4000

Gutted about those, particularly Gorilla, where in the past two years I’ve seen 2 of my favourite current artists, Lissie and The Staves.

I’d have got 11 people, 13 basses, although I would have had to double-check Mohina Day’s name (assuming it is her!). No idea who that is on the Modulus, is that really GAD on the Musicman? Couldn’t tell. No idea who that is on the Sandberg or the RD-alike, which is the bass I’m really not sure about. Actually, don’t know what model Sandberg it is either without looking it up.

North west.

😁 Cheers; unfortunately I don’t drive and you’re a long way away, but thanks for the offer!

At the point where it actually becomes workable again (assuming it ever does), I may have to take my rig somewhere that has the relevant kit in stock and give it a bit of an a/b. I realise that still won’t be ideal, but at least I can get an idea of the possibilities and positives/negatives.

I do like the idea of having a stage rig that reflects what is happening out front, if only to save the hassle of getting an onstage sound I’m happy with and then trying to get it to sound anything like that out front (our current monitors sound nothing like the FOH, bass-wise, so that doesn’t work). What I don’t want is to end up with a heavier, far more complex (even if it’s only initially, as I haven’t got the time or patience these days) rig to do the same job. BTW, just in case anyone thinks I must have no idea about sound, that’s not actually the case. I have had several quality recording engineers comment extremely favourably on my ears over the years. Bass aside, particularly since everything became digital/virtual (at which point I accepted dinosaur status), I’ve just generally told far more technically qualified people what I want and let them get on with it until I’m happy. Sadly, whilst that’s still the case in the studio, these days we can seldom afford a sound man live.

K12.2 = definitely too heavy. It’s not that I can’t lift it; I can still shift some serious weight when required. It’s the effect on my back afterwards. I won’t go into details. K10 = still heavier than ideal, although maybe workable. Obviously 1 of my cabs only weighs 15lb. I’d have to try one.

I’ve been reading this thread with great interest, up to this point (I’ll read on later, so forgive me if I miss something pertinent). 48lbs is way, way over what I want to be carrying these days. I got rid of an Aguilar GS112 some years back because carrying it was troubling my severely damaged back. I think that was 42lb. Prior to that I sold a Trace 1153 because it had become unworkable (about 57 lbs?). These days I play in a band with acoustic guitars and cajon. We do our own sound (effectively muddling through as we’re all getting on and not very modern-tech savvy; in my youth I relied on analogue gear and pro soundmen) with a pair of EV tops to which we occasionally add a sub when required. My current rig is a Tech21 VT500 with a pair of BF One10s (15lb each IIRC), although I generally only use 1. I wouldn’t really like to go noticeably heavier. Some gigs I just use my VT pedal and go through our monitors, although personally I don’t like the sound of my bass through our monitors (most monitors in fact), pedal or no, however it’s eq’d. I like the idea of using FRFR and a modeller, but given the size of my rig (tiny) and complete lack of experience with and therefore aversion to digital modelling, is there much point? Genuine question. I’ll add that looking at a Helix (which I’d never even heard of a year ago) signal chain someone had set up that (very successfully) mimicked Chris Squire’s sound completely lost me. It seemed incredibly complicated considering that I can turn 4 actual knobs and I’m good to go. I’ll add that beyond using some slight distortion I have never used effects so it’s not something I ever got comfortable with. So, given the above, and assuming there was any point, are there any suggestions for a small FRFR? Or is it really pointless? Right, back to reading the rest of the thread! EDIT - Jeez, that’s about another 20 pages.☹️

“Less is more” is entirely subjective, and to be honest, somewhat trite. And again, if you subscribe to that 100% of the time, then you’re not open to the possibilities of what the music may require.

I would like to think I play the school of bass playing that (hopefully) enhances the song/music. Sometimes that means being very busy, sometimes less so, sometimes I play literally nothing. If you’re not trying to do the thing that makes the music work best you’re doing it wrong.

The bridge on mine was definitely original to my bass, so I guess it was earlier than I thought. Cost me £150 around 1983, sold it for £180 (?) a couple of years later.

As someone who isn’t a Fender aficionado, when did those bridges come in (i.e. the ones with the single bridge slot, rather than the type with threaded saddles)? I once had a P Bass - a long time before I really knew anything about guitars - that I thought was early ‘70s that had the threaded saddles.

FWIW, when we played The Acoustic Festival Of Britain the other year Howard Jones headlined the same night. Only caught the very end of his set as we’d had to take the gear back to the van, but he sounded great.

Seal is, along with David Gilmour, my favourite male singer, and one of my favourite male artists.

I think one of the problems with most custom basses is wood is wood and no two pieces sound exactly the same, so what it ends up sounding like is a bit of a crapshoot. As Martin Petersen once said, even after all the basses he’s made he’s never quite sure what a custom will turn out like as there are so many variables. And of course describing sound to someone and asking them to build something that makes that sound is a crapshoot in itself, as everyone hears - and describes - things differently. All but one of my custom basses have gone and the one that remains is basically a replica of another make of bass, using the same components and materials. If it doesn’t work for you, get rid, unless you really have a big emotional attachment.

I would have expected all 3 of those to to be great stripped down. I tend to think that people really haven’t thought it through when they expect mainstream pop musicians to be a bit useless.

I do prefer 4 over 5 and 6, but I play all those 4 all over the neck.

I’m always amazed how few people seem to be concerned with this, the actual sound produced in different areas of the neck. Ironically it’s one of the reasons that I’ve never managed to find a 5 or 6 that suits, because I’ve never played one (fretted) that sings out as you play up the neck, which is crucial to what I do.

Saw him at a clinic at Overwater several years back. Was very interesting.

I don’t care how many strings (or even what instrument) someone uses, but I will say that the only name bassist I can think of off the top of my head who I really like and who consistently uses more than 4 strings is Matt Garrison. Edit: Richard Bona too.

I have done several times, yes.