Какойта разговор "глухих" со "слепыми" :-) Ап чём флудити, гошпада?
Расскажытя лучше о своих электрических и не очень леди. Истории какие-либо забавные.. А то "ымеим-неымеим", тут помню-тут не помню... Ромашка-неромашка
Re: Лучшие/Худшие... Есть мнение Автор:john lee hookerДата: 17.04.08 00:23:42
>2john lee hooker: >> баянита-43 хороша чертофски! никакая аэлита >>не сравницца. >я сам на Аэлите пилил несколько лет
а я ею защищалси... Хрупка она, пробабли, токма на родном Марсе. А с земным притяжением, "гидан барен", подкреплённый "Аэлитой", напрочь сносит ногу гопника, похлесче японской сурахимы.
Re: Elvis Aaron Presley Автор:john lee hookerДата: 16.04.08 23:33:06
>2john lee hooker: >>Песенка дня... >>И не говорите, шо Магамаев с Гладковым вдохновлялися >>в известном мультике от "Хиркамсзесана" ВИА Битлз... >а я всегда считал, что Трубадур - это Элвис! )))
Правильная считалочка
Re: Золотой диск фирмы грамзаписи "Мелодия" (СССР) Автор:john lee hookerДата: 11.04.08 01:18:32
>ЧОБА БИ СИ СИ СИ ПИ того стоил, хотя зря наши >погорячились, выпустив сигнальный вариант с рецензией >некого Гаврилова, на что получили вполне обоснованое >негодование САМОГО. Как говорится: ПЕРВЫЙ В МИРЕ-ВТОРОЙ >В СИБИРЕ!!!
Январь 1990. 400 000 экз. Уэмбли-холл, Лондон.
с зам.ген. директора ВТПО "Фирма Мелодия", директором Всесоюзной студии грамзаписи Виктором Соломатиным.
"Святой Грааль" для басистов фсётки нашелся. Знаменитый "Бэйс оф Дум" всплыл таки!
Jaco’s 1962 Fender Jazz Bass “Bass of Doom” Found! By Chris Jisi | March, 2008
It’s official. We can all set our sights on locating James Jamerson’s long-lost ’62 P-Bass “Funk Machine,” because the most famous missing bass guitar of all has been found. Jaco Pastorius’s fretless 1962 Fender Jazz “Bass of Doom” (as he dubbed it) has turned up in New York City, over 20 years after it was last seen there. As Jaco’s main fretless, it can be heard on his landmark self-titled solo debut, his successive solo albums, and much of the Early Years package, as well as his recordings with Weather Report, Joni Mitchell, Pat Metheny, Herbie Hancock, and others.While details of the acquisition must remain confidential while legal questions are resolved, the party in possession of the instrument was willing to bring it by Will Lee’s downtown apartment, where Will, Victor Wooten, Victor Bailey, and Bass Player (me!) got to play it.
Mysterious Traveler There are all sorts of tales about Jaco’s Bass of Doom, many related cryptically by Jaco himself. A 1984 Guitar Player cover story by Bill Milkowski states that the instrument was already fretless when Jaco bought it in Florida for $90 in the early ’70s. However, in 1978, Jaco told luthier Kevin Kaufman that he removed the frets himself using a butter knife, filling the fret slots and missing fingerboard chunks with Plastic Wood and applying several coats of Petite’s Poly-Poxy. Kaufman’s first job was to replace the peeling epoxy, which he did by pouring on a single coat and shaping it with a rasp.
Jaco smashed the Bass of Doom in the mid ’80s, apparently in an argument. Kaufman and fellow repairman Jim Hamilton painstakingly glued together 15 large chunks and several small pieces, inlaying wood where fragments were missing, and laminating a figured-maple veneer on the front and back of the body. They held together the splintered headstock with an ebony/maple veneer, refinished the instrument in a two-tone sunburst, and returned it to Jaco. How the instrument disappeared is the subject of some dispute. All that’s known for sure is that it was last seen with Jaco in Central Park sometime during 1986.
The Bass Allow me to offer my personal reflections upfront. When I first laid eyes on the instrument, my initial reaction was that it didn’t look like the Bass of Doom, what with the figured-maple top and back. (A photo of Jaco holding the restored bass can be seen on page 240 of Bill Milkowski’s updated Backbeat Books bio Jaco: The Extraordinary and Tragic Life of Jaco Pastorius.) As for picking up and plucking a piece of history, let me describe it this way: Who among us hasn’t wondered if we would sound better playing the instrument of one of our bass heroes? Well, the answer in this case is, Yes! The Bass of Doom is the best-sounding and feeling fretless I’ve ever fingered. It’s very light and very resonant, with the extra-narrow neck of early Jazz Basses. Stroked softly closer to the neck, the warm Jaco mwah sound filled the air; plucking harder, back by the bridge, resulted in his trademark biting growl; and harmonics seemed to just explode off the wood. But what struck me most about the tone was how round it was with the bridge pickup favored, as Jaco preferred it—so much so that I found myself checking to be sure I had dialed back the neck pickup (this as opposed to the numerous thin, nasal-sounding fretless basses we’ve all heard, played, and dreaded).
The party who brought the bass to Will Lee’s apartment had previously reported the hair standing up on his arms as he played a bass melody from “A Remark You Made” along with the recording, and found the tone and duration of the notes were an eerily unmistakable sonic match. Which brings me to the second aspect that struck me (and perhaps this is where my fervent imagination finally took over): how in-tune the bass seemed to play. There were no washy, smeared notes beneath my fingers—just pure, strong tones that sat firmly on the rosewood board. (The bass had new-ish strings t-hat were not Jaco’s favored Rotosounds.)