TRBboy

Wow, this has taken me the whole day to read, grabbing a few minutes where I can here and there. I love threads like this! There's been some very interesting and varied opinions shared, and I think pretty much everyone has said something that I can agree with in some way. Going back to the start of this thread, it strikes me that it's not really about "old" or "modern" players. Most of the names that I've seen mentioned have related to one of two groups as far as I can see: 1) Players who everyone cites as "great players", the likes of James Jamerson, Victor Wooten, Stanley Clarke, Larry Graham, Geddy Lee, Chris Squire, etc, etc, etc. I think the reason that most of these sort of players stand out is because they either created a distinctive sound/style all of their own, or because they have really pushed the boundaries of the bass world and upped the stakes from a technical perspective. I guess you could say that these people are kind of the "revolutionaries" of the bass guitar. 2) Players who are great players, no doubt about it, but who know their place within the band and do not really stand out as especially unique or revolutionary. Personally, I think I've always drawn more inspiration from the second group. For me, there's nothing like hearing a song with a bass part that fits the song beautifully and really locks in with the drummer and nails the groove. I watch people like Victor Wooten and think "WOW!" but I can't listen for long before I get bored, and it really doesn't inspire my playing at all. When I hear people like Cass Lewis, Andrew Levy, Stuart Zender, or Matt Freeman, I really get a buzz out of it, and it does inspire my playing. I hear something and think "that's an idea/approach I could use". It's not that I scurry off and learn the song note for note, but that phrase or idea goes into the memory bank and helps to influence my playing, usually subconsciously. I did have bass lessons when I first started out (13/14), but I was always lazy with the theory side of things, and as a result my theory knowledge isn't great at all, and I can't really sightread. Despite this I have been fortunate enough to be involved in various live and studio projects over the years as well as a bit of musical theatre. "Proper" musicians who I've worked with (including my old teacher) have told me that I'm a very intuitive player, and usually seem to play the right part. You do definitely need good technique, but this can come from just playing lots and experimentation; "learned" knowledge instead of "taught" knowledge if you like. That said, I know I could be a much better player if I had learnt all my theory and learnt to read. I definitely agree that feel is more important than textbook knowledge, but it does need to be backed up by a certain amount of knowledge. A few people have used blues guitarists as an example, and I think it's a good one. Blues should be boring; on paper it's predictable, repetitive and simplistic. However, the emotion and feeling than can be conveyed through blues far exceeds the sum of its parts. I love Robert Cray, most of his licks are quite simple but he has a great sound, and the dynamics and feeling that he plays with is incredible. Please don't take it personally blackmn90, but I (perhaps naively) didn't realise that anyone actually had such a clinical approach towards music! I've always played because I really enjoy making music! It just seems a bit like indulging in conjugal activities with the missus by way of a textbook; " no, no, your ankle needs to be another 2 inches over my shoulder, you're doing it all wrong!" It just wouldn't be quite the same........... Just my 2p worth

Personally, if I had the money to buy a brand new one, I would want it to be all shiny and new. If you're into aging, the Sandberg guys do an excellent job of it, but it's not for me I'm afraid. You wouldn't go and buy a brand new car from the showroom with rust, scratches and dents!

[quote name='cocco' timestamp='1330044673' post='1552076'] are these true humbuckers or split coils under chrome? obviously they look like humbuckers but the exposed pole pieces make me ask. [/quote] I agree, they look like "fat" split single coils.

Yeah, not great really. Even though it's clearly a design flaw it is mounted slightly off-centre too (toward the G side) from the look of your pics. You're just gonna have to bite the bullet and stick an MM 'bucker in there!

My current armoury: [sharedmedia=core:attachments:100360] [sharedmedia=core:attachments:100367] [sharedmedia=core:attachments:100361] [sharedmedia=core:attachments:100362] [sharedmedia=core:attachments:100363] [sharedmedia=core:attachments:100145]

Actually, looking at the above picture it's clear what the problem is; the pickups are the same size, but one's right at the bridge, the other's right at the neck. It looks like the polepieces are spaced for the neck position (as with the Squier VM tele?), so therefore the polepieces are never going to line up at the bridge. This is why Jazz basses have the bridge pickup longer than the neck, and they're not spaced as far apart as these. Not a QC problem, a design problem. Still should sound fine though, I wouldn't let it worry you too much if you really like the bass.

Looks nice, good score! If it makes you feel any better, there's plenty of US Fenders out there with misaligned pickups and/or bridges! Hmmmm...... Pair of Dimarzio Model Ones?

