4000

I love ABBA so much. Always have; even when they were uncool I was proud to fly the flag. My first album was ABBA's Greatest Hits and they are one of my favourite bands of all time.

[quote name='drTStingray' timestamp='1388090671' post='2318499'] I'm afraid that for me there is little point in comparing basses of this standard and ability to create a professional recorded or live sound. To use a festive analogy it's rather like comparing sherry trifle and normal fruit trifle. Probably a matter of personal taste. I would say the Stingray is far more likely to expose poor technique than the precision - simply by the detail of playing being more audible with the Ray than the precision. I wouldn't want to try and play, say, Teen Town on a Precision .............. but then neither was Jaco a fan, highlighting certain limitations when asked. Many famous performances on them have been enhanced with outboard pre amps - Sir Duke being a good example. Both basses are extremely competent but I would personally never choose a Precision over a Ray - indeed I've played many over the last 30 years - both good and bad - and have never been persuaded to part with any money for them. Other people love them for one reason or another and good luck to them. Too limiting for my liking but nice for Motown etc / but then so is the Stingray. [/quote] I've never found a P limiting. I actually think they're more versatile than most actives I've owned, because almost every sound is useable. Of course if you want a Jaco-esque burp it's not really the bass for that but I've never been a fan of the back-pickup burp anyway.

P for me. Every now and again I get a hankering for a MM but every time I try or use one it just isn't me at all. I find a P far more versatile.

[quote name='spacey' timestamp='1366550572' post='2053827'] Marshall 400w valve head, sounded like Thunder, lovely and sweet, but so unreliable, spent years at marshal under warranty.; A bloke broke in the van and ran off with it and I shouted him, mate, take the *&*&****** thing ! Good luck... [/quote] I'd forgotten about my Marshall 2001 375W all-valve. 100lbs of pure uselessness, rare as hen's teeth and a good job too. When it wasn't blowing up it sounded rubbish. I think it was called a 2001 because it was both as heavy as and as much use as the monolith. To be honest almost every modern cab would qualify; they almost all sound like a mixture of glass and plastic. Gimme my old 200W Mk1 Trace 4x10 any day.

[quote name='dincz' timestamp='1388082282' post='2318395'] Yamaha B100-115 like this one: [url="http://s1070.photobucket.com/user/dincz/media/yamaha_zpsbe5788c3.jpg.html"][/url] Not terrible but a rather woolly bottom end and big and heavy for its 100W. I added a single band parametric to it which improved matters a bit. [/quote] I used to use a Yamaha guitar head (same era as that combo) through a HH 2x15 back in the day. I really liked it at the time. Worst for me is Peavey, Peavey, Peavey. Never played a Peavey amp I haven't absolutely hated. Hated every EA I've tried too, although I think it's the cabs not the amps that I detest. Did a festival last year where I used a big Ampeg valve rig which was utterly horrible IMO (to be fair I've always hated Ampeg gear). Also used a Nemesis rig which sounded utter pants, but the worst I've tried recently was at one of the Bass Days in Manc; think it was poss a GB setup? May have had Berg cabs, can't remember. I tried a W&T through it. I couldn't get a single tone I liked out of it; everything was glass, glass and more glass. I'll admit though that playing the way I do and using the basses I tend to use those big old crap transistor amps and papery speakers tend to work better for me that most more modern hi-fi gear (hence why I'll take Ashdown over most modern alternatives). My Epifani was pretty near useless for me and I was recently forced to record with an Avalon pre which was horrible (yes, you read that right). Oh, SWR Goliath cabs are another contender, they give me nothing I want and everything I don't. I remember when they first came out I tried one in a shop and was told it was the best bass cab going. After 5 minutes I was wondering whether to set fire to it or smash it to pieces.

Oh, Zero 7, first two albums.

I'm also in a band I'm really happy with. I also wouldn't want to hear me in most of my favourite bands as the bassists are a vitally important part of the music and sound, but that aside I'd love to play in/with any of the following: Hawkwind circa Space Ritual or Warrior (i.e. Lemmy era) Seal (1st 2 albums) KT Tunstall ABBA Return To Forever

Wal have always seemed to me to be about the electronics being the dominant thing; about obtaining a distinctive, identifiable sound more than anything. From talking to Chris May many times I'd say Overwater are about transparent electronics which allow the individual wood choices to come to the fore. In a sense I'd have said Wal and Overwater are in some ways opposites.

