Thanks Mac @Mac ,
Cheers Brian
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Sure enough it does!
Whatâs interesting is the Harley Benton doesnât let you go full neck pickup so Iâd have to swap electronics and pickups to get there, which is what I assumed.
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Hereâs 50 Song Challange dump of tunes I have been working on.
3 from March and 4 are from this past week.
I have gotten into a pattern of learning a few a at time, trying to teach myself to multi-task/learn.
A lot of these are very repeititive, however they all still teach something interesting if you let them.
As always, feedback is welcome.
I made an error that stopped me cold 3 bars from the end of Come As You Are. I corrected the audio but wasnât going back to fix the video.
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The Spencer Davis Group - Gimme Some Lovinâ : nice playing and tone but I found the mix a bit strange. I think it is the original mix that sounds very agressive, and with an added track in the low frequencies (even if itâs not loud) it sounds kinda like there is a hole, a notch, somewhere in the midrange. I think that this kind of song, due to the orignal mix, would ask for a complete remastering.
Labelle - Lady Marmalade : excellent ! your bass tone is really great and perfectly appropriate to the song. a good old fashioned P tone. also a very nicely groovy playing.
The Strokes - Alone, Together : not much to say on this one
Nirvana - Come As You Are : very efficient bass tone on this mix. fits perfectly, and it sounds probably better than the original 
Wilson Pickett - In The Midnight Hour : again not much to say, great tone.
Stevie Ray Vaughan - Crossfire : nice to see this Squier J again
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Thank you @terb
Yeah the original mixes on some of these songs are terrible. Almost calls for some sort of lo-fi filtering (like the blurry video filters to simulate the old video cams) to make a new instrument fit.
Appreciate the feedback!
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Good work! Some of the various original mixes are kinda tough to deal with, but thatâs beside the point. Your timing and playing are solid and your mighty, mighty arsenal of basses isâŚimpressive, to say the least. All around great stuff, John!
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Great covers and great basses!
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@John_E Great playing John, I always like your videos. If you ever need someone to watch your house because you are going out of town, I volunteer 
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Liked them all John @John_E ,
The 3 stand outs for me were lady marmalade 
come as you are and crossfireâ:+1:,
For no particular reason, I just think you nailed the timing and tone and the bass selection,
Cheers Brian
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Lady Marmelade was perfect bass tone
Come As You Are sounded great for bass tone, fit in well with the song. Chorus on it?
Bass sounded good but the backing track on The Strokes was terrible. Recommend EQing or filtering off some high end from it.
Thatâs kind of a general comment on backing tracks I guess (not just yours - you didnât do anything wrong here). They can be tricky to EQ right. Several of these really suffered from removing the low end from them, such that when you brought up their volume to match your bass, there was far, far too much high end. This might be tricky to fix because it was likely caused by the low end fundamental tone of all the instruments being removed but youâre only adding the bass back in. Potentially not much you can do besides EQ down some of the high end slightly.
Thereâs only so much that things like Deezer/Moises/iZotope can do with the dynamic EQ they use to isolate parts of songs, even if it is machine learning driven. In the end itâs hard to trim out bass without removing other low end too.
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yeah, itâs even nearly impossible. one solution is sometimes to cut a narrow notch in the low end, but it means that you have to make a choice about which part, and how much of the original bass track you actually remove. itâs hard to find the sweet spot.
Often, after I recorded my track and when Iâm mixing a cover, I modify the EQing I originaly did to remove the original bass track, to fine tune the notch to match the overall mix. it can help a lot to make the final mix sound more natural.
But in some cases, especially with old records, the original recording and mix is so bad that a complete remaster would be needed. and, in most cases, it even would not make miracles.
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Yeah, totally agree. Thereâs only so much you can do when it comes to removing instruments en masse.
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Totally agree here.
Since they are 50 Song Challenge tunes I used what was given as backing. Crossfire I actually did the bass removal myself as I did want it to sound better. Sometimes one algorithm works better than the next. But wasnât interested in spending too much time on that with these though.
Btw. No chorus on Come As You Are.
I did try using the Lex on bass like it is on guitar but wasnât digging it in the mix as much as I was in isolation. Sounded great though.
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Great job on all the covers @John_E ! As those above have mentioned, the tone and timing were perfect. Really enjoyed the set.
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Today I present the classic GdybyĹ kochaĹ hej - a 1969 hit from the Polish group Breakout. It isnât too difficult to play, although I had to improvise a couple of parts because there arenât any tabs available 
.
The setup is fairly clean - just the Rick running through my trusty Motorbass overdrive. And some new Rotosound 66s 
! I think I would have benefited from some compression though. Also the problem with playing sustained notes is that you get to hear the massive deadspot at BâŚ
Moises had trouble isolating the bass so to get the backing track, I removed the right stereo track (the bass was panned to the right in the original) and panned the left to the centre. Hence a couple of parts sound a bit weedier than the original.
Iâm having a spot of bother with my intonation on the first string so Iâve tuned the bass at the 7th fret until I can book a visit to the town luthier. This also works with Motorhead songs
Anyway -
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Excellent job @Ed !
I love the tune, very â60 rock.
Your tone was spot on and playing was great.
Not hearing of the band or the song before, I wouldnât know that you werenât the original bassist in the band!
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Thanking you kindly @JerryP 
funny how music switched around 1970 - you can definitely tell a 60s song from a 70s songâŚ
Iâve come to the conclusion that while ricks sound good, they sound better with a bit of overdrive
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Amen brother.
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