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Have recently just obtained a Vigier Passion11 in greenburst to go along with my Passion111 custom in funky orange (not sure what the colour is!! though the bass is a funk machine!) So comparison between the carbon neck and the 10/90 system on the go at the moment....Both a joy to play and a very happy bassist

I would correct this and say 'one of the benefits....' - another benefit you have discovered is that finding notes on or around the 5th fret can be easier without ever dipping below the low E. I would also add the extra choice of where to play the note gives you the choice of what timbre the note will have - eg E played on an open string doesn't sound like E fretted on the B string so you can play what is most appropriate. I changed to 5 strings about 2 years ago and most likely won't change back even if there was no longer a need for 5 strings. But, as has been said, do what is most comfortable for you - from what you say it sounds like you want to explore 5 strings so I'd say go for it. If it doesn't work out, go back to 4. No-one will get hurt, it is only a bass!

So I bought a Mark Bass set up comprising a head and two cabs. Then, a while later, GAS got the better of me and I couldn't say no to a couple of Barefaced cabs. As Patrick O' Brian would say I was with child to try them out and promptly did so on the evening of the day upon which I'd wrested possession of them from @Happy Jack in the car park at Newbury services. They gave an incredibly detailed account of the instruments I put through them, but I did spend much of the rehearsal fiddling with the controls of the Little Mark Tube to achieve a sound I liked. No problem I thought, new gear takes time to learn. Every set up has its foibles. Last night I gazed along the mountain of amps and cabs I've accumulated over the years, and in a fit of quite astonishing laziness decided I could only be arsed to take the smallest of the BF cabs and a couple of cables and one bass. Once the folly of not taking any amplification had fully dawned on me I trotted back into the house and on nothing more than a whim I grabbed my ageing Behringer BX4500H. This cheap and cheerful head has been with me for yonks usually coming along for the ride as a back up where it has served me honourably. In fact on more than one occasion it has stepped bravely to the fore when far more illustriously named amplifiers have croaked in mid gig. Imagine my utter astonishment when the diminutive Barefaced Midget in combination with this ugly ducking of the bass amp world proceeded to produce the most astoundingly beautiful bass sound with which I have ever been associated. My singer looked up wide eyed from her seat to comment how the bottom end of the sound had passed through her chest in such a way as to make her draw breath, the clarity and smoothness of the upper frequencies had my aged yet nimble fingers dancing up the fretboard and the mid tones boxed their way cleverly through the other instruments there present as they seamlessly and fluently held together the whole in a way I'd not previously experienced. And loud. Boy oh boy. The master pot was barely off the floor and yet I filled the room with a sonic feast both voluble and delicious. The tone knobs were set to neutral, just the shape control engaged and the bass boost button depressed. I was playing a Stingray, the infamously zingy, tingy, teeth on a metal fork quality of which I have tamed by the application of some flatwound strings. It was truly bass heaven. I look froward to trying other combinations of amp and cab before flooding our for sale section with unwanted goodies but honestly I shall be extremely surprised were any of them to match up to what I heard last night. Just goes to show, don't write off a 'cheap' brand from a position of prejudice, and don't assume amp 'A' will be amazing with cabs 'B' or 'C' without trying them first.

Well, I've gone for it! I've bought the Jazz I borrowed, and I'm rapidly falling in love with it, even though it's giving my fretting hand a different type of gyp. But the ability to just whizz across the fretboard rather than race up and down it is fantastic. And that lovely sustained tone... oh, it's gorgeous. The only downside is having to relearn all the starting points for the scales, but that's a small price to pay. Aye, it took a big chunk out of my bank balance but I thought that as I would graduate to a pro axe anyway it seemed sensible to go for broke rather than buy another cheap instrument. So, what two fives did you buy? And have you got a favourite?

I'm really not sure that apology is sufficient, y'know.

From personnal experience, the time not to move to a five is half way through your honeymoon necessitating a 3 hour detour and going straight into a gig when we got home thinking "the extra string cannot be THAT tricky".

I bought some confectionary described as mint, every single one had a bloody hole in it!

