Lozz196

Not sure from a playing point of view but have heard one being used by a bassist in a pretty big band at The Rebellion Festival and the sound was great, very clear and cut through the mix really well.

I just wonder if he`d be so revered if the bass didn`t have such a warm rounded presence in the songs.I take the point that the engineers cleaned it up but if it had gone a lot more cleaner and defined would it have suited the music style as much.

I thought it was quite interesting, but the difference in "sharper" tones could just be those notes were played on the D&G strings. I don`t know enough about their individual styles to seperate them but certainly the lower stuff sounds very Jameson, not sure that I could say that the higher stuff wasn`t him/was Kaye.

I think Marshalls bass gear suffered as a result of their guitar ear being so good, almost a "well they can`t be any good for bass can they, they`re a guitar amp maker" sort of thing. I`ve had a few Marshall bass amps, and one set-up in particular, the DBS7400 with VBC412 cab was a great set-up. Cab weighed a ton but I still look fondly back to that half-stack with a smile.

Contact Eden and ask for their opinion would be mys suggestion. The theory is swapping cones is hit & miss, it can work, or it can really foul up, as there`s a lot of science involved in matching cones to cab size. That said, sometimes in theory it might not have worked, but to the ears it has, so that`s another annoying factor in the way, so get Edens advice - think as Marshall now own them it may be they who field such enquiries.

Yep, always amuses me, the quest for completely clean bass sounds, yet one of the most revered bassists of all had a really warm, gainy, driven sound. Each to their own, but I`d rather have a sound that sounds great in the song than great on its own (though I must admit I do like the above, but accept it`s probably not to everyones taste).

I find a Jazz neck slightly easier to play, but just not keen on the sound a Jazz makes when I play it. Re this I think that the dimensions of the Precision neck influence the way I play, which may account for my style being a confirmed Precision player, and account for why I then don`t like the sound I make on a Jazz that much. Plus a lot of Jazzes are too thin, depth-wise. I prefer a chunky deep neck.

Where was that Russ, looks a decent venue, shame the bassist couldn`t bring a proper set-up though (runs for cover).

Just bought a Squier Precision from Rich, he dropped it off on way to family over the weekend. Bass is in great shape, a far better set-up than I would have thought possible on a lower range instrument, plays like a dream. Great transaction all round.

Not being funny but why hasn`t the physio recommended the relevant exercises, surely that`s part of the treatment.

I`ve had the lower wattage versions of both the Fender and the Ampeg, I don`t think you`d be unhappy with either.

Well imo it`s a beaut, great looking bass. It`s inevitable there will be some wear on a 40+ year old bass, don`t let that bother you unless it affects playability, in which case a luthier can sort. Genuine road-wear on a vintage instrumet = yum.

If all original that`s a great price.

I can`t remember her name, but Prices bassist mentioned in an interview that when she was playing Prince said to her, I think you`ve got one too many strings on that bass. Bowing to her musically gifted employers opinion/guidance she went back to playing 4 string basses and has stuck with them apparently.

I had a couple of PF500s, and without going into the goods/bads, loved the tome, so have always been interested in the PF800, and since it`s come out I`ve not read of any issues at all with them. My fave of the Class D amps though is the Ashdown RM - either the 500 or 800 would be more than enough, plenty of power and a great tone. And for reference my two fave amps to play through are Ashdown ABMs & Ampeg SVTs so am not recommending the RM based solely on my Ashdown use.

I`m not really that up on prices for CS models, though that`s around what the Pino Sig Precision goes for, and having played one of those, well def the best bass I`ve ever had the pleasure to play. Assume that the regular CS models will be equivalent.

I`m not really that up on prices for CS models, though that`s around what the Pino Sig Precision goes for, and having played one of those, well def the best bass I`ve ever had the pleasure to play. Assume that the regular CS models will be equivalent.

Whilst they`re expensive, the Custom Shop instruments are pretty darn fine. The downside with a reular 60s/70s instrument is that at the time it was just part of the standard range, so it`s the age that is dictating the price, not so much the levels of quality. Whereas with the Custom Shops it`s the craftmanship and selected materials for construction, so with the money being spoken about I`d be looking at those CS ones.

Yep, when the budget instruments are plenty good enough to learn well on, and gig with, there`s less of a need to get the more expensive versions. I`m a die-hard US Fender guy, but in reality my Mex Precisions are more than enough for my needs. Yes, the US are better, but completely stock the MIMs are fine for gigging - in fact many pros that I see use MIMs. And with a few quid spent on better electrics and maybe tuners/bridge, well you have a very good bass for about half the price of the main US version. Our guitarist plays the Gibson LPJs - a studio version of the Les Paul. Great sounding guitars, new were about £600/£700, second hand picked up for £400ish. He prefers them to the Les Paul Standards and Customs. Now when the big companies are making such good "budget" instruments, well you can see why they might start to see the hits on their top-end instruments & profits.

Yep, I read that when CJ joined the Ramones he continued to play with his fingers, whereas before with Dee Dee it was all down-stroke pick playing. Given that all their success happened with down-stroke pick playing, I`d say to anyone, learn that pick technique, or you may well bring down The Ramones.

I think they`ll re-emerge. Music is currently a factory of nice pop songs, made by identically looking and sounding teenagers. Sooner or later there will be a rebellion against this and guitars will be back in. It goes round in circles, we just have to endure the non-guitar years much like bears go without grub during hibernation.

With the music quoted, and the fact he already has a Marshall 412 and is veering towards Marshall, for me it would have to be a JCM 900. They are imo Marshalls last great amp, and they don`t have to be daft-loud to sound good either. Our guitarist uses one and we only play to the volume of the drums, yet out front that amp sings. Valve amps do come with volume controls, yes they can go stoopidly loud, but they don`t have to. And you can pick them up for £300 - £400 used.

Yep I`ve been using the triangular Dunlop 1.14mm ones, but have 073, .88 & 1.0 so am gonna try them all. I`m hoping that this will work as, in conjunction with another thread, I want to stop playing so hard all the time, just bring it in for when the guitar is soloing maybe, whereas at present I`m flat out all the time. Sounds great but these hands ain`t getting any younger.

Pretty much that for me too - I look back now and think of all of the things which I could have, and should have done, but didn`t due to my primary mission of getting hammered at the weekends (and at other indiscriminate times as well).

Good point Chris, I used my old Aguilar TH350/Barefaced Super 12T with two different bands, one (my actual band)had the master volume on 3, the other (I was standing in for) on 7. And this was just in the rehearsal room. Some bands are ridiculously loud, often, as was in the case of this one, due to the drummer.