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Produced by Wayne Hall and Jeffrey Crecelius
I asked our friend Miguel Falcão to tell me a bit about how Chris Squire achieved such a remarkable bass sound for Tormato. Instead of sending me a few bullet points, Miguel was kind enough to record a complete audio description of the technical minutiae of the master’s solution. Mark and I listen to this amazing in-depth piece and discuss a few of the points Miguel makes.
Many thanks to Miguel and if you haven’t heard his staggeringly accurate Yes bass covers, then you are missing out a great deal. See the links below to remedy that immediately.
- How did Chris Squire achieve ‘that’ sound for Tormato?
- What technology did he employ?
- Was the approach the same on every song on Tormato?
Listen to the episode and let us know what you think!
Miguel’s amazing website:
Chris Squire’s bass setup photographed by Dave Watkinson at the Tormato sessions, RAK studios, London, 1978:
A selection of Miguel’s Tormato bass cover versions:
Miguel’s Annual #PlayForChris project:
Bag yourself a fabulous piece of YMP history before it’s too late…
Head over to the YMP Emporium to…
- Order a YMP Trivia Card Game ‘The Answer Is Yes!’ – available now!
- Order the unique Full Union art print – available now
- Jeffrey Crecelius and
- Wayne Hall
|Mark James Lang|
|Mark ‘Zarkol’ Baggs|
|Guy R DeRome|
|Hogne Bø Pettersen|
Robert and David
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The music I use is the last movement of Stravinsky’s Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert – I put it together from: archive.org