4000

Just my two bob's worth....this will doubtless be a bit of a ramble as I'm brainstorming really. My first decent head was a Trace AH150 GP11, one of the early ones. When I finally got the money together I bought an old (even then), used Trace 4x10. This was one of the earliest ones they did, pre-ports, pre-red stripes, pre-vinyl cover, basically half of what was in the original 250W 8x10 combo. I have a picture somewhere which I will have to post at some stage. That rig was the best rig I've ever played through live, and I've played many since. Like the OP, it worked pretty much everywhere I used it (only had one gig where it didn't and the acoustics were [i]mad[/i]). Obviously I can't do a decent comparison (both head and cab are long gone) but having used my Ashdown ABM500, a Markbass LMK and an Epifani UL502 through my Compact, the sound was a fair bit grindier and more punchy than any of my current sounds. I remember considering changing the speakers once and ringing Trace; they told me that by now the speakers would be "knackered" and would need replacing, but I liked the sound so they stayed. I actually think that was part of what I loved about them. I will also add that the sound I had (and yes I generally played rock) I would describe as big and clean, using various basses (mainly my old Rick but also Pedulla, Wal etc) with a pick. I will add though that when I changed my amp to an SVP Pro pre with power amp, I lost my sound, so obviously the head had a lot to do with it. I will also add that I used to eq the Trace fairly heavily, with a big drop off of bass and a smiley eq (also pre-shape in) heavily boosted in the upper mids & top. I would also describe the sound as very ballsy and zingy but many wouldn't; it certainly wasn't tweeter-esque (I generally hate those). I've been through all sorts of permutations since, and have yet to find a combination I'm as happy with as my original rig, but I have to add that that combination didn't work for every bass I used or for every style I play. This is still the case with my current rig. With the Ric the Ashdown/Compact comes closest to my old sound ; the ABM is eq-d with the bass about 10 oclock, the low mids boosted, the mid rotary roughly flat, the high mids boosted pretty heavily and the treble about about 4 oclock. I usually use a pick and I play very lightly. (BTW, for those who say Ashdown are dull, through the Compact the ABM is brighter and more lively than either the LMK or the UL502, so it's not as cut and dried as that. It is also bigger sounding and ballsier, although not as balanced and compressed. It's like the difference between John Entwistle and Richard Bona. Our guitarist agrees; he didn't rate either the Epi or LMK, although I will say that my Sei Melt sounds better through the LMK than the others, if unfortunately too thin to drive a rock band! Great for noodling though ). As I've mentioned before, the cabs I've had that were the least successful were the Aguilar GS112s. I tried a back to back against my old Trace 1153 and they were just lifeless. Compared to the GS112s with the tweeters off (I hate the GS112s tweeters) the 1153 was much more open, much livelier, much toppier, somewhat thinner, but just much more "alive". Of course that may not be what some people want, or the same result everyone might get. A friend and I tried my ABM, his LMK and our old Trace 300 SMX through both sets of cabs and everything (Trace included) sounded as dull as dishwater through the GSs. The LMK was by far the most successful. The SMX sounded terrible. However paired with the Trace cab the SMX came alive. The ABM through the 1153 was also great; in fact possibly better. The Compact reminds me quite a bit of the 1153; it differs, but it seems to be coming from the same place. Neither however seems to have the same midrange (non-tweeter) push as my old 4x10. Ironically the first few days I owned that I thought "my God this is middly-sounding!". I'll add that I've never played another 4x10 of any make since that had that sound (sealed and only 200w handling have something to do with it Alex?). As an aside, a year or so ago I took a couple of my basses for work to the Gallery (72 Ric and Sei Melt). Now given that currently they both need at the very least different heads to function properly, I played them both through pretty much everything in the shop and guess what? Trace Elliot won by a mile for both basses (and it was a new one)! Not a gig situation, but the sound was instantly there (maybe Alex's suggestion of familiarity played a part, but if you can plug in and get a sound you're happy with straight away compared to hours of unsuccessful tweaking with other brands, what's not to like?). I've also seen my mate the LMK owner use my old SMX/1153 set up live and the sound was always there. Huge, clear, ballsy, zingy; in fact almost everyone I've ever seen using Trace live (loads!) has had the same thing, so I'm completely with Loz on that. If it wasn't for my back, I would go back to Trace - cabs at least, though probably amps too - in a heartbeat. Anyway, I guess my points are as follows: If you like Trace, you like Trace, and it really does do that Trace thing like nothing else (and yes I'm aware of the myriad eq permutations and how they can affect "that Trace thing"...). It may be possible to replicate it using other (and lighter) means, but I always found it hugely easy to eq and - with the right bass - get the sound I want straight away and consistently, which is surely a big plus. What's more, despite it's supposed funk affiliations, I think it works superbly (for a certain type of player) in more rock-orientated situations. As above, every player, bass, etc may require something different, even when trying to achieve the same tonal end. I might have to use a completely different set-up to mimic someone else's sound, simply because I don't play like them. Obvious maybe, but often forgotten. Despite having owned 9 (10?) Ricks and a Marshall Superbass stack, the best Chris Squire sound I ever got was out of a Vester VB11 through my original Trace rig. This is where it gets very difficult to offer accurate advice on gear, although I'm sure someone with Alex's knowledge will get you as near as possible. Lastly, every different combination can potentially throw a spanner in the works. An ABM through the Compact/1153 sounds different to through an ABM cab, and nothing like it does through a GS112. An LMK sounds completely different through all of the above, as does a UL502. At least they do when I play them; YMMV. This of course probably also translates to every other brand; these are just examples based on my experience. Mix and match by all means, but be prepared for some very unsuccessful pairings! Of course then there's the small matter of the people you're playing with and the places you're playing..... Apologies for the length of the post and if it sounds like bollocks, it's been a very long day!!!!

