Відео

@@Sheehy223 that’s an awesome find! Thanks for sharing.

@@kevinsheppard2312 I think my original reply got deleted because I included a link so I'll just omit it. In an interview from 1980 he confirms that his 4002 was used in the studio (maybe some songs on 2112? Edit: he says Madrigal is his fretless 4001, possibly Different Strings?) and in another one he explains that the mysterious 3rd SC-40 in his live rig was set up for his Jazz bass with a different EQ like I previously suspected. He also said he never recorded with his 3001, which would point to Circumstances being his Precision bass (or a different Precision bass) like you thought

@@Sheehy223 thanks for the great info!!

@@heyitskad I used 12-54 gauges from D’Addario as I found the Ernie Ball 12s to be too thick. These strings in C standard felt a lot like 9s in E tension wise!

no. he didnt use the steinberger until 84

@@Augfordpdoggie In Their Limitless Rise Rush also began experimenting with their gear choices in Le Studio, which led to some aurally apparent differences in the original Moving Pictures stereo mixes. “Undoubtedly, the feel and sound of a particular instrument can influence the way one plays,” Brown agrees. “In this case, Ged's newly acquired [1972] Fender Jazz bass was an inspiration for him - although the Ricky [i.e., his Rickenbacker 4001] was the bass of choice for 'Red Barchetta,' and the Steinberger was the right sound for 'YYZ.' I don't think any of these tunes would have evolved differently using different gear choices, but it's the subtleties that count.”

I love it too, thanks!

Yes and he composed the bass line. I don't think Roger played anything on Pigs. Maybe a VC3.

@@davevasques2157 cool

Stereo Rickosound! I modded my bass to be stereo even though it came mono.

@@kevinsheppard2312that’s awesome dude! So you’re running two Ashley’s then? One for each pickup? That’s how Ged ran them during the Hemispheres - Signals era.

@@Frobiwan1965 that’s right! Later in the video I demo each pickup solo’d.

@@luiseduardo_ear No. the black one just has a little more headroom!

@@wooliegeek I can try to see what it sounds like. It would have a lot of cymbals and vocal bleed but it would be better than nothing!

@@kevinsheppard2312what software are you using? I’ve bought all of the 5.1 releases to date, might as well go explorin’

@@wooliegeek I downloaded the audio files off this website and was pretty much able to just rip them out cause someone has already done the work however I have also done it the long way. If you can burn the disc on to your computer and extract the singular master audio file, you can use adobe audition to go in and separate the channels.

Great question! A couple years ago I emailed Terry Brown just to talk a little bit about what he remembered about recording Geddy’s bass. He recalls adding a DI signal for “low-end presence”. I’m not sure if that meant the neck pick up from the Rickenbacker, but the main point is that a little bit of low end gets lost between the speaker and the microphone. It’s just nice to have the raw direct signal. The amp itself has enough bottom! Also worth mentioning, Terry Brown said that he used the RCA BA-6A limiter on Ged’s bass while they were at Le Studio. As for microphones, he said they probably used 421s but I’m pretty sure Geddy was using electro voice RE-20 (onstage definitely) up until at least the signals tour where he was using a 421. Who knows, mics are important but at least for bass it’s not the end of the world. Ever since I got my SC-40s and started uploading videos, they’ve all disappeared. I’m happy that guy is making a clone. My only comment is that I’ve seen some people not plug it into a speaker and then complain that it doesn’t sound right lol. It doesn’t work like a sansamp. Looks like a great unit and I’m sure it sound probably just like the real thing, just use a speaker or impulse response lol!

And I should also add that if you do decide to use the distortion mod, it absolutely cuts a lot of the low end, but I’m pretty sure you can recover it by using the direct signal however I could be wrong. If I’m being honest, I don’t think Geddy ever used the mod with the Jazz bass. The internal clipping/distortion when you crank the gain sounds almost the exact same as the mod (same 1N914 diodes inside). All the distortion mod does is makes it distort sooner. Less headroom, I guess.

I also kind of want to redo this video. I’ve just learned a few extra things that make it sound better. New strings, lower pick up height and better setup so I’m not hitting them with the strings, little bit more low end and different compression, but I’m happy that this video gets the point across!

@@kevinsheppard2312 thanks for the thorough reply. Yes I would run either an SC-40 or the ME version through a Mesa Subway 115. I'm assuming for best results I should turn off the tweeter? I would guess Geddy's ESL cabs didn't have them.

@@57precision Nice rig. Yeah his cabs were just straight up 15"s back then.

I don’t think he has ever said he used it past caress of steel but he always seemed to have it in the studio so I wouldn’t be surprised if it’s on a few tracks. In his book he said it sounded too wild to record.

Hey! My understanding from interviews, tour books and photos is that he ditched the SC-40 after the signals tour. He then started using Furman PQ-3 preamps for GUP and then started adding API EQs through the 80s. He used an SVT for the recording of counterparts and then had a stint with trace Elliot for the supporting tour. Then for Test For Echo, he started using sansamp.

