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Posted: Wed Oct 06, 2010 8:59 pm
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Does anybody know any reason why Roger quit the Rickenbacker 4001S?


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Posted: Thu Oct 07, 2010 1:12 am
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savofenno wrote:
Of course, Carol Kaye would be a natural artist name in this occasion, if she wasn`t working since long time for Ibanez.
Why not Brian Wilson too? He is a great songwriter, producer and more, and he wrote all those bass parts to Carol Kaye to play.


True, with her endorsement deal with the "I-WORD" company combined with the fact she hasn't played bass as a studio musician on many hits since an automobile accident seriously injured her and killed her husband while they were in Mexico in the early 70's, a Fender Carol Kaye bass is not very likely at all.

Another factor is that she was fundamentally a GUITAR player coming to play bass only when the bassist didn't show up at a Capitol session in 1963. She played guitar on many hit songs, but not as many as she held down the low end on her P-Bass. She could play bass with Henri Mancini or 12 string with Frank Zappa or the guitar on "Tequila" by the Champ or bass on the infamous L.A. Motown stuff. Talk about versatility!

She has not had a lot nice to say about Fender basses since signing up with the "I-WORD" people. I'd say there's a better chance of a signature bass by anyone else you could possibly name including yourself than of a C.K signature Fender P-bass being produced. Won't happen.

However it is equally important to note about your post that she got more than one of her own licks in there on Brian Wilson productions. And her variations on the original score, especially on "California Girls," are fairly well known. (Even if the people who fairly well know about it are all dying off.) If she had an idea she'd throw it in on a take. Sometimes it stuck and of course other times it didn't. On "THEME FROM SHAFT" her creativity got co-composer credit with Issac Hayes, which came as a complete surprise to her.

Brian Wilson is a collaborator, which is a great strength of his compared to other producers of the day who were more dictatorial. I think her work on "Good Vibrations" which came during the doomed "SMILE" project was equally fine pop bass work. In fact what survived from "SMILE" was maybe her best pop stuff ever outside of "Midnight Confessions" which was a Grass Roots pop project that came along later.

That leaves 9,996+ other tracks she played bass or guitar on in the 50's, 60's & 70's that were considered at least album cuts or made it into the soundtracks of major films and TV themes that entertained a generation. A generation that commercial radio now largely ignores unless they are selling cemetery plots.

One of my favorite Carol Kaye soundtrack works is on Stephen Spielberg's first film of note, 1971's "DUEL" which starred Dennis Weaver of "Gunsmoke" and "McCloud." The "everyman" Weaver is driving to a job interview but is being harassed by a road-rage consumed homicidal tractor trailer driver. Carol Kaye even did some of the sound effects for the tractor-trailer on her bass. This is generally considered the film that launched Spielberg's career. It only cost $500K to make, was only shown on TV as an 'NBC Movie Of The Week" but has a cult following, including me. Probably one of the best low budget psycho-thrillers ever. If you ever get a chance to watch "DUEL" you should check it out. Of course you can hear her on "Theme From The Pink Panther" and other better known and far more successful film soundtracks, but "Duel" was some really good bass work and she got to do some sound effects too such as when the truck shifted gears and was grinding down on Weaver's Plymouth.

Fender marketing surely knows that most people who actually know who C.K. is are dying off at an alarming rate. Pink Floyd just goes on and on and on.

ANOTHER MAJOR PROBLEM with a CK Bass! If there was a Carol Kaye Fender P-Bass it would be pretty much the same as a James Jamerson which would pretty much be the same as a Brian Wilson signature bass which would ALL be about the same as the current MIA 62 RI. There was nothing really modified on any of them other than Brian Wilson's tone control was BROKEN OFF. That is the main trouble with making a signature Jamerson or Kaye or Wilson bass. There was absolutely NOTHING unique about them. When Carol's P-Bass got to where it didn't play well, she'd just get a new one that did.

She also had a Danelectro bass she used some and which was often borrowed by other people, such as Glen Campbell, to use at their sessions when they needed that "TICK-TACK" bass sound that only the Dano could do. But we don't see Danelectro doing a signature instrument either.

I think Carol Kaye's SECOND greatest legacy to her body of recorded music should NOT be an instrument, but rather her many tutorials for serious students of bass. Of all instructors and all instructional bass materials she is without a single doubt the greatest living instructor a bassist could ever hope to have and has written the best tutorials for bass bar none. Her stuff is proven commercially successful and is soundly based in music theory. She is still teaching affordable private lessons too, so if you are anywhere near southern California I'd seek her out pronto. I know for a fact I am a 1000% better player because of her and she is the greatest instructor I ever had because I had to learn theory and had to know how to read music, else I felt like an oxygen thief!


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Posted: Thu Oct 07, 2010 9:53 am
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Carol Kaye endorsed Aria basses, most notably the Steve Bailey 4-string fretted signature models; she plays Ibanez Soundgears nowadays.

I saw a picture of her jamming with Steve during a NAMM show in the mid-1990s.


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Posted: Thu Oct 07, 2010 10:02 am
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Nice writeup, as usual, Brother Dave.

We had another thread on this not too long ago, and my thought was to have Fender issue a non-reliced version of the Road Worn '50s P-bass, in Oly White. That would hit a home run for a lot of Boomers.

The neck is a little beefier than the current 62RI offering, and the lightweight body, thin finish and vintage appointments offer a lot of mojo for the buck, and distinguish it from the '62RI. Fender has expanded the guitar RoadWorn line including white finishes, but not the bass side.

