Лес клейпул бас гитара

Лес клейпул бас гитара

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Date: April 27, 2021

Primus Tour 2021

It’s been too long and Primus is excited to get back out on the road. We continue to monitor government restrictions and current health & safety protocols to bring “A Tribute To Kings” out on the road in 2021. With that said, June feels a tad too soon, and we have slightly shifted the tour to begin in August and run through October. Check out the list of newly rescheduled dates. All original tickets will be honored. For those not able to attend newly rescheduled dates, a refund window is now available for the next 30 days from the original point of purchase.

Date: Oct 23 2018

The Claypool Lennon Delirium

South Of Reality, The Claypool Lennon Delirium’s epic sophomore album might be just the antidote this sick world needs. Music so potent it could repel an asteroid impact from space. These seasoned warriors of psychedelia have crafted timeless songs that may as well be chiseled in stone.

Preorder Stream Rolling Stone view less —>

Date: SEPT 6 2018

Beanpole

Sean Lennon’s Chimera label is unearthing lost music from Beanpole, a demented recording project featuring performances from Primus members Les Claypool and Larry LaLonde, and Derek Greenberg and Adam Gates of Geffen-signed alt-pop group Spent Poets. All My Kin, featuring recordings from between 1984 through the late Nineties

Buy Stream Rolling Stone view less —>

Date: JUN 24 2018

SeaPop

SeaPop, the world’s first Soothing Soda®, is a tasty beverage designed to help calm the rough seas within. Utilizing ginger, chamomile and a blend of other traditionally calming herbs, SeaPop was developed by ocean-going fellows and herbalists who seek to provide a quality, natural soda that can help take the edge off of the adverse effects of motion, travel and digestive unease.

Tour Dates

Finally, the clouds are parting, the planets are aligning, the dough is rising…whatever metaphor floats your preverbal boat, PRIMUS is going on tour again. We were poised and ready for a massive, bent-rock extravaganza when the gremlins of covid came and yanked the rug out from under us all. I personally have been climbing the walls like a shit-house rat and, after my first season off in 30 some odd years, I’m very anxious and excited to stand in front of the microphone with my four string piece of furniture and belt out some girthy ditties to sweaty throngs of punters. -Les Claypool

As government restrictions and current health & safety protocols continue to be monitored, we have slightly shifted the “A Tribute To Kings” tour to begin this August and run through October. Check out the list of newly rescheduled dates.

Special guests Wolfmother will be still be joining for the entire tour and The Sword will open select dates. All original tickets will be honored. For those not able to attend the newly rescheduled dates, a refund window is now available for the next 30 days from the original point of purchase.

The following 2021 dates have been cancelled:
July 13, 2021 — Toronto, ON
July 5, 2021 — Lafayette, NY
July 23, 2021 — Minneapolis, MN

Refunds will be issued from point of purchase.

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Les Claypool | PRIMUS | Projects

Группа посвящена творчеству незаурядного бас гитариста экспериментатора Лесли Эдварда Клейпула

Blind Illusion
PRIMUS
Sausage
Показать полностью.
Les Claypool and the Holy Mackerel
Colonel Les Claypool’s Fearless Flying Frog Brigade
Oysterhead
Colonel Claypool’s Bucket of Bernie Brains
Les Claypool’s Duo de Twang
The Claypool Lennon Delirium
& many oyhers guest appearances

Les Claypool | PRIMUS | Projects запись закреплена

13 февраля на ютьюбе появилось видео с записью первой демо кассеты PRIMUS, датированной 1986 годом.

1) 0:00​ — «Tommy the Cat»
2) 4:45​ — «Temporary Phase»
3) 10:46​ — «Sgt. Baker» (с другим текстом)
Показать полностью.
4) 15:16​ — «They» (ранняя версия «Eleven»)
5) 20:01​ — «Welcome To This World»

Лес Клейпул — бас, вокал, обложка
Тодд «Paclebar» Хюз — гитара
Тим «Curveball» Райт — ударные

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Primus’ Les Claypool Bass Rig Rundown

\n UG takes a closer look at the unique gear that shaped Les Claypool’s tone on the classic Primus albums.

