I liked it, but I also like to have more people in the stew. I learned alot making Cosmic Troubadour because it was really just me, the drummer, and the two guys I use in the studio. I still go back and listen to that album, and I still like it because it was just completely by chance. Compression was a total roll of the dice. Well, it becomes less of a challenge as I become more experienced. How did the writing and recording compare to making your previous solo albums? The wear is all natural, and he adds that the bass is, “.actually salty from soaking in my brine sweat”! Wife Bass) Sheehan bought this this circa-’70 Fender Precision Bass he calls “The Wife” new. So when I’m doing this, I allow each instrument to sit properly in the mix and create a nice, heavy sonic wall, not just a blast of noise. A guy with a low voice wouldn’t have worked at all for AC/DC. On AC/DC Back In Black, you’ve got the super-deep, heavy bass and drums – heavy as all creation – and the perfectly punctuated upper-mid guitar stabs, and then a voice way over the top of everything. So the rest of the track has all kinds of room to sit in. It’s kind of midrangey, bright, and beautiful. But later, when they were trying to figure out how those records were made, we realized that Hendrix’s guitar doesn’t have a lot of low-end. It’s a very important thing that inadvertently happened on a lot of great records before they were really paying attention to it. You have to either EQ them out of each other’s way or record them out of each other’s way to start with. An instrument in one frequency should not be stepping on an instrument of a similar frequency. People who dismiss really heavy bands don’t understand that does not come easily it’s coordination of disparate factors, because mixing by frequency is a lost art. But to get that heaviness – the “heavy-osity,” as Woody Allen would put it – requires a bit of fine-tuning. Holy Cow! has a heavier sound and feel than material you’ve written in the past.Ībsolutely. Sheehan also harbors a special love for baritone instruments, which have become the musical foundation for his solo work. Also eager to show off some eye candy, Sheehan invited VG to check out his favorite instruments, including the Fender Precision Bass which had been his main squeeze through his tenure with Talas and later served as the springboard for his signature Yamaha Attitude. Having recently completed his third solo disc, Holy Cow!, Sheehan sat with Vintage Guitar to discuss the album and how collaborating with Paul Gilbert sparked a Mr. Big in the ’90s, his name has always been right there with the elite. Whether with Talas in the ’70s, tapping toe-to-toe with Steve Vai in the ’80s incarnation of David Lee Roth’s band, or forming the chart-topping Mr. All photos by Neil Zlozower.Īmong rock bassists, Billy Sheehan has been a standout in four decades. It includes the original black tolex Fender hardshell case and all of the original case candy.Billy Sheehan. The original owner only played it a few times and kept it in its case for most of its life. This example is in excellent/near mint condition. It is tuned in the same intervals as any normal guitar so you can pick it up and instantly play anything that you play on any other guitar, just a few steps lower.
Whether you are burning up the fretboard with some chickin pickin, spacing out with some deep, rich chords or playing heavy, down tuned metal this guitar will completely open up your concept of what you can do with an electric guitar. This Subsonic Strat sports a 27.5" scale and it is tuned to B standard.Thats right, its a baritone! Baritone guitars have been the closely guarded secret of studio guitar players for decades. While this looks like any old Strat at first glance, after hearing it and playing it you will quickly discover that this is something entirely different.
#Fender subsonic series
2000 Fender American Series Subsonic Baritone Stratocasterįor a very short time from around 1999-2000, Fender produced one of the coolest versions of the Stratocaster in very limited numbers.
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