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Archive for May 2019 - Page 10

Groove – Episode #53: Randy George
Groove Podcast

Groove – Episode #53: Randy George

Episode #53 of Groove – The No Treble podcast is here. This month, we chat with prog-rock legend Randy George. Enjoy the conversation...

No Treble 10th Anniversary: Victor Wooten & Steve Bailey
Bass Videos

No Treble 10th Anniversary: Victor Wooten & Steve Bailey

You may have heard… today is No Treble’s 10th anniversary! We’re thrilled to have Victor Wooten and Steve Bailey sharing in the celebration.

A Decade of No Treble
News

A Decade of No Treble

Today is a special day: No Treble is celebrating its 10th anniversary! In the past decade, we've published 13,000 articles, columns, videos, lessons, and we've seen 27 million visits. Thanks for being here!

GR Bass Introduces the Pure Drive Pedal
Pedals & Effects

GR Bass Introduces the Pure Drive Pedal

GR Bass has expanded its line of bass specific gear with the Pure Drive pedal. The unit features a four-band EQ with four selectable frequencies for the mid-range control. It also has deep and bright filters for more general tonal shaping.

Why Isn’t Solo Bass More Accepted?
Ask Damian Erskine

Why Isn’t Solo Bass More Accepted?

As of tomorrow, we’ve been publishing for 10 years, and this has always been a topic in the comments. (A little less now, but still a thing.) This week, Damian tackles a question from a reader: “Why Isn’t Solo Bass More Accepted?”

Claypool Lennon Delirium with Geddy Lee: Tomorrow Never Knows
Bass Videos

Claypool Lennon Delirium with Geddy Lee: Tomorrow Never Knows

Les Claypool and Sean Lennon kicked off their latest tour with a special treat for fans – and for Claypool. Geddy Lee joined The Delirium onstage in Toronto for their rendition of Sean Lennon’s dad’s, “Tomorrow Never Knows.”

Dub Trio Returns with “The Shape of Dub To Come”
New Albums

Dub Trio Returns with “The Shape of Dub To Come”

Stu Brooks and Dub Trio have just released their fifth album, entitled “The Shape of Dub to Come.” A play on the groundbreaking Ornette Coleman album “The Shape of Jazz to Come,” as well as The Refused’s “The Shape of Punk to Come,” the record is also experimental in its approach to the style.