molan

New Order - Perfect Kiss Gotta love Hooky: http://www.dailymotion.com/video/x22m8u_new-order-perfect-kiss_music#.UPiWbKFQT1o

Hooky is the big draw for me this year. Seen Nate Watts and Guy Pratt before and very little interest in the other master class artists. In fact this thread just got me to play Perfect Kiss very loudly - what a simply fabulous piece of music!

I see the Diamond Bass Comp reviewed this month was grossly swollen in size and weight from the one I've tried (and been so impressed with). Also surprised to see that the Canadian manufacturers have moved production to the USA and that astinishingly this move has significantly reduced the price. Not only that but they've added four new controllable knobs and other features as well. Meanwhile the Aphex Bass Exciter has dramatically shrunk in size and weight whilst swapping country of manufacture from USA to Canada and an increase in price. Despite this price increase it seems they've reduced the number of controllable knobs. One would almost think the complete feature set as shown in the technical specification right at the top of each page for each pedal had been somehow swapped around but, as they are such different pedals, I'm sure this can't possibly be the case. . . ?

What make is the 1x15? I've heard a zillion arguments about matching speakers sizes but I've seen plenty of pro players using multi-speaker set ups and have never once thought that they sounded 'wrong'. There are a lot of things that are fabulously designed from a technical point of view. Doesn't always mean they sound great I would, however, look at matching cabs by make, design, sensitivity etc. of course there's also simple stuff like matching cabs by size so that they stack ok and, if it bothers you (it does me) that they actually look ok together on stage. If the 1x15 is a Trace then the Trace 2x10 matches really well. Stacks perfectly, good tonal fit, options to swap back and forth if you want just the 1x15 with the double bass etc.

John Suhr makes some excellent basses. A really good Suhr is up there with the best of NYC made Sadowsky basses and maybe offers something a bit different as well. Some of them also have those fab deep quilted maple tops that are similar to the flashier Sadowsky NYC models as well. Main problem is that you need to try it to see what it's like. Of course this is true of any bass but because the Suhr is a bit rarer there's always a chance that it might not suit what he's after. I'd say it's a way nicer bass than anything other than a CS Fender. The issue with a Suhr, and pretty much any other 'super-jazz' other than Sadowsky, is that it will lose value quickly. Of course this only matters if/when you come to sell. If you find something you really like then you'll keep it for ages and it's worth whatever you paid for it (and more!). I've watched Sadowsky prices pretty closely and the NYC models have revived a bit recently. I know of at least two that have sold for top dollar prices over here in the last 2-3 weeks. People buying up at this end of the spectrum (circa £2K for a nice one) aren't as hit by the recession as a lot of regular buyers. The Metros are fine basses as well but they aren't as desirable as an NYC and have maybe dropped a bit more in value - which probably makes them even better buys on the used market

Whilst I love a classic Fender for so many different reasons I can't fault some of Jens Ritter's work when it comes to out & out 'prettiness' This is a personal favourite:

Grub Gear duo straps would help - they generally throw the bass towards the right rather than the left but overall weight distribution is really improved

Just completed a 2nd deal with Pierre. Another super smooth international transaction and he was really understanding about a slight delay in shipping which held the bass up a day or two

I've certainly played some long covers gigs, 2 x 1hr sets plus another 20 mins used to be standard. Racked up some 3 hour sets on several occasions. Wouldn't want a monster heavy bass but if you're used to it you might be OK. Never needed an 8x10 even for the biggest stages. Anything that large I've always had PA support.

[quote name='fretmeister' timestamp='1357577620' post='1924769'] It's taken me 25 years to find a Fender I like. And in that time I've never had a bad Status, Zon, Yamaha, Washburn, or Aria. And that doesn't include others of which I've only owned one. [/quote] Blimey, you've been lucky! I've never tried a bad Zon but I've had some absolute howlers from the other three. Especially Status

[quote name='bubinga5' timestamp='1357578574' post='1924787'] was that the one that we had dealings with Barrie..? if so, yes it was a cracker... the newer standard/deluxe Fender jazz basses are superb imo... [/quote] That's the baby - every person i know that played that one loved it!

