Sounds great @Bassdacious!
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It was really good. Bold move playing it on a violin bass, but it actually sounded pretty good. a little more fuzz mixed in with either a slight Q tweak on an envelope filter, or a Bass Was pedal ON, just set somewhere in the middle between 0 and 120.
I actually read a story, not sure how valid it is, but it goes like this. When they were in the studio to record that album, in the few days it took, with most of them doing live sets in one or two takes, Geezer just started jamming an intro to the song, prior to leading into it. The Wha pedal was on, and just somewhere between all the way on to all the way off, and he didnāt realize it was on, but the result he got was fantastic. In fact at the end of the solo, were he kicked on a little more distortion, you can still hear the Q filter for a little, until it eventually got turned off during the mighty long song.
I have studied that bass line, first with Cover Solutions, and then with Beholden to the Riff. I have been able to get thru it a few times as played in the videos, and tablature, weather it is completely right or not, IDK, however, after studying many Geezer songs, he defiantly has his favorite positions to play his favorite pentatonic scales, and plays 90% of his stuff in this area of the neck, so if you are off on a note, it is probably not by far, or in fact, Geezer was off on the note during the recording or performance, but because he has too much groove and swagger, it plays perfect regardless.
You did a good job to just keep the rhythm and hold the groove, canāt wait to se you kill the solo, and cover the whole 7 min song (If I donāt beat you to it, LOL)
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Oh - a challenge! Iād better get my act together 
Iāve recorded another fuller version but itās still not all there so Iāve decided to save my progress for now and maybe work on something different to give my head a rest. Iād love to see how far youāve got on it if youāve got a recordingā¦
Sounds like a job for the Zoom BiX4 ! Iām still getting a bit of noise from the Hofner but I reckon I can work around it a little. Then again I may try and do the effects in Audacity. Man this bass playing is a voyage of discovery
Yeah I think Jared from Beholdenā¦ makes a mention about that. Early Sabbath was way raw. I think they may even have recorded their first album in one take or something? Total metal 
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Set up a light drive pedal with a way pedal on the expression pedal.
Then set up another with Little more Fuzz, but leave the wha pedal set up.
Start out with the slight overdrive, and find the position to leave the wha in, somewhere where you can get both sides of the spectrum, so that you get a little of the honky twang, but some lower distorted notes.
Then just when you go into the main riff, switch to the next patch with more fuzz / distortion on it, leaving the Q in the same spot (you kind of her the funky Q filter in the beginning riffs of he main song,
Then as you get past the full riff a few times, back off on the wha to leave the fuzz and remove the q filter. to jam the rest of the song.
That could get you gong,
Or you can set up some OD / DIST into an envelope filter with the sensitivity set pretty low so that it only kicks in when you dig in and bend, Then set up the next patch with a little more fuzz / distortion for the first few intro riffs, leaving the envelope filter set low, and then create a 3rd patch to switch to that has the same fuzz / diet, but removes the envelope filter.
Or if you wanna get tricky, try option 1, but donāt just find a sweet spot for the wha pedal to set, and actually try to play the way with the right notes and bends, still doing so thru the 2nd fuzz patch at the beginning, but then leveling it off at zero once you get to jamming the song.
Any of the three will work, but will take time to set up, and defiantly time to practice to dig in and bend at the right time to get the Q filter going, plus practice swapping patches on the fly while you play the song, but it certainly is doable.
I can do it that way, with my B1x-Four, or I can use my board, and use a little OD with my envelope filter, and kick on the Fuzz and off the OD when ready, then kick off the filter when it is done. Might be a little easier to set up in the beginning, but still takes a good lot of time put in to get the boxes switched at the right time for sure.
I also have a Crybaby Bass Mini Wha pedal, which would be the fun way to learn to play it, but to cheat it, is a little hard, because it has a spring to return it to the up / normal position when not standing on it, however, there is a Q setting which might allow me to make it just right while it is in the up position, Hmmm, thing to test out.
Yes, yes, you could do this in a Daw afterwards and make it almost an exact copy, but I think this type of playing, especially live (vs. bedroom and video cover for bass buzz folks) that really highlights the reason I still like to have my pedals handy, to do tings like this.