I wonder if Fender reads this forum... :)


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Posted: Thu Oct 07, 2010 4:36 pm
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chromeface wrote:
Carol Kaye endorsed Aria basses, most notably the Steve Bailey 4-string fretted signature models; she plays Ibanez Soundgears nowadays.

I saw a picture of her jamming with Steve during a NAMM show in the mid-1990s.


She also played Gibson, specifically a Ripper, for a brief while before switching to Aria. The Aria she played the most was a sunburst AVB model with 4-inline tuners and an amoeba style tortoise pickguard. I've seen photos of that one on her website in some late 90's photos. Never saw another one like it. Nice looking instrument.

Early in the 21st century she went to an Ibanez SRX-700 and AFAIK still plays that same now discontinued Korean made neck-through model. I have had one of those since 2004 and the very next year got a 5 string version which was the SRX-705 model. Both were well made and I really like the large radius neck-through SRX-700. As I never got used to the 5-string bass, I sold the 705. Being used to thicker necks I always feel like I'm going to snap the neck into on the 4 string one but, of course, never have. The SRX-700 is one very fast player and was only my second non-Fender bass ever. I prefer passive basses, so I just don't use it very much. I take it to a rehearsal now and then or play it at home and have used it for home demo recordings. They are very good for recording with a wide range of very clean tones.

I've examined and played Aria basses at collector shows, music stores and pawn shops. The only ones that stood out to me as really good instruments are the pre-1988 Japanese ones, specifically the Aria Pro II models. I know where an Aria Pro II 87 model is right now, at a local pawn shop for $350, but it is pretty beat up. These Japanese Pro II's are usually the most expensive yet seem to be the most common. The pre-Pro II models labeled Aria Pro are rougher playing. The later 80's through mid 90's ones I've tried played ok but were not so nice to me tone-wise, which might be why I hardly ever see any around here. I have never so much as touched a modern production Aria, so don't know much about them and have never played one. The current models out seem to be priced around the same price point and in some cases lower as Fender MIM basses. For a while Aria did make some really decent instruments when they were made in Japan.


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Posted: Wed Oct 20, 2010 10:34 pm
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Aria Pro IIs are made in Korea.

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Posted: Wed Oct 20, 2010 10:38 pm
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DantheBassist wrote:
Does anybody know any reason why Roger quit the Rickenbacker 4001S?


Because it was stolen in 1970 from an equipment van in New Orleans.


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Posted: Thu Oct 21, 2010 3:31 am
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I have also heard, don't know if this is true or not though, that Mr. Waters used a first generation Precision on some of the "Dark Side Of The Moon" project. Does anyone know if there is any truth to that? Thanks in advance.


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Posted: Thu Oct 21, 2010 1:25 pm
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chromeface wrote:
Aria Pro IIs are made in Korea.



I taught in a music store in the early '80s, and seem to remember the Aria Pro IIs were made in Japan, and were very nice. Production obviously shifted to Korea at some point, but I do recall the early ones being Japanese made.


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Posted: Fri Oct 22, 2010 7:05 am
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I think a Brother Dave 1955 Precision Reissue is WAYYYYY overdue. SEE THROUGH BLONDE, with a 5% underwound pickup and grounded copper shielding on all the cavities with pickup and bridge covers over a Vitamin-Q 0.047 tone circuit. It should have a TOP LOADING Fender Vintage threaded bridge to suit Labella 760M's. Nickle plated hardware all round. Medium Jumbo frets on a pancake (12 inch) neck radius with a rosewood board please! 1955 correct logo. Correct Case and Made in USA for under $1,300. Plus add a lifetime moneyback guarantee and an autographed picture of Andy Divine. What more could anyone ask for?


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Posted: Fri Oct 22, 2010 7:11 am
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LawDaddy wrote:
chromeface wrote:
Aria Pro IIs are made in Korea.



I taught in a music store in the early '80s, and seem to remember the Aria Pro IIs were made in Japan, and were very nice. Production obviously shifted to Korea at some point, but I do recall the early ones being Japanese made.


ARIA PRO II"s were made in JAPAN for a long time. No doubt about it. They were EXCELLENT instruments. Possiblly the most electronically sound basses to ever some out of Japan. I would change NOTHING on them. First class pickups and electronics! Add to that the precision CNC bodies and necks....just totally dream material.


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Posted: Fri Oct 22, 2010 10:06 am
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brotherdave wrote:
I think a Brother Dave 1955 Precision Reissue is WAYYYYY overdue. SEE THROUGH BLONDE, with a 5% underwound pickup and grounded copper shielding on all the cavities with pickup and bridge covers over a Vitamin-Q 0.047 tone circuit. It should have a TOP LOADING Fender Vintage threaded bridge to suit Labella 760M's. Nickle plated hardware all round. Medium Jumbo frets on a pancake (12 inch) neck radius with a rosewood board please! 1955 correct logo. Correct Case and Made in USA for under $1,300. Plus add a lifetime moneyback guarantee and an autographed picture of Andy Divine. What more could anyone ask for?


I think your signature bass would be based on the Mike Dirnt P-Bass and built to your own specs.

This bass will be a regular 20-fret or a 22-fret PJ model a la Robert DeLeo?

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Post subject: Re: Roger Waters Precision Bass
Posted: Sun Nov 06, 2011 11:01 am
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A great looking bass. I finally got mine too :-)

BTW anyone know Roger Waters bass gear?

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http://Watersish.com | The Roger Waters gear resource site


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