\n \n \n \n \n \n \n JustinBeckner \n \n \n \n \n \n

1976 Walnut 4 String Piccolo Bass

I hung around Leo’s in Oakland all the time, they had tons of new and used stuff. One day, I saw a Carl Thompson piccolo bass sitting there. I had stared at the photo in I Want To Play for Ya where Stanley [Clarke] had all his basses lined up, and a couple of them were Carl Thompsons. I always thought, “Man that sure is an ugly bass.” I picked up the one in the store, though, and I couldn’t believe it – it was so easy to play. Suddenly there were a lot of things I could play that I couldn’t on my Ibanez. I used to test basses by trying to play “Roundabout” and it was pretty easy on the Carl Thompson. I went home and I begged and pleaded with my mom for the rest of the money I needed to buy that bass. She lent me some and I went back and bought it.” Les goes on to explain, “In the 80’s it wasn’t cool to have a fancy woodwork custom bass; it was cooler to have a pink one or something the color of toothpaste. So people were constantly giving me shit for having a bass that looked like some weird piece of furniture.

As I mentioned before, this was originally built as a piccolo bass. Since most of you reading this might be guitar players, I’ll explain that a piccolo bass is a bass that is tuned an octave higher than conventional bass tuning. The piccolo bass was first explored in the early 70’s by another bass hero of Les’, Stanley Clarke. And guess who built Stanley Clarke’s piccolo, the original piccolo bass, bass back in 1974 – Carl Thompson. Most piccolo basses have a scale length of 30” or 32” (Les’ Walnut Bass is a 32”), however a standard bass with a scale length of 34” can be converted to a piccolo bass fairly easily by using lighter strings. Of course you will have to adjust your truss rod and bridge saddles and probably recut the nut slots but that stuff can be done fairly easily. In the same fashion, a piccolo bass can be converted back to standard tuning, which is what Les has done with his Walnut Bass.

Les also has a backup for the Walnut Bass, also made by Carl Thompson – a 1977 or 1978 Maple 4 string with a 34” scale. A replica of the original Walnut bass was made [also by Carl] in 2006 so that the original could be retired from touring, although it is still a studio mainstay for Les. Making a replica is very rare for Carl as he is someone who is always working to move forward with his creations.

CT 6 String “Rainbow Bass”

I was doing a demo at NAMM for ADA, and this guy [Gary Kelly] came up to me and said, \»Oh, you play a Carl Thompson bass? Look at this.\» He whipped out this amazing Carl Thompson 6-string fretless. After that I knew I had to have a 6-string, but I wasn’t sure if I wanted a fretless.

I didn’t actually get my 6 until just before we started Sailing the Seas of Cheese. We were on tour in New York, and I tracked down Carl Thompson. I told him I was interested in a 6-string; he was impressed that I had been playing his bass for years and loving it. A little while later, he started hearing my name around, so he called me and said he’d start building me a bass if I sent a deposit.

I couldn’t decide whether I wanted a fretted or a fretless. But I was getting to a point with my 4-string where it was like a stalemate; I was getting bored with it. I needed something that would just blow things wide open, so I decided to go for the fretless 6-string

Carl told me he was going to make the best bass he’d ever built in his life. He basically made a butcher block out of all these different pieces of wood, and then he cut the body shape out of it. He called it the Rainbow Bass. Apparently, it almost killed him to make it; he had a bad sinus problem, and all the dust was making it worse. And I was saying, \»Carl, I need the bass before we start our next record,\» so he had to rush—he even had to go to the hospital at one point. But he finished it on his birthday, and the serial number is his date of birth [2-5-91].