Cheers Liam, both helpful and really not helping at the same time, takes talent, that.

I went and bought a Fender P because I knew that some of the people I was playing with (and also some of the band leaders that I wouldn’t mind playing with) preferred that sound image / look. The BL was gushing about how great the new bass was and said that his bass playing mate had said “I see that Pete has got himself a proper bass at last”! Personally, I think that a lot of it is nonsense and that a decent bass will get a sound that will work in pretty much all situations. But it can’t be denied that a lot of people think that a ‘proper’ bass sounds and looks like the basses on the records they grew up with (be it Motown or the Clash) and ideally has ‘Fender Made in USA’ written on the headstock. So, I bought one because it would help me get more gigs. I heard a story of someone auditioning for Mark Knopfler who turned up with a high end coffee table 5 string. The audition obviously went well because he was asked to come back but Knopfler said to him ‘next time you come, bring something that looks like a proper bass’! So, he went and bought a 5 string that looked like a Fender for the second audition and I believe that he got the gig in the end.

And it's an excellent thing to have if the monitoring is amazing.

Not exactly Behringer-levels of surprise, but an old-school/new school combination I have is fantastic: my Walkabout through my Barefaced Super Twin. The cab just delivers all the Walkabout sound, and on the upside, it goes very, very loud. I know Mesa watts vs other watts and all that, but it makes 300w more than enough to deal with a couple of 412 Marshall guitars and a shed-building drummer. And it's a verrry easy one-cab solution (40lbs and wheels? Oh, go on, then ), and with a £30 Maplin case, the amp's a breeze to carry, too. As far as backline's concerned, I'm pretty much done.

That's why I like the Labella white nylons. They can give you the vibe of flats by taming the top end a bit, but they don't sound out of place for other stuff I'd play with rounds. They do not have the metallic zing, it's a bit more top midrangey, but it's a good string to cover a variety of styles with. Especially the copper white nylons. If you want something brighter, the gold ones get you there.

Depends on who else is in the room, and how loud they are. If you're up against a live kit with a clumsy drummer and a guitarist with a Marshall stack, then no. If you play with musicians, then yes.

Why not? I often take 2 or 3 basses to a gig or whatever and select the most suitable for the sound required by the band and will ask which they prefer. The band usually has an idea of the bass sound they want. Obviously, the doesn't apply with people you play with week in week out, but with new bands. For example, I rehearsed with a band last week that I am gigging with this weekend (my first gig with them) and tried a Precision with flats and a Jazz with rounds, finger style and with a pick. We decided the best sound was the Precision with flats, but more top would help nail the sound they want, so I have re-strung the Jazz with flats for the gig. It's not people 'telling what bass to play', it's just trying to help the band to achieve the sound that they want, and not just from the bass. In my regular blues band, the guitarist will sometime suggest that the drummer use a different snare, or tune a tom differently. We are all part of a band, and the overall sound is all that matters.

IIRC, Billy Sheehan said something along the lines of "I'm still learning the 4 string & once I've mastered it, then I'll add another string". The benefit of a 5 string is having those 5 lower semitones (though you could buy an octaver & have 12 lower semitones ). If the songs you play call for the lower (or of you string it E-C, higher) notes, then defo go for it. If your playing style means the extra string will make things easier, then again, go for it. If you want a 5 string just for the sake of having a 5 string, stop. Have a think & work out why you're going for a 5 string & not a 4 or 6. I've played a 4 string for 30+ years & never needed more. That doesn't stop me wanting a 5 string fretless though.

There isn't a set probation period one is required to "have served" on a 4 string, to be allowed to move to a 5 string bass. Four strings are simply a good starting point for shaping your own preferences. ||: Try as many different configurations/models/setups as you can and always go for the one you currently prefer. And then... :||

Oh! haha I see now you're talking about my username, well I feel silly now.