And who knows, just going thru the motions and practicing this song enough with these types of effects certainly will make me appreciate what kind of power I actually have at my feet, and will give me so much more potential to actually use it, after doing so in real world situations.
Ah, the pedal board rabbit hole, the fun never endsā¦ Til you kill it and put it all in a DAW. Its like Auto Tune, taking the life out of music 
Ha, Ha, Ha, ok, I am gonna climb down of my Glen Fricker high hoarse.
Besides, I believe he would still want the dry track fo his mixing purposes anyway, so it is a moot point, although an interesting one, I wonder where he stands on artists using effects in the performance they heavily rely on modulation to play the track, like what pedals and layers of delays and such.
I think layers of delays could just be different tracks, but what if it is the timing cues set up by the delay patterns that really helps the guitarist / bassist play on time, in a complex web of layers of riffs / lines?, kind of like the āpracticing with a delay pedalā video @JoshFossgreen did on his YouTube channel?
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Best decision I have made in a long, long time
Especially since Glenn sells DAW sample packs now himself 
Absolutely. Itās easy to add effects in the DAW, but really hard/impossible to undo effects that are recorded. Way better to have the dry track.
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I come from the other direction. I learned basic recording on a Tascam 4-track cassette machine, then moved to 1/2ā 8ātrack reel to reel, then DA88s when I was recording demos for indie bands. My process is to commit to a sound & get it on tape. Bounce it down & there is no going back. When I get into a DAW, I suffer from option paralysis and spend hours tweaking compressor settings 
.
I would much rather get the sound going in. I like committing effects to tape (or whatever the hell weāre using these days).
But there is a reason I use a DAW that deliberately emulates an analog console. I revel in the āIf youāre using more than 16 tracks, youāre just dicking aroundā ethos. Itās not for everybody, and I admire those producers and engineers who spin gold out of straw. I just canāt do it.
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My problem is that this wouldnāt help my innate perfectionist streak at all, where itās hard for me to just call something ādoneā and end it; it would drive me crazy to not be able to tweak the sound after I heard it in the mix. I would end up re-recording a lot in that case. So for how I work, having it all in the DAW and editable is way more convenient.
But I understand where youāre coming from too, yeah. Thereās something nice about just calling something finished and living with it
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Hey Everyone!
Here is my first cover with the Ibanez, an old song from my youth. Hope you all like it. Comments welcomed.
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Great playing. I had to like the post as soon as I listened for a few seconds to that tone. Maybe the bass could be even a little bit louder. Good job, Jerry!
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That was great great great @JerryP !!
Tone and playing were great.
And that bass just looks so so good.
Iāve been having this big struggle with my thumb doing what my instructor calls āwaving at himā - peeking out over the fretboard and back a lot like yours is. What Iām finding is it simply hurts to try to put my thumb where it belongs. Period. Itās a combo of the wrist and thumb for me anyway. I had carpal tunnel and the surgery done. Maybe itās part of it. Or years on a keyboard for work.
I am starting to wonder if some of us have had our hands reshaped over our years and that the thumb goes where the thumb wants and itās just ok. Especially if it hurts to put it in the ārightā place.
So I say itās good wherever it feels good and plays good!
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Really nice playing and the Ibanez sounded great; love the double-humbucker sound, itās my favorite.
Do you have flats on that? Sounded kind of like it, went well with the song.
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Iām using my thumb as an E string mute. For some reason I kept hitting the E string inadvertently while playing certain parts.
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Funny you should ask that @howard . I was thinking about putting a set of LaBellaās on it, but I may wait a while on that. I got the tone with the Zoom B1 Four using factory patch 47 āSVT Half Stackā.
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That is one of the best ones on there IMO. Nice and clean!
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Iām trying āMotownā next but I may go back to āSVTā.
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Great job - Iām a believer! I guess thatās a slight bit of extra bass on the EQ?
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SVTās are, like, the opposite of clean
Even when not overdriving, Ampeg tube amps in general, and some of their solid state amps as well tend to have a very, very distinctive tone they add. Itās actually my favorite amp tone.
I forget how well the Zoom models it though. I do remember liking it.
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Thank you! Yes, just a bit for training puposes.
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