[quote name='pietruszka' timestamp='1329999907' post='1551051'] Here you are lads, I started a sandberg thread in the gear porn bit. Hope you don't mind TRBoy, i called it sandberg love after this thread. Dan [/quote] Thanks Dan, I probably should have done that to start with!

[quote name='Opticaleye' timestamp='1329950863' post='1550432'] Here's mine [/quote] Nice collection Opticaleye! Is the PM quite an old one? I notice it's got a different bridge and string retainer to any I've seen before, along with fretboard dots and no logo on the body. Oh bugger, this thread is starting to give me GAS for a JM...........

[quote name='Ghost_Bass' timestamp='1329928127' post='1549917'] I'm secretly in love with the idea of a California PM-5 in tobacco burst with maple board and black pickguard. Good thing that i haven't seen one yet!!! I would still keep my TRB in my possession though! Cheers [/quote] That would be a nice combo........ I guess you're fairly unlikely to see one exactly like that come up on the used market, which could be a good or bad thing depending on how you look at it!

[quote name='Herbie The Rad Dorklift' timestamp='1329927128' post='1549898'] Got my Sandberg off a gent on this forum. [/quote] VERY, VERY NICE! I don't normally do posh wood, but that is lovely! Is that the one that used to belong to Wombatboter? Let me know if you ever want to move it on............

[quote name='mike257' timestamp='1329908542' post='1549346'] I'll join the love in - traded a Stingray for a redburst California JM4 on here a few years ago, its a stunning instrument. Plays like an absolutely dream and is just so versatile, I've never had to fight to get a good tone from it in any situation. I've heard people say they are more modern sounding and can't nail 'vintage' tones, but with flats and the neck pickup I get beautiful Motown thump forom it. Rounds and both pickups I can get a great growling Jazz/Stingray hybrid tone for rock stuff. It's my swiss army knife bass! I'd have another one in a heartbeat, every time a PM pops up for sale here I get severe GAS pains. [/quote] Good work! Where's the pics then? I agree about versatility. I guess I prefer a more modern sound most of the time, but I've always felt that it's easier to get a modern sounding bass to sound more "vintage" (roll off the treble, palm mute, etc,etc) than to make a vintage bass sound modern!

[quote name='simon1964' timestamp='1329865944' post='1548972'] Its in blackburst. I can't remember the exact price - but from memory it was £950ish. Please buy it, as I'm very tempted but can't justify another bass They've also got an absolutely stunning California JM in Lake Placid Blue. [/quote] Nice! That's a new then, but not a bad price. PMT were advertising Basics at about £1095 I think last time I was there in November. Too rich for me I'm afraid, I can only afford second hand.... although it is tempting to sell two of mine to buy one new one built to my spec! BUY IT!

[quote name='simon1964' timestamp='1329864619' post='1548935'] There's a lovely Basic PM at Fuzz Music in Nottingham at the moment. I had a play on it last week, and it's one of the nicest basses I've played in a long time. [/quote] Dare I ask...... ........what colour? How much?

[quote name='GregHughes' timestamp='1329863035' post='1548899'] I've been gassing after a TT (used to be JJ) 4 string for while and might have to pick one up new as I don't think I can't wait until a 2nd hand one comes along as they seem pretty rare, mostly JM4's on here which isn't the tone I'm after. Can't decide whether to go for aged though. They look great but it does seem a little odd to actually pay extra to have it scratched up. From what I can see aged seemed to be pretty popular for resell, not that I'm thinking about that now but you never know. Was thinking light blue, red or possibly even pink, hardcore aged. Any thoughts? [/quote] Yes. Do it! I think both the blue and pink look great, but if it was me, I think I'd go for the pink with a maple board Have you tried a TM? because the MM is so far back, it does just sound like a more muscular J pup, and it does have a coil split switch. I would love to be in a position to buy a brand new Sandberg in exactly the colour I want......

[quote name='Al Heeley' timestamp='1329825449' post='1547877'] Not wishing to hijack this thread, but what is the best compressor for under £50? [/quote] I know Ovnilabs gets brought up again and again, but I think this page is really useful: http://www.ovnilab.com/reviews/toppicks.shtml I guess the prices here are a little different to the US, but I've spent quite a lot of time looking at his reviews, and it looks like the Carl Martin Classic Opto would take some beating if buying new (I think you can get it for about £75 - £80). Despite its popularity, the EBS doesn't feature in the Top Picks, and in fact his review suggests that they're not particularly reliable........ I've been looking out for a DOD MilkBox because they look like pretty good value.