If you can afford it and can keep the Ibanez too then I’d say go for whatever makes you feel enthused about playing, and hence learning and progressing. Also, have you asked your teacher's opinion? They may be the best placed person to have a valid opinion on this. Unless they happen to have a five string Fender Jazz for sale that is

Google for Scott Devine's video on why not to buy a five. It's actually a cheeky title, because the video is moreabout why fives are good but the hiccups you may have along the way and tips on how to make the transition. If I recall, and from my own experience, fives are heavier, the spacing can be narrower, and the extra string alters your fretboard patterns picture. The upside is being able to work across and not have to go up and down the fingerboard. While 'Jaco never needed more than four strings', a great many pros do play with a five. The best advice I've had and would give is commit 100%. Don't try and play both the 4 and a the 5, you'll never get there. Decide to play a five, find a nice five you like and then never touch the 4 again. FWIW YMMV

I felt your post came across as mine obviously has to you, hence the tone of my response. Ah, the joys of the internet. FWIW I've played probably half a dozen or so Fodera's. I did quite like one, although I wouldn't have paid anything for it, but the others I really thought were the Emperor's New Clothes. There was nothing whatsoever about them that spoke to me. But as I note in my other posts, the entire issue of what is or isn't good is always entirely subjective IMO. If you like them and they work for you, buy them. I think the best advice I could ever give to someone wondering what bass to buy is, ignore what anyone else thinks and buy what works for you, whatever it is. Although my caveat regarding variances in individual instruments still applies.

It did thanks, cosy is just the way I like them. I’m off to tonight’s gig in a bit. Have fun if you’re playing over the weekend.

Indeed.

Be fair, the header for this section includes the following line (my emphasis):

What the heck, just bought these...

Yes - sounds a good set of options. The Flamingo is a bit pinker and the Matador is a bit deeper, so between the three, you should be able to get what you're after. I'll add a post on how I apply these shortly

Hellzero, I don't think Grangur's post was an attack on your suggestion, just a comment on what goes on in the bass string industry. I have looked at the Fodera site and their strings are made in the USA, as are the Warwick Black label. Warwick Red label are made in China. If the Fodera string are indeed the same as the Warwick Black label then it would at least mean that they fit the Warwick bass!!, if not the same then it gives me another option.

If no one here can help then there's a long and active thread on TB about Ampeg scroll basses - https://www.talkbass.com/threads/love-of-ampeg-and-other-scroll-basses-part-2.1044767/page-68. Lots of AEB-1 owners on there who may be able to help. Visual comparison with P-bass below might be useful as a guide.

...a great way to pop your bass builder's cherry!

+1 to that! If you've got smaller hands, then actually a 5 string version of your Ibby is worth checking out with its skinny neck (particularly the SR Premiums with the growly Nord PUPs - if that is your thing!) as well as the Fender Jazz 5. And if you include a Yamaha BB 435 (or 735A) on your list, those three by themselves will cover quite a range of necks, PUPs and body shapes between them, and each has a lot of love on BC. Happy hunting!

It's a Raro Guitars TM Bass, built for a member on the this forum from whom I recently acquired it. The pickups are made by MAMA in Italy and are one-off custom jobs. It is an incredible instrument, the low B is the clearest I've ever heard. It would want to be as the bass weighs a tonne!

Yep for me Walkabout with Barefaced Big Twin II is an incredible match made in sonic heaven. You are right the BF Twin cab delivers in bucket loads. I did a gig with that setup last weekend and the boogie was on about 1/4 on the input and 1/4 on the master and that was filling some space sound wise.

I have also asked the harp player to relocate his amp as it would sound better. Preferably somewhere several miles away!

The band won't want 2 bass players. There's only potential trouble for them if you try to go down that route. Do the gig, ie join and be the band member. Explain that you'll have to dep out some gigs due to other commitments. Don't be specific, then you can chose which gigs you do and they can find a dep for the others.

Looking good so far and nice to have the proper pickups for it! But like drinking and smoking, building basses can become addictive and expensive!! 😉 Cheers Jez

Thanks. We're going with Eventbrite this time, but will compare with See Tickets for the next one (there's optimism for you)!