When I got the bass, I thought, \»Ohmigod—what have I done?\» It was so much more difficult to play. I was used to my 4-string’s 32\» scale, and all of a sudden, I had this big hunk of wood with a 36\» scale and no frets. When I tried to play chords, they all sounded like shit, and I couldn’t move around very well. But I kept playing it and playing it. I’m just now getting to the point where I feel comfortable on it. Carl is sending me another 6-string: the very first fretless he built in the ’70s. He’s installing frets and light-gauge strings, and I said I’d see what I could do with it.

1977 CT Maple 6 String Bass

Who is this Carl Thompson Guy?

Carl spent the early part of his life as a jazz guitarist. At a gig in 1974, he was asked to substitute on bass. After a weekend of gigging he found it to be unbalanced and uncomfortable to play. He figured with a few minor changes, he could improve on it. He was working at Dan Armstrong’s guitar repair shop at the time, and it was there that he built his first bass and was soon asked by many of the bass players on the New York scene for a ‘Carl Thompson’ of their own. Thus began a career of striving to build basses and guitars that are perfectly balanced and comfortable to play. Carl is credited not only with the creation of the first piccolo bass, but also the first 6-string electric bass, built for Anthony Jackson in 1975.

When Carl is approached to make custom instruments, one usually gives him some very general guidelines and leaves the rest to him — if you want Carl to build you a bass, you’re going to have to trust him as an artist. He explained, in a 1985 interview with Guitar Player Magazine, how a jazz guitarist came to become one of the most innovative luthiers in the bass world:

It goes back to something my father said to me: ‘If you think something is okay, leave it alone.’ Gibson and Fender and all those people were already making good electric guitars, but the basses needed help. I thought they were out of balance for one thing. I pictured the upright bass, and if you stand with the upright bass, the left hand is behind the right hand. If you play an old guitar like a Gibson L-5 or a D’Angelico, your left hand is always behind the right hand. It’s because of the pitch of the neck and the angle of the headstock and tailpiece. I don’t want to say anything negative about Fender, because they’ve done so much for the electric bass, but I believed their necks were too straight with the body. There was one axis; no angle. I was trying to pick up the upright bass and put it in my hand, to get that same feeling. I wanted to be able to take my hands off the instrument and not have it fall all over the place. I’ve made my instruments balanced. I can sit with the bass on my lap with no strap, and literally take my shirt off without the bass rocking off of my lap. I thought balance was really important. I think it’s very important to be able to sit and play the instrument without having to really work at it. Because of the tension on a conventional neck, it seems to pull forward, and gives you a tendency to lean forward and expend a lot of energy grabbing for that instrument instead of just playing. You need everything you’ve got for playing without struggling with holding the neck. I wanted to correct that.

Other Instruments

Primus’ next album was Antipop, for which Les used a new fretted 4 string “Antimatter Bass” made by Carl Thompson. The record also featured his maple 4 string (the backup to his Walnut Bass) and the 6 string fretted bass – all Carl Thompson creations.

Primus went on hiatus in 2000 and would reunite in 2003, although they wouldn’t put out new music again until 2011. It should be noted that Carl Thompson did make two more basses for Les – a fretless 4 string fretless piccolo (in 2002) and the replica of his 1976 Walnut bass. Les used a resonator bass made by Michael Kelly from time to time as well. That guitar is almost exclusively used on his Duo De Twang album. He has two of these now, one with block inlays and a black body and one with a tobacco burst body and dot inlays. The latter was equipped with an EMG Active Strat Pickup in it. Les also sometimes would employ the use of a Whamola, which is basically a washtub bass but the string is hit with a drumstick rather than plucked with your fingers. The whamola was given to him by a fan.