I had an SVP, but didn't get on with it at all. Went from early Trace GP11 to that and regretted it ever after. Probably just me though.

Sonic blue, the magic words.

[quote name='Musky' post='560074' date='Aug 4 2009, 12:06 PM']Just browsing around and came across this picture. I think they look fine as they stand, but I'd be a bit worried that it'd look like you're playing one of those toy guitars once you've got it strapped on. [/quote] Love it!!!!

Always thought these were great basses actually. Oh and yes, the green one is still there....

[quote name='bilbo230763' post='558971' date='Aug 3 2009, 08:50 AM']Jimmy Johnson on Allan Holdsworth's Panic Station from his Metal Fatigue album. Just a great melodic solo.[/quote] JJ is a great, great player.

[quote name='3V17C' post='559707' date='Aug 3 2009, 10:02 PM']on his 5 gallons of diesel DVD hes giving it some on a Rickenbacker of all things...and people reckon you can't slap 'em! pah!!! c[/quote] See my previous post....

Ok, forgotten how to post this properly, but this is Les's favourite sounding bass ever; not that I'm biased (actually I like him on his CTs just as much; I love that grungy, midrangey sound he gets). [url="http://www.youtube.com/watch?v=LjOM5YjMZ8w"]http://www.youtube.com/watch?v=LjOM5YjMZ8w[/url] I love Les; I too saw him on the Roll the Bones tour and I'd never seen anything like him (or Primus for that matter). Who cares if he's sloppy? Genius.

[quote name='spongebob' post='557885' date='Aug 1 2009, 04:30 PM']Rickenbacker 4003 necks actually vary from year to year. Some are slimmer, others are like baseball bats. However, you'll never ever find a Ric neck as slim as a jazz. If you have got small hands, I'd go for a Geddy as well.[/quote] Depends what you mean by slimmer. I don't think Jazz bass necks are at all slim; in fact one of the things I don't generally like about Jazzes is the necks, which I consider uncomfortable and usually quite big (in fact I actually find P Bass necks generally more comfortable.). Jazzes are slim at the nut, but I don't spend that much time down there so that makes little difference to me. I think most Ric necks are much slimmer, because they're the same width all the way up, give or take. [i]That's[/i] what I consider slim, because I do a lot more playing from the fifth fret up than the fifth fret down. So first I think you have to define what you mean by slim. Slim necks, I think a typical Ric 4000 series (excepting some of the 4003s with the bigger necks which feel more P Bass like), Alembic, Ibanez SR, Pedulla, stuff like that, although I'm aware that others think the Jazz is the epitome of slim (nothing above the fifth fret ). My old Warwick Dolphin Pro II bolt-on had a very slim neck, as does my current Sei 4. I'd try a few basses and see what you think, as it's all down to personal perception. FWIW, my mate has a Stingray and the neck, although quite hefty, is very comfortable. You will probably find individual examples of many basses (historically at least) vary both in neck size and in weight. My Ric 4001 is 8.5lbs, so not heavy at all, but my first CS weighed about 11. Same goes for Stingrays, my mate's is about 9lbs, but I've played much heavier ones.

[quote name='Count Bassy' post='556542' date='Jul 30 2009, 08:29 PM']Or the quantum headless - brilliant bit of kit and great for lugging around hotels etc[/quote] I used one of those for years in preference to the Ric I had at the time (my 1st). Great bass for the money.