The flats on my Stingray are rounds. Ok, no, I don't have flats on my Stingray... but let me elaborate I tried EB Cobalt Flats. They were very very nice. Brighter than most flats, but easy to tame and become more traditional flat-sounding. However, next time I try I'll be using Labella Tapewounds, the white nylon copper ones. They don't exactly feel like flats, but they are smooth, and can sound much like flats but they have a very present low midrange that I love. Deep thick sound. They can be very bright if you want them to and sound fantastic slapped too. They cover a wide range of sounds, especially on a Stingray. So that would be my choice: Labella white nylon tapewounds copper, which are actually rounds inside, so my initial comment may make more sense now

Play the instrument that feels most comfortable, if you`re already noticing the difference in your playing due to changing to the 5 string I`d look to get one of those exact basses. You might not be as comfortable on other 5 string basses, likewise you may find other 4 string basses easier to play than your I banez, but for now your hands are telling you that Jazz fiver is what they prefer.

I use to have chromes on mine but the tension was too stiff even after I went down to custom light gauge. I currently have La Bella low tension flats and I love them! They're a lot deeper and creamy sounding but I can get a good bark out of them when I open the tone. I'm probably never going to change them!

Rotos. Very bright, but react superbly to the tone control

I dont think he is. There may be a small but significant clue in his forum name. Its hard to spot though ...

I almost had the same thing. Quit a band where I’d lent the guitarist an old Marshall combo (70’s 50w, grey fronted super lead II - lovely sounding amp that I used for years afterwards). It hadn’t actually cost me very much (from the days when old Marshall’s were two a penny, well, maybe £100 from my local junk shop I think). He didn’t have an amp of his own, and at that point was under the impression that the band was going g to continue (in fact I was the first resignation ahead of the rest of the band - we couldn’t sack the guitarist as he was the BL) I see out the gigs we have booked and tell him that I’ll take the amp home with me after the last booking. On the night of the gig he produces a no name, no value bass that he’s had knocking about and suggested that either we could swap, or maybe I could let him borrow the amp for a bit longer and perhaps keep his bass as some sort of security. er...no thanks mate. Got the amp into the back of the girlfriends car as soon as we packed down, leaving him looking sadly at the amp I the back seat as we drove off

There is something to be said about what Jack has written. In fact, so much so, that I plan to research and promote a service looking into management companies and the work they do. If you are interested and keen to get on in the music industry please send £100 to [email protected]

Some sellers don't like taking the extra hit on PayPal commercial transactions. In which case, I offer to pay the difference as a Gift payment, but always pay for the item itself as a commercial payment. Business is business. If you leave yourself open to risk, that's your choice. Personally, I prefer a risk and (relatively) stress-free approach

Yup, there's a 5 and a 6 string version of the 2000. I have a 5, on a used Overwater to bring the spacing in a bit. Awesome bass! Schaller also do a 5 string version of their usual roller saddle bridge, but you can't get the spacing quite so tight. I think the details are on their site.

Another fan here. Crash and Burn era. Great LP.

Was a big influence for me too. Hooked on Music being one of my favs.

Honestly? Before coming on here I was blissfully unaware of the variety of basses available & was quite happy with my cheap squier jazz bass & old cheap bass stack. No one in any band ever commented on said bass/amp, only on my playing. "that's great, or that's not great"...end of. I then entered the black hole of bass forums which reached into my very insecure being, and I began to say to myself. "other bass players will look upon your lowly bass/amp, point and laugh!" Oh how I imagined being mocked by the multitude of low enders. So, I started a ridiculous 10 year journey of buying and selling equipment in order to feel better about myself, so that in my imagination, I could look another bassist in the eye and without hesitation spout forth the list of high end gear that I owned (but couldn't really afford). However, no one in any of the bands I played commented on said bass/amp, only on my playing. Hold in I thought, this has made no difference to anything other than my insecure ego & bank balance. I now own one cheap bass, and don't even own an amp. Still get asked to play/gig/record with some great players. So why the GAS? For me coz I forget what matters, & have to admit I can suffer from chronic comparing syndrome. I'm probably the only one, but I'm glad that's off my chest. My name's oldslapper & I'm a plonker.😁