[quote name='Paul_C' timestamp='1329857359' post='1548705'] I messed about with a whole load of different density foam a couple of years ago, and the sound I liked the best was . . . . . . some rolled up kitchen towel. [/quote] Awesome, I'll have a try! It's certainly a cheap, easy solution!

[quote name='pietruszka' timestamp='1329780768' post='1547424'] TRBoy, where are you based? If you're ever in the north east you are more than welcome to have a blast and a cuppa. It kind of is and isn't my main bass, I use it in the country/rock/blues band Im in and the stringray for the club band. I may be convinced to swap scratch plates with you if you'd like. Dan [/quote] Thanks for the kind offer Dan, but I'm in Hereford so quite a long way away! If I'm ever in your area I'll give you a shout. I made the clear pickguard, and it's not quite perfect up close, and the original one was black and a bit worn.

Great basses! The only other suggestion I would have is to look out for a used Yamaha TRB1005 or Lakland Skyline 55-01.

[quote name='martin8708' timestamp='1329773674' post='1547229'] I have been looking at the Sandberg P-Basses with some interest , the stock available in the UK is quite limited , but there are some very tasty looking basses on some of the European / German websites with free shipping to the UK . My only concern with these basses is every reveiw I have read comments on the weight of P and J based models . Buying from Europe is a bit of a gamble as the specs published by most internet shops are basic at best ( no weight or nut width ) so you may be buying a boat anchor when pushing the buy it now button . Any one have any experiance with the P or J Sandbergs ?? [/quote] Yes, I had a California PM (the p type one), and yes it was quite heavy. Since getting my Ken Taylor, I've realised that potentially the gloss finish (alder bodied) ones seem to be lighter than the matt finish (ash bodied) ones. BCer longtimefred is a Sandberg endorser and has an Ash bodied California PM, and might be happy to give you a nut width and weight if you PM him. Mikeh (see above) has a California JM (j type) and might be willing to do the same. You really need to try one out if you can. The PMT group have the biggest stocks in the UK and they will move them between branches if you want to try a specific model. Guitarguitar also have some now, but not many I think. They are exceptionally good value on the used market, but you can't be too picky about colours, etc., as there's not a huge number floating about. Thomann seems to be considerably cheaper than anywhere else at the moment if you're buying new. I strongly recommend you try one as they are superb basses! Hope this helps.

Well done for getting more pics up guys! I guess this should be a porn thread really..... Mikeh, loving the natural/black Cali JM, and I wholeheartedly second your opinion about Fenders! Like I said, my US Jazz had been my old faithful for a very long time, until I got my first Sandberg, after which the Fender just felt like hard work and not very pleasing (even though it was a great bass). Dan, I would LOVE a go on a fretless basic, I bet they're awesome! Is that your main bass or not? Hmmm, a white pearloid scratchplate might look nice on my greenburst.........

[quote name='Jerry_B' timestamp='1329760327' post='1546910'] It depends on whether your natural playing style is to play in the middle of a fret when playing a fretted bass. If you do that with a lined fretless, you may have problems. [/quote] To me, this is exactly why lines make it easier. Playing a fretted bass, you can get away without perfect fingering without affecting the pitch. The lines on a lined fretless tell you exactly where to put your finger for correct intonation; you just have to get used to pitting your finger ON the line instead of behind it. I found, when I first picked up a fretless, that a root/octave stretch felt a bit further because you have to be right on the note. I really don't think that having a lined fretless has any detrimental effect on your technique. As I said before, you don't HAVE to look at the fretboard, and once you get used to a fretless you almost certainly won't very often, but it just might help you out to start with and help develop a more accurate muscle memory.

I don't really see the problem with lines, it can help you get to grips with a fretless if you're not used to it, and when you get to the stage where you don't need to look at the fretboard it's irrelevant whether you've got lines or not. As for the whole asthetics thing........ maybe I'm not image conscious enough! FWIW I've had both, and as a pretty inexperienced fretless player, I found that I did have more confidence playing the lined one. It's not like I was looking at it all the time, but if I ever doubted my intonation I could have a quick look (depends what the gig is, but it's sometimes hard to tell if it's you or someone else out of tune!) The lined one I had was a Yamaha BB614 fretless, and I was amazed by how good it was! I put some black nylon tapewounds on it and it sounded great.

[quote name='ezbass' timestamp='1329743493' post='1546556'] This thread needs more photos! [/quote] Yes definitely! And where's Longtimefred?