neepheid

Am I abnormal that I've played rosewood, maple, ebony and pao ferro boards and found not one jot of difference between them all beyond the aesthetic? Am I incompetent? Am I fortunate? Edit: forgot laurel.

I've just skim read this whole thing. All I got from this thread is Thierry, ça suffit! C'est mauvais pour les dents. Yes, because someone wrote bof.

This is my last daft addition to this thread, I promise. Do you do a thing where you read the subject of a thread before entering the thread and if it's a question come up with a quick answer before going in? Maybe it's just me but when I read "G&L - but which one" the first thing that came to my head was "Interceptor"

I'd like to add that I've got nothing against the SB-2, I owned a Tribute SB-2 and got on with it fine. One of my favourite stories (I'm sure I've mentioned it before) was one time when soundchecking with the SB-2 for a gig, the signal was so hot the sound engineer asked me if the bass was active

As I've just mentioned, I think I've gone off on a tangent, sorry.

Ahh, sorry, I read your comment in isolation so it came across like the SB-2 was interchangeable with the LB-100. Must. Read. Everything.

Yes (SB-2 vs. LB-100) Different pickups (MFD vs. trad alnico) Different number of pickups (2 vs. 1) Different controls (VV vs. VT) Different necks (slimmer vs. wider nut) Different body shape That's all I can think of off the top of my head.

Why? It's a different bass.

Oh, now that's pretty. Not sure how I feel about the tort, but that's a lovely shade of blue.

Which brands do it for me? G&L, Gibson (in spite of everything), Epiphone, Yamaha. Not averse to trying anything if I like the look of it, regardless of how Gibson-centric I may have appeared in the past.

Is one switch too many? I ask because that's how many the L-1000 has. Did you mean 2000? G&L are only underrated by poor unfortunates who don't know any better, bless 'em. I for one quite like that they fly under the radar a bit - adds to the mystique

It only counts if you're being pedantic. It /shouldn't/ be influencing your tone beyond the imperceptible so I don't think it matters if it's between you and the amp.

Not I, I like my overdrive. Only took me 2 pedals to find one I liked so I think I got off pretty lightly. I'm going to run away now - I don't want to get sucked into a echo/delay/flanger/chorus whirlpool!

It's a pretty simple fix

I know there's already a thread about the "late 50s" Precision, but it seems that Squier have gone on a full blown tour of Fender bass eras! From early 50s through to the 70s. Look at that none more seventies "walnut" job at the end. There are 60s and 70s Jazzes too, but I CBA getting the pics together for those Yes, there's a special colour one too - a 60s Daphne blue/tort/laurel subbing for rosewood. No matching headstock on that one though. There's a left handed 60s P in sunburst, a lefty 70s J in black and there's a fretless J in 60s sunburst. I am a sucker for the anodised pickguard of the late 50s model, but I love blocks too and there's something inside me that wants to give that walnut one a home, in spite of its rather grim colour. I will say that I think this is the best lineup I've ever seen Squier put out - a respectful nod to Fender's history.

I wonder if it's middle age that does it. I certainly find myself shying away from active electronics, and I do need a P more than I used to...

Additional to my post on page 1, I would like to elevate the TC Electronic MojoMojo overdrive pedal to equal best purchase with my G&L CLF L-1000. Used them together on Saturday night and it was brilliant, what a pairing. I am in love with the voice switch on the MojoMojo - in the back position it's a simple overdrive for when you need a little boost for the chorus of a song or light/dark during a song at any time. In the forward position, it's a beast, rorty and gnarly and great for those songs where you really need to dirty it up - think Chelsea Dagger or Song 2. Absolutely loving this pedal, does the job of two in my limited experience of effects. The official description of the voice switch is "Select between true natural overdrive (up) or a juicy tone that backs off the bass a little (down)" - as it is designed as a guitar pedal I wonder if they are using the term "bass" in a guitar kind of way which means "mids" for basses. I think that would go some way to explaining why it ends up having such a distinctive effect when used with a bass. Whichever frequency/ies they're scooping out with the switch, it's very bass friendly.

Yes, it does.

It can, but that doesn't automatically mean it should. As long as that distinction is made, you'll be ok.

Regardless of whether it's the rock covers band or the <insert genre here> originals band... I play whichever bass I fancy playing, the decision is on the same level as what shirt/t-shirt to wear. I only have one amp/cab because I lack the funds, space and motivation to own multiple rigs. Strings? I only use rounds. I really don't think it matters as long as I turn up with a bass, a rig (if needed) and preferrably, dressed.

RE: folk not dancing - don't forget post break lethargy if there was food at half time! You try dancing with a belly full of stovies/macaroni cheese/chili

I dislike that sort of cajoling. I bet that I'd get told to sod off if the roles were reversed and I drunkenly asked to have a shottie of something valuable to you, sir. But I'm the bad guy? OK, whatever.

Oh sure, it's a 115k miles s#itbox, on you go

Dunno if I'd be willing to lend a bass - particularly my G&L. It may not be that fancy a bass to some but for context in my world, it cost more to buy than my car.