[quote name='Dingus' timestamp='1357565230' post='1924495'] Molan , forgive me if someone has mentioned t of this before , but considering you look a bit like Lembit Opik and you like Alembics , do you think there would be much mileage in starting to call yourself Alembic Opik ? Just a thought . [/quote] Brilliant! I've been asked several times if I'm Lembit and even had people shake my hand and say they admired me, lol. I don't currently own an Alembic but you may have prompted me to go out and find one now

I help out part time at a bass dealer and I see all sorts of set ups arriving at the store from both dealers and customers. I tend to play with a lowish action but I see loads of customer basses with actions I find virtually unplayable. In fact something came in recently that had an adjustable height nut and bridge and both were jacked up really high. This was someone's main gigging bass and that's obviously how he likes his set up. I'm not saying that every bass should arrive with a high action but I can see some logic in sending things out that can be easily lowered rather than being cut very low and can't be raised. Obviously the ideal scenario would be for everything to arrive somewhere in the middle and then set up to customer preferences. It's just a shame that too many dealers don't have the time/inclination to bother setting their instruments up properly

Just sounds like a simple case of a lazy dealer who can't be bothered to set their basses up properly. Was it, by any chance, a 'generalist' dealer that focuses much more on guitars than basses? I've played some new Fenders that, when properly set up, have been really nice both in terms of feel and playability and core tone. There was one particular 2010 US Standard Jazz that put a lot of expensive basses to shame.

[quote name='cloudburst' timestamp='1357487019' post='1923278'] I respectfully disagree. In my opinion, Vintage would be a better term for an instrument that you wish to classify based on age alone. As an example, I think most would agree that one of those Ampeg scroll-headed instruments would be a Vintage bass, but not a Classic. CB [/quote] Vintage is anything older than 30 years, antique is 40 I'd definitely say the Ampeg scroll is a classic piece of design. Stuff in a similar bracket are Hofner violins and quite a few Danelectos - I wouldn't particularly want to own or play any of these but they certainly fulfil the classic design brief to me.

Easy - any instrument that's over 20 years old is a classic. Doesn't matter if it's any 'good', has a particularly high value, has been copied, is still in production etc. If it's good enough for The Classic Car Club of America it's good enough for me

Brilliant - I'm going to try that line on someone and see what reaction I get Just sold a massive, and ancient, Marshal cab for £80. Would have loved to stick a £500 price tag on it because it had more wood in the construction!

I've had a few Alembics and I have to say that they really are stunning instruments and nothing feels quite like the high end models. They are very idiosyncratic and there are elements about them that a lot of people find hard to live with. Meanwhile other people love them for these little touches and will never part with theirs. The last one I owned was fabulous and it made me feel a bit 'special' when I grabbed it off the rack in a way that few other basses ever have. In the end I realised I was unlikely to gig with it (those idiosyncrasies at play again!) and I sold it to someone who loves it. They are a lot of money (although nowhere near as much as they list in their web site if you buy through a US dealer) but if they make you feel a way something else doesn't then who's to say they aren't 'value for money'?

[quote name='discreet' timestamp='1357164385' post='1918610'] Really? Oh dear. Three on that list really get on my tits! [/quote] Me too - I wonder if its the same three

[quote name='chrismuzz' timestamp='1357072363' post='1917229'] It's a tricky one this... There are so many factors to bass playing. Compared to another player, you can be 'better' at timing, but 'worse' at keeping up with chord changes. 'Better' at slap bass, but 'worse' at knowing when slap bass is not appropriate. And so on! [/quote] In pretty much any actual gigging band (apart from an 80's covers band) slap bass is never appropriate

[quote name='Roland Rock' timestamp='1357070341' post='1917175'] All very true, but since when did practicality = cool? ;-) [/quote] I have to agree - after all, I used to own one of these;