Very briefly: Chris Squire; mainly 1964 Ric RM1999 (UK export version of 4001), plays with a Herco pick but more or less simultaneously strikes with the side of his thumb. Medium gauge Rotos, mono Ric rewired to stereo, originally used a Marshall Superbass which still figures in his rig and Marshall 4x12s. Moved onto Fender Dual Showman rig, then Sunn lead amps, then Ampeg (also SWR originally for his Tobiases, now solely for pedals). Various other basses used (e.g.Tobias, Carvin, Electra, Mouradian, Ranney 8, Fender Jazz and Telebass), one of note being a rare 21 fret 4001 used on the Yes Album. Various pedals including Maestro Brassmaster fuzz. Lemmy; various Ric 4000 series basses (starting with a 4000 with a Tbird pickup in the neck, through various modded 4001s to his signature basses) through Marshall Superbass with 4x12 and 4x15 stacks. Herco picks. originally used medium gauge Rotos, then Dean Markleys. No effects. Leigh Gorman; mainly a passive Wal Pro 2 into a Trace Elliot 250W GP11 8x10 combo. Mainly medium gauge Rotos. Matt Garrison; Fodera Matt Garrison into Epifani. 28-100 gauge Fodera strings. I'll let someone else do the detail on Stanley Clarke (mainly Alembic with Carl Thompson and Spellbinder, but not up on his various rigs), Stu Zender, JJ Burnel and Richard Bona. Oh, and John Entwistle, simply because it would take me too long! That'll do for me for now.

[quote name='silverfoxnik' post='551674' date='Jul 26 2009, 11:32 AM']Got a few things on my list... ..starting with an old Wal Pro bass (that's currently hanging up at the Wal factory at the moment) and if he'd do it, I'd have it modded into a 5 string by Paul Herman to make it the only Wal Pro V in the world. Plus a decent P bass (because every home should have one)![/quote] Now that I want to see!

[quote name='sk8' post='546709' date='Jul 21 2009, 04:50 PM']Didn't have alot of substance and the articles were limited. the subjects i thought would be covered in more detail weren't. It had alot of adverts and i found the play along bit at the back a bit unispiring. This is all of course IMHO. It didn't want to make me pick it up again and re read it, nor would i wish to subscribe. It was a weak publication scant on news and reviews. There are obviously people who enjoy it but i will not be bothering again. Will stick to Bass player when i can find it.[/quote] I used to subscribe to Bass Player but it began to drive me mad in the end. Very repetitive and for me it took itself far too seriously.

[quote name='steve-soar' post='546473' date='Jul 21 2009, 02:13 PM']I really like Dave Marks too.[/quote] Dave's a star. Talked to him at the last Bass Day, came across as a great bloke.

[quote name='Lfalex v1.1' post='544240' date='Jul 18 2009, 07:25 PM']Have you played an S2? They're ALL graphite. Not very much like the S3. The S2s are very tight, well balanced and articulate. The S3s are kind of half way between an all-wood neck and an all-graphite one. Oodles of smooth sustain, but a bit warmer and with less attack than the 100% graphite ones. If they took the phenolic fretboards off, it could be [i]very[/i] close to (my idea of) perfection. I may be getting close to a theory about the "clacky" sound from some amps; I experience this through my Trace on most fretted basses with phenolic 'boards, yet when recordings of it are played back, it sounds amazing. I reckon that it's the brittle/harsh-sounding nature of the tweeters or horns employed in some cabs that may be causing it. Either that, or there's a "De-Clack" button on the mixing desk!![/quote] I owned a Status 2000 which was all graphite and have played several Stealth 1s. I've played dozens of various Statii over the years and have never yet found one that works for me. One thing I will add is that the syntheticness I mention isn't just the clackiness, it's everything about the sound. If you dial in a smooth round sounds it still sounds synthetic to my ears.

[quote name='doctor_of_the_bass' post='543741' date='Jul 18 2009, 03:31 AM']Interesting thoughts! I've just got home following playing at a friends retirement party with a 50s/60's rock and roll band - normally I'd take one of my JV Precisions but having been ill all week, I used my Vigier as its nice and lightweight. The tone was spot on - fat and warm - nothing synthetic or plasticy. I would say that the amplification used might have some effect on this `emphasis' that certain graphite necked instruments sound more plasticy (I found that my Trace rig made anything graphite sound very `clacky' and harsher). For whatever reason, the Vigier/Markbass combination just works perfectly for me - as Ped notes, the semi-thru neck system perhaps adds warmth as the bridge is set into wood not graphite etc. The B Quad basses were vastly underrated - one of the best basses I've seen - used to borrow a trans purple one from Peavey![/quote] I will add that tonally I think my favourite graphite-necked basses are probably Vigiers. I'll also add that I have yet to play a 10/90 plugged in, so that may be entirely different. As I've said earlier, the day I find one that works for me, I'll buy it quite happily. BTW, I suspect you may be correct about the effect of different amplification.