Happy you enjoyed it as much as I do. Appreciate people taking attention to detail!

Took me maybe 8 hours to learn the bass part and 2 hours or so to learn the vocals, then about 1000 hours to put them together

@ 1:30 is the toughest part because you want to dig into that bass line so bad, but if you do you lose the vocals :D lol

lol good question! I had it brought to a trusted luthier however what he did was rewire the internal harness to send the signal out of a TRS output. I didn’t drill a new hole (more on that in a bit). So I run a stereo cord from the Rick to a custom splitter box which is pretty standard however the way this splitter box is wired allows me to have the pickups combined into one mono signal again if I only use one (of 2) outputs on the box. That being said if I used a normal cord and plugged my Rick into an amp, only the bridge would output. If I want to treat it as mono, it’s an extra step but I don’t mind. I tried my best to explain it, but it’s even hard to explain in person. It’s ultimately simple though lol! Let me know if you want more info and I can send some pictures of the splitter box inside.

That's awesome!

Once you hear it isolated it's so much easier to hear in the full song. Any time I'm playing this in the car with friends I'm one of the only ones able to sing that part

Thanks!

This is taken from the Center channel of the Signals 5.1 surround sound remix! If you can obtain the surround sound audio files, you can use software to split the channels.

So there are three iterations of the SC-40 however their circuits are very similar and they practically sound the same. The blue one in the video is the first generation SC-40 that Geddy got in 1978. In the early 80s, they came out with an SC-40 that aesthetically is a blend of the two you see in my video (you can see them in the exit stage left videos). And in the mid 80s I believe is when the black on was released. Here are some links the images of the respective units. reverb.com/item/2705701-vintage-ashly-sc-40-instrument-preamp bb.steelguitarforum.com/viewtopic.php?t=273582&sid=bc2f5d03bc363d42b3bcc6c7f4b7a5b3 reverb.com/ca/item/2170434-ashly-sc-40-instrument-preamp-with-parametric-equalizer-eq-signal-processor-sc40

@@kevinsheppard2312 awesome! So Geddy updated / upgraded his Ashley's during this period? Also, as you know he ran his Rick stereo, so essentially bi-amping the neck and bridge pickups separately. But i'm pretty sure he did NOT re-wire the Jazz stereo. I always wondered how he ran the Jazz in his bi-amp'ed set up. Do you know??

@@scottburell8261 Good question! For the ESL tour my understanding based on pictures and interviews is that he kept his 70s blue face SC-40s for his Rickenbacker setup however since he started playing the jazz bass live, he bought what would be the current version of of the SC-40 at the time. You are right, he only ran his jazz in mono. He said in an interview that his bass tech would just re-route his patch cord to a different preamp instead of tweaking the EQ. It also looks like he had a spare SC-40 as well around the time. You will see in pictures that it is never tuned on.

I can only spread what’s been made available but on the off chance that it’s released, what would you want to hear?

@@kevinsheppard2312 awesome! Maybe some bring me the horizon bass? And more Nickelback bass? Love the Heavier Nickelback stuff for sure. And maybe Pantera bass or guitar?

@@AndrewCruzmusic unfortunately I don’t have access to Horizon however I could flip you over some stems to San Quentin if you wanted.

@@kevinsheppard2312that would be awesome!

Thank you!

rex and mike both use spector basses

I'm open to that idea as well.

I’d very much like to but currently away from my amps. One day I will.

I believe I took this from either the Center or left and right channel of the 5.1 surround sound remix of signals. One of them!

Agree 100% I love the sustain the kick has. The games like Guitar Hero and Rockband are comprised of the original multitracks so people have been able to go in and extract them. If you are interested, I can link you up to where I got them.

@@kevinsheppard2312 I'd really appreciate that!

@@JoshWannamaker Here you go: songstems.net/search?q=Nickelback Enjoy!

ua-cam.com/video/lt0b1KCB_DU/v-deo.htmlsi=UY9LIElUcBPESw4T Totally isn’t.

I was skeptical too. Put it up against the original, and it's him for sure. This is probably the totally dry direct signal, and no editing yet since he trails off on the wrong lick towards the end.

@@Gleedsville Thanks for your comment. It’s literally from the official multi tracks which I have posted on my channel. Cheers.

This is 100% Chuck Rainey. Any Chuck Rainey scholar would know that. There are nuances in this track that are not possible to reproduce. Chuck could not have even played it exactly this way again. It is not a clean bass line at all, which is partly why it breathes and bounces like crazy. Soloed, it is not amazing. In the mix...brilliant. 100% Chuck.

Happy you appreciate it:)

songstems.net/stem/the-beatles-i-want-you-shes-so-heavy-ogg-remix-stems

Ignore the Beatles. It’s the website that counts.

Gotta give credit the a guy named Roger Ginsley who used to be a technician in Le Studio during the late 70s and early 80s. His website is here: www.tekxelectronics.net He's also a nice guy. I couldn't believe these photos existed but had never surfaced.