Apples and oranges. Without doubt as well made (most are these days), just different. Personally I'd go Sei but hey, that's just me. Paul Everson is worth a look too IMO. Personally I think Wal have a fairly unique sound which may or may not be someone's cup of tea, but beyond that nothing is any better than most other high-end makers these days. It depends what suits you.

Electric bassists? Difficult but something like this, although it leaves out too many of my favourites.... Chris Squire John Entwistle Stanley Clarke Lemmy Leigh Gorman John McVie Rutger Gunnarsson Stuart Zender Mike Rutherford Bernard Edwards

[quote name='leftyhook' timestamp='1387408814' post='2311773'] So, a Wal may not be your bag, but the only way it could be a ''bad one' is if someone has tampered with it in a careless way. Absolute craftsmanship cannot be denied. [/quote] My first one (a Custom, in the '90s) had an uneven fingerboard - not the frets, the actual board - from factory, so that's not entirely true. It was impossible to set up how I wanted. I sold it to someone for whom it wasn't a problem and he eventually had it redone when he sent it for an overhaul.

I had a Rickenbacker 4003s8 - only sold it to help fund my custom Alembic. Fantastic bass, amazing sound, but good luck finding one; even if you do it'll cost you. One thing I did find was lighter strings worked far better.

[quote name='SlipperySquid' timestamp='1387299725' post='2310454'] Hi all! Just looking for a bit of advice really on what course of action I could take or expect? My son bought an amp locally instead of using the internet as I'm a firm believer in supporting your local shops in any hobby I do so decided to pass this on. Anyway he decided on the amp (Not cheap by the way just under a grand, don't want to name brands or anything as yet) was over the moon with it until after 6 months it developed a fault, no biggy as it's warranted for 3 years. Took it back to the shop explained the fault and they said that it had to go back to the manufacturers. All well and good. Son was disapointed as he had two gigs back to back but these things happen. After a week I phoned to see if any progress had been made because in a couple of weeks time he would need the amp for recording. I was assured that they would phone the manufacturers and get a estimated time. After about another 4 days I had no return call but but decided to get one of my sons guitars frets dressed, new heavier guage strings and a full setup. So took that in and got the guitar off to there in house luthier. I asked again about the amp and the guy said they had heard nothing back but would ring again and follow up. Got the guitar back after a week got it home to find a pretty poor job over all, file marks on all the frets, intonation being out, strings not sitting in the nut correctly and even one of the frets still containing wear! Pissed off to say the least as it was supposed to be part of a Christmas present. Well today after nearly three weeks I decided to phone the manufacturer themselves to see what was going as as my son is recording tomorrow, to be told they hadn't even received the amp in question! and they would phone the shop in question. Low and behold within ten minutes the shop where phoning me explaining an apparent mixup (twice I asked and was assured that they would contact the makers of the amp and see what was going on) and the amp had been repaired by there own tech as they had diagnosed the fault themselves. (I was told the amp HAD to go back to the manufacturers to make sure nothing else was wrong with it) and that it was ready to be picked up. Now I'm pissed off....really pissed off but need some one with a sane brain to explain what I should do to make myself feel better? It's the lying that's really got me down...more than the sh*tty luthier work.There explanation of why it never ended up going to the manufacturers.....you'll love it. We never had a box to put it in......... Sorry to vent on the forum but hey ho.....If they had done what they where telling me they where doing then the "Mix up" would have been sorted sooner and my lad would be recording with his amp. I'll post photo's of the fret dress and set up later....no doubt that will also be another mixup. [/quote] That's how many shops seemed to work in my first 10 years or so of playing. Shoddy work and bullsh*t was the norm.

Blimey, hadn't realised they were playing or I'd have gone. Or would have tried to; may not have made it given the dismal weekend I had. Great player.

[quote name='Dingus' timestamp='1387293464' post='2310362'] A Wal is a bass that is worth really, really wanting . They are one of the few very expensive basses that are actually worth the money However,despite the revered status they hold nowadays, they are pretty esoteric and individualistic instruments and definitely not for everybody, so don't necessarily assume that a Wal would be your Holy Grail. But it probably would be . [/quote] My second one is shortly on its way out of the door.

