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Post by Mrs Flittersnoop on Feb 25, 2019 14:17:53 GMT
Not unfair to me. The guy's bass sounds like an elephant farting half the time, instead of the crisp, driving hammer of AL's. I get what you are saying about the bass sound. I prefer Alan's mid and punchy short scale bass sounds. It suited Quo in the 70s especially. Rhino has been caught between a rock and a hard place. He couldn't go creative bonkers and ruin the 70s tracks live on stage that Alan had put his mark on. Rhino did try using a pick at one time to get a sound closer to Alan's, to appease the Quo cognoscenti. Didn't ultimately work for him and went back to fingers. That finger style can then lead to a more mushy sound occasionally and I have seen a few Quo gigs where Rhino's bass sound did resemble an elephant with digestive issues! Apart from Rhino's finger style, other factors seem to come into play to make his bass sound less precise and buried at times, such as poor mix, gear and hellish venues etc. I definitely prefer Alan's sound. Among finger players, Steve Harris burns through custom strings every night to keep his sound bright, and I don't know how Jack Bruce exactly managed his sound, but I know he used to turn it up very loud and annoy Ginger Baker. We were further back. It was just as bad. Not a frequent occurrence for them, fortunately.
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Post by Mrs Flittersnoop on Feb 25, 2019 14:22:09 GMT
I finally got around to putting UTI on again (I think the TLA scares me) and I find that it's a perfectly pleaasant pop album, and the not too demanding stuff that I will occasionally play while working. Rather like an early Monkees album. The only really annoying track is LMAY, which is not only a bit wet, it's doing that heavy borrowing off classic rock n roll that Rick did at times.
Many of the tracks sound better than I think they are going to. But when I want to play late/lite Quo, it's nearly always the post-HT albums.
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Post by fretbuzzzzz on Feb 25, 2019 18:28:12 GMT
I get what you are saying about the bass sound. I prefer Alan's mid and punchy short scale bass sounds. It suited Quo in the 70s especially. Rhino has been caught between a rock and a hard place. He couldn't go creative bonkers and ruin the 70s tracks live on stage that Alan had put his mark on. Rhino did try using a pick at one time to get a sound closer to Alan's, to appease the Quo cognoscenti. Didn't ultimately work for him and went back to fingers. That finger style can then lead to a more mushy sound occasionally and I have seen a few Quo gigs where Rhino's bass sound did resemble an elephant with digestive issues! Apart from Rhino's finger style, other factors seem to come into play to make his bass sound less precise and buried at times, such as poor mix, gear and hellish venues etc. I definitely prefer Alan's sound. Among finger players, Steve Harris burns through custom strings every night to keep his sound bright, and I don't know how Jack Bruce exactly managed his sound, but I know he used to turn it up very loud and annoy Ginger Baker. We were further back. It was just as bad. Not a frequent occurrence for them, fortunately. Your post reminded me that I had read Peter 'Ginger' Baker's autobiography a few years ago. Quite a life and clearly the Jack Bruce + Ginger Baker relationship was pivotal to Cream's success but oddly very destructive at the same time. Fairly sure that in the 60s at the Royal Albert Hall that bands like Cream just relied on their backline amps/speakers. The days of huge and powerful PA systems were yet to come.
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Post by dennis on Feb 26, 2019 19:32:42 GMT
Thought I'd do my duty before the month's quite over &, although I generally found the album more listenable than I expected, the whole thing is dreadfully bland & I found it rather washed over me in a dull & characterless manner. I forgot fairly quickly that this was meant to be a Quo album I was listening to, which possibly explains how I managed to get to the end!
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Post by Mrs Flittersnoop on Feb 27, 2019 17:48:58 GMT
I definitely prefer Alan's sound. Among finger players, Steve Harris burns through custom strings every night to keep his sound bright, and I don't know how Jack Bruce exactly managed his sound, but I know he used to turn it up very loud and annoy Ginger Baker. We were further back. It was just as bad. Not a frequent occurrence for them, fortunately. Your post reminded me that I had read Peter 'Ginger' Baker's autobiography a few years ago. Quite a life and clearly the Jack Bruce + Ginger Baker relationship was pivotal to Cream's success but oddly very destructive at the same time. Fairly sure that in the 60s at the Royal Albert Hall that bands like Cream just relied on their backline amps/speakers. The days of huge and powerful PA systems were yet to come.
Yes, written by his daughter, in the style of an Icelandic Saga (whether intentional or not, I think biographies which are also adventures just come out sounding like that. Ginger, if anyone, seems pretty well cut out to be an honest berserker having problems with the neighbours.)
Probably. And since Ginge would be sitting right in front of them, it may help to explain why he was particularly pissed off about it. Plus a bass roadie once told me that if you really want lifelong tinnitus, standing in front of the bass speakers is the way to do it.
Even so - whatever a modern PA comprises ... Albert certainly had those "two long boxes" hanging from the ceiling even before the age of Cream (or at least in time for it).
It took me years to work out what the difference between a "loudspeaker" and an "amplifier" was ... to me it was just stuff that makes things nice and loud.
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Post by fretbuzzzzz on Feb 28, 2019 0:14:31 GMT
That's made me think about tinnitus and bass frequencies, Mrs F. I assumed my tinnitus is the result of having played lead guitar in bands in the past and going to see bands through the decades who were playing at incredible volumes. Always thought bass frequencies were safer...well until the Rhino incident!
Think I'm one of the lucky ones though, as the ringing in my ears must be constant but I don't generally think about it. It's only when I think about it then I can hear it! A shock sometimes just how loud it can be.
You got me thinking about the long speaker boxes at the Albert Hall. Perhaps they were intended for vocals?
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