Lozz196

I tried a Ray with Cobalt flats on and it played and sounded great, would prob be my first choice.

It`s a strange one. I`ve played one of these and it was easily the best bass - not just P-bass - that I`ve ever played. But was it really 4 times as good as my US Precision, well probably not. I think when they were £2500 new they were overpriced, 4 grand is just daft. To my basic view of thinking the MIMs are priced properly at about £600, the US should be at a grand or £1100, and then Custom Shop ones at about the £1800 to 2 grand mark. But then that`s probably why I don`t run a hugely successful business making and selling instruments.

I must admit I dread the day a producer wants me to use a different bass other than my Precision. Mainly as if the result was much better then I`d want to use the same type of bass for live shows, which would then cost me a fair bit in buying new basses. Additionally I`d then be in a quandry as all our previous stuff was done on a Precision, and wouldn`t want to be swapping basses on-stage between tracks. I doubt the audience would notice or care, but my levels of OCD just couldn`t deal with not using the type of bass the track was recorded with.

OBBM or Fenders - at present I use the Fenders as I have my cables in different colours for different jobs. Makes it easier when setting up on dark stages.

A very good point there, Chris. Reminds me of a band I was in a few years back, the bassist - I was on rhythm guitar at the time - had "his sound" and wasn`t for budging. We recorded some tracks and the only way to have "his sound" not decimate the songs entiely was to have him so far down in the mix that there really was little point in him having turned up for the session. Not saying a P-bass would have saved the day, but imo in all cases the sounds should fit the band, not the individual.

I’m pretty much in that camp too. I’ve a surplus Precision at present that is not needed, won’t be used in my band, won’t be recorded with, but I just like it. If I need funds I’ll offload but going to try and keep it if possible.

See most of the music I grew up listening to was punk, and Paul Simenon, JJ Burrell, Bruce Foxton to name a few really brought bass, especially the Precision to front of the mix. And as said, John Deacon with Queen also had the bass - again a Precision - very up there. Def not inaudible imo, but I suppose it depends on era of music. Those of us who went through the 70s and 80s got some pretty good up front in the mix bass, and more often than not ‘‘twas the humble P-bass.

Ah, the humble old Precision. I’m a fanboi, so maybe a bit biased, but it’s very easy to obtain a workable sound very quickly with one. It also sits in the mix in a good place, neither too far down or too high (unless extreme eq is chosen). Nothing fancy but if you want a bass that will do the job and do it well a Precision is a good choice. Maybe this is why SD offered his views.

Wowzers!

I know what you mean there, Paul, something I`m always thinking about. I rarely use my own cab, and always DI to FOH so in reality I should just have the lightest available cab on stage for monitoring. But vanity and OCD factor heavily, so the cab has to match my amp, and therefore is a weighty ABM410. Lucky I`m not a Marshall/Ampeg/Peavey guy as their cabs are seriously heavy.

I`ve only played a couple, thought they were great though the pickup cover on one was seriously in the way. Iconic looks, and great sounds/playability from the ones I had a go on.

The originals scene usually quietens down a bit over Xmas, making way for parties/functions etc so we`re not gigging until 09 Jan. This sort of thing does irk me though - sure venues are businesses etc, but how would they feel if bands just didn`t turn up cos another pace was paying them more.

Use a Boss TU2 or 3 tuner. Just remember when tuning to mute the amp connected by the lead which isn’t silenced when the tuner is on.

Agree, well done that lady.

Spot on, Josie. A band I was in years ago, well the band leader has probably worked with every musician in London/SE England, no-one ever seems to be willing to stick around that long, although he is a good song-writer and musician. Sometimes it is the individuals themselves that is the problem.

The Sansamp Para Driver has a - I think - 20db boost. Certainly makes me jump if I hit it by accident, a bit like a Back To The Future moment.

Played yesterday and today, at present Xmas period just not “happening” for me so sticking to what I enjoy.

There was a rack mount ABM600 on the bay for about £400.

I’ve never hated any if my instruments, though every Jazz has been a let-down due to me making them sound rotten. Nothing wrong with any of them aside from my playing.

Same here

I think the bottom end on Stingrays is tighter and more controlled, due to the pickup placement. As such the lows don`t seem as present, but that`s due to less boom. Plus they seem to gravitate to a sparklier sound as well, so that can give the impression of being low-deficient.

It seemed to me that the pair of them were a bag of nerves and were taking it out on each other. Once the gig was done things miraculously seemed ok. And loved it when Viz wrote about them, Matt, Luke and Ken - for some reason they refused to call Craig by his real name.

Strange that although the parts appear to be US necks and bodies the overall quality is said to be less than Japanese/Korean Squiers - tho having had Korean Squiers I do have to say they are very good, one of the hidden treasures of the brand.

Good points there, some of the best sounding gear I`ve heard in isolation has sounded pony is a band setting. We did a cab shootout a few years back and whilst the winner was a Bergantino someone brought along some very affordable PA cabs and the difference in sound between them and the Berg wasn`t as much as what the price tags would suggest. Likewise being able to get a giggable full-stack for not much money, especially if in a country where it`s difficult to get hold of reasonably priced gear, well has to make sense.Look forward to hearing your views on these.

I`m like that after gigs, no energy, feeling knackered, am also 53. But then I think what life would be like without gigs and the tiredness pales against a life of boredom.