribution from Simon Gilman. Hope you enjoy it!

Download the transcription here.

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Astral Traveller – BASS AUDIO with TRANSCRIPTION

This is the first contribution from Simon Gilman, who made his bass transcription of Astral Traveller.

I added the same audio of my original audio bassline from 2008, with a slightly louder bass in the mix.
Hopefully it will sound a bit better (along with the apparently better audio encoding of YouTube) .

Download the transcription here!

Thank you, Simon, for your excellent work, and hope this will be the first of many!

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More from MIA 2010

Two more sessions where I played at the MIA 2010 festival of free improvisation music.

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New State of Mind

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MIA 2010 – Free improvising session

Over the last weekend I had the privilege to attend the first edition of the free improvisation encounter at the town of Atouguia da Baleia – MIA 2010.
The format of this festival consisted in making a draw of trios and quartets among all musicians which would improvise together. It was my first experience with this sort of events and I really enjoyed it. A different way of expression, a musical conversation where you learn to listen to others. This clip is the very first session and my name was on that first lot. On I went…

I believe this is the second session that I played. Experimenting with some unusual bow technique :))

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To Be Alive

A beautiful song by Billy Sherwood. Also a good example of how to make use of the 8-string bass, letting the notes shine, keeping it simple and focus on the timbre of the instrument. The top two strings are tuned in perfect fifths (just like “Changes” or “Hearts”)

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Close to the Edge (iv – Seasons of Man)

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Onward – A “Rickenbacker Kiss”

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

Video

Close to the Edge (i – The Solid Time of Change, ii – Total Mass Retain)

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!

FAQ #2 – How do I get my bass sound

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”