Amps and Effects

Les’ weapons of choice in the amp world have bounced between Mesa, Ampeg, and Gallen Kruger. Specifically, the Mesa Boogie 400+, the Ampeg SVT & SVT3 Pro. These were almost always used with an ADA MP-1 Preamp that had been modded by Tod Lange, according to an interview with Les, “[Tod] did something to the EQ circuitry to so the lows pass through better, and he also did something with the compressor to give me more bottom end.” Les used the MP-1 until 1995 when he switched to the MP-2. This is allegedly a big part of his tone. He has also had a pedalboard that has always been in constant flux. Recently, he has been using a Fractal AX8 along with a bunch of other effects pictured below [credit: Jay Blakesberg 2017]. One of the more interesting things is an Access Virus II controlled with a Roland PK5 which he uses for MIDI. You may remember this odd piece of gear from the recent Adam Jones gear article.

Les is often seen using either 2×15 or 4×12 cabinets made by either Mesa or Ampeg, during the classic years of Primus, it was usually a combination of the two.

For more info and a really good rundown of his gear, check out these videos:

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интернет лейбл Притон

Les Claypool и его четырехструнные танцы.

Les Claypool и его четырехструнные танцы.

Что такое блуждать по грани может быть известно некоторым музыкантам, которые добиваются подобного всю свою творческую карьеру. Некоторым же это удается как само собой разумеющееся и это говорит о самобытности человека, о его уникальности и оригинальности, как бы это банально не звучало. К одним из таких неординарных и сразу запоминающихся людей относится Лес Клейпул и все его творчество.

Когда речь заходит об одном из лучших в мире бас-гитаристов, то сразу вспоминается группа Primus и фанк-металл, как направление. Хотя вот про последнее можно и не согласиться, так как само понятие звучит как-то криво и однобоко, в том, что делают Лес Клейпул и его коллеги по цеху на самом деле больше эксперимента, джаза и безумия, чем тяжелой гитары или вообще чего-то, что может вызвать металлические ассоциации. Стиль, который частично культивировали Primus сложно вообще натянуть хоть на какой-нибудь каркас, проще все разобрать и поставить в шкаф, а оно там само оденется как ему заблагорассудится и выйдет в свет, только не удивляйтесь если у этого хвост будет на голове и оно будет подыгрывать слэпом на виолончели тому странному и безумному басу, который Клейпул умудрился популяризовать в массах, причем так, что стал одним из эталонов.

И вообще, определение психоделическая, экспериментальная полька — будет в самый раз, причем ко всему творчеству безумного басиста, который во время своих пассажей на четырех струнах еще и поет гнусавым кошачьим голосом. Благодаря Primusбыл создан целый культурный пласт, который сформировал определенную эстетику странного, безумного, пластилинового, улыбчивого и абсурдного. Что вы хотите от человека, который миксанул Rush и Frank Zappa и приправил это все такими безумными партиям на басу, что гитара в его творчестве выполняет полностью второстепенную функцию?

Уже около 30 лет, гурманы натыкаются на проекты, сольники и сам Primus и каждый год открывают все новые и новые люди, главное дозировано, так как от всего сразу могут расплавиться контакты с привычной реальностью, а они еще нужны, как минимум, для того, чтобы слушать подобных безумцев в больших количествах. Вот лишь небольшой список деяний Клейпула сотоварищи, а выбор делать уже точно каждому индивидуально, тут не угадаешь, хотя я бы начал с Primus “Brown Album”, но это уже опыт говорит, итак:

Oysterhead, The Les Claypool’s Frog Brigade, Les Claypool & The Holy Mackerel, Colonel Les Claypool’s Fearless Flying Frog Brigade, последний из перечисленных – это сольник, который можно вживую также и на записи, кстати да, одно из достоинств изобретателей трэш-фанка и абсурдной польки – они вживую звучат также, как и на записи. Многие сейчас просто совмещают два весьма сложных направления, чтобы охарактеризовать Primus и получают в результате прогрессив – фанк и в этом есть верные акценты, но полностью они все равно не раскрывают все то, что делает Лес Клейпул.

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