[quote name='BigBassBob' timestamp='1386851325' post='2305294'] I like my 4003 but it literally took several years of a love/hate relationship before I settled with it. Setup is absolutely crucial with these things. I mean, I know every bass requires a decent setup but [b]getting it right on a Rickenbacker takes time and patience. Once everything is set perfectly then you're gold but they can be extremely frustrating instruments to work on.[/b] Taking the pickup cover off makes playing them a lot easier in my experience. Setting the neck practically dead-flat was necessary too; with a touch of relief the intonation along the neck suffers badly. From my understanding of bass construction and the physics involved it doesn't make that much sense but I was seriously having terrible intonation with even a little bit of relief. Always remember when playing a RIC: it's not a Fender. This can be good or bad for you. For me, it's just another flavour to mix up my arsenal [/quote] I've said this before but a lot of this depends on what you're used to. I can set up a Ric far quicker and easier than I can a Fender or similar, simply because virtually every Fender-type I've had to set up I've had to shim the neck, something which doesn't come happily or naturally to me as a mainly neck-through player. I hate shimming necks, whereas for some it's probably a moment's work. Also, as someone who naturally plays with a very straight neck (the bass, not me ) that's not an issue for me at all; in fact it's when I can't get a neck dead straight that I'm in trouble, which is where all of my Fender-types - and I appreciate I may just have been unlucky - have fallen down. I'm not saying that one is superior to the other, just that it's about what you're used to.

[quote name='jonsmith' timestamp='1387053616' post='2307875'] I recorded with it the other week & it still sounds great. I had to tweak things a little when I first got it as my amp setup was based mainly around 4003/4001 basses, but I've managed to find a point where I'm getting great sounds from my presets with any of my basses. [/quote] Glad to hear it Jon. I made the mistake of watching some home footage I'd recorded with it; it sounded depressingly awesome. If only I'd had one before my arm problems started.

The only designs I really like so far on here are the Thunderbird and the Sei (BTW, a strap stops it slipping off your leg.....). I really want to like Ritters but to me they look like they've been designed by a 7 year old with a jelly baby fixation.

[quote name='Prunesquallor' timestamp='1386928481' post='2306439'] Fixed? Sabbath Bloody Sabbath only had the title track, dude. And I should know because my taste is impeccable. Definitely Overkill and Heaven & Hell, though. [/quote] SBS is easily my favourite Ozzy-era Sabs album. In fact I'm a little surprised to see so many suggestions of Volume 4, which I always found a bit 'meh' (despite having a copy signed by Ozzy!). If I had to vote for one 'heavy rock' album it would probably be SBS. Or British Steel. Or possibly live and Dangerous. Oh I don't know! Space Ritual and Warrior are personal favourites but I wouldn't really class either as heavy rock.

[quote name='spongebob' timestamp='1386954497' post='2306815'] On the Van Halen tip - got to be 'Women And Children First' for me, their best IMHO. 'Fair Warning' a close second. First two albums are stone-cold classics as well, but I think 'W&CF' just clinches it for me. [/quote] +1.

[quote name='Prunesquallor' timestamp='1386869342' post='2305750'] Deep Purple's Made In Japan, Hawkwind's Space Ritual, Black Sabbath's Sabbath Bloody Sabbath also rule. And there was a band called Led Zeppelin who had a rather catchy fourth album. Crap, forgot AC/DC: Highway To Hell, or If You Want Blood. Bon Scott all the way. [/quote] Fixed. Oh, l love Made In Europe too; arguably my favourite rock bass sound, even if it is actually a Precision. ;-) And of course Live and Dangerous. And British Steel. And Sign of the Hammer (yes, I know). And Bomber / Overkill. And Heaven & Hell.

[quote name='martthebass' timestamp='1386798405' post='2304830'] Trouble is D, the 4004 doesn't sound much like a 4003/1 unless you do some serious rewiring.... [/quote] Depends what you put them through IME. Through the small Ashdown combo at rehearsal mine sounded a bit flat but through my Hartke, with a tweak of the shape control, it sounded like the biggest 4001/4003 you ever heard, and I have the 2 best-sounding 4001s (IMO) I've ever heard to compare it against. Amazing sound, possibly the best I've had, and gutted I had to sell it because (ironically) the ergonomics didn't suit. Having said that, mine sounded a lot better than the other one I tried in the shop.

[quote name='AndyTravis' timestamp='1386452128' post='2300399'] Never played a light Steve Harris. Gutted, want a sparkly bass. [/quote] The weight is what's put me off buying one. 13lbs is [i]ludicrous[/i]. But then I have upwards of 5 'slipped' (i.e. prolapsed) discs.....

Never happy, never will be. Even if people thought I was the second coming of Jaco I'd still think i was sh*t. Very seldom happy with anything to be honest; I'm a glass half-empty kind of guy. Still, apparently Allan Holdsworth comes off stage and rips himself to shreds so that kind of puts things in perspective.