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ped

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Everything posted by ped

  1. Tbh for rounds, Elixirs work out cheapest because they last so long. A set will last probably a couple of years during Covid.
  2. Just sold a bass to Mark. No messing - ‘can you meet tomorrowrow’. A thick envelope of cash and a form elbow shake later and here we are. A credit to Basschat! Enjoy the bass!
  3. Lovely to meet you too mate thanks for a super fast and smooth deal. Will do your feedback now!
  4. Think you might be quoting me by accident?! Anyway - with strings it’s useful to hear opinions but really the only way is to try them. So many variables come into play, including the added complication of tension and thickness. It’s fun to experiment and takes a long time to find what works for you, and your bass - but fun to chat about too. And that’s what we’re here for!
  5. Yes on all the bungle stuff. Mostly plays a 70s P bass now apparently. The Europa was a ‘91 five string in natural with a reverse headstock. The closest I ever got was a six string Elan which was really nice but I’m bad enough on four strings let alone six!
  6. Is he selling anything else we might like to not buy?
  7. I just got one of these from a friend, it's really clever and seems secure.. D'Addario Auto Lock. Nice material, too. It works over all the types of pin that I have, from Dunlop Dual Design, Gotoh and Schaller, even the type for Schaller locks, which I hate. https://www.amazon.co.uk/DAddario-Accessories-Guitar-Strap-50BAL04/dp/B07SSJYHYJ
  8. Very nice. Always been a dream bass of mine since Trevor Dunn played one in Mr. Bungle
  9. Did you see my G&L 😂 although yes I'd like an L2000 one day, but now I'm poor, very poor.
  10. It’s an absolute bargain and I don’t think you can do any better for twice the price. Fantastic bass 👍🏼
  11. ped

    First Bass

    Him sounds like @Happy Jack is right on the money here, send it back and get another. Strings should never do that and the explanation offered above is the only thing I can think of.
  12. Same, but apparently ebony can be quite light in some cases. I was surprised when I read it was ebony. I had a Bacchus jazz a while back with nearly identical fingerboard, also ebony. An expert may be able to confirm or deny as I know Atelier make a lot of options available.
  13. Although my 'No.1' bass has been my go-to for as long as I can remember, I have always loved the sounds of P, J and MM basses on albums I grew up with, from Sade, Steely Dan, that sort of thing. At the same time, I resisted getting basses like that because I wanted to have my own sound, rather than to play an instantly recognisable type. Eventually I realised it would be great to have one of each as a 'tool' to vary my tonal palette and closely match the sounds I recognise. Having a range of basses also helps me feel inspired and I fall in love with each bass anew when I discover a great track I want to play along with. Also, and this might sound weird, but as 'The Bass Guitar' as a 'Thing' has been so important in my life, both through BC but also in making friends, playing in bands and generally providing the foundation to my pre-child-and-wife days, I believe collecting examples of the seminal developments in bass is excusable from a collector/historical record perspective. Just researching the ins and outs of how these basses came about, leading to things like the Vigier (it was the 80s), is really interesting. Although I'd probably not share that in public for fear of beatings or at least an uncomfortable silence, I feel I won't be attacked for it the same way here, in part because you can't reach me but mostly because I know you'll provide me with the conformation bias I crave. So after much experimentation and false starts, I have now amassed a collection of what I would consider my 'best' J, P and MM. When it comes to the MM, I have only played a few and owned two others, so I don't have as much to compare there. But as stated in another thread, nobody (or very few) luthier/companies make a 'take' on the MM bass like they do the J and P (apparently Ernie Ball are quite lawyered up) so I went straight down the line and got a Musicman for the job. When I say 'false starts' - it's often not the way the bass sounds, but the setup I am able to achieve on the instrument I've had previously. I like a flat neck with very low action, and not every bass can do that in the same way. This has led to some painful realisations when I've had to move on otherwise fabulous basses. If I can't play it effortlessly (I don't make effort very often), then eventually it gets moved on, normally to someone who says 'how the hell did you play it with the strings painted on like this' So here we go: Let's start, illogically, with the bass that's NOT a J,P or MM. It's 'My' bass - it has a sound all of it's own, but it's smooth, focused, detailed and consistent. I know exactly how it sounds in studio, live, amped, the lot - and it's a very versatile bass. It's been likened to sounding like a 'velvet brick' - kind of like a Modulus flea with a wider range and glassy almost digital response. It's a 1988 Vigier Passion Series II (Graphite neck) with a Marleaux pre, Basstec pickups and Roland GK system (I'm sure lots of you know it already) Next, the P bass. It's a G&L SB-1 from 1991. Strung with Labella light flat wound strings, it thumps and bites. The pickup is fantastic, with a huge range of sounds on tap by backing off the volume or tone. I nearly sold this when I nearly gave up on the idea of collecting the set but soon realised that I wouldn't get another like this. So what's next - Here's the Musicman. It's from 1983, the last year before Ernie Ball Made some changes, many probably for the better, but I love the fat slab body and the response of this bass. I have yet to try it with flats but with Elixir 40-95s (which I use on every bass except the G&L) it has that super poky top end which cuts through any mix, and the sound of pops on the G is just perfect. The previous models I had sounded a bit brittle, whereas this one sounds warmer and more 'chunky' somehow, although my setup has changed so much I can't compare for certain. The Jazz bass with the final hurdle. I actually didn't realise for a while that the 60s and 70s spacing on a jazz made such a difference, and when I did I wasn't in the space to buy one. I have had several 60s types in the past but never got on with them, finding the sound a little too rounded for my tastes. So after a crusade to play as many 70s basses as possible (knowing the quality and weight can vary substantially) I realised the best way to get what I wanted was a modern 'take' on a vintage bass, which, more often than not, needed work to support my lazy setup. The search was on - and this is where I ended up. I wasn't able to try it before I bought it so it was an anxious wait and unboxing and restringing and plugging ining, but the reputation of the Celinder J-Update is richly deserved. It's got that grinding, airy feel where the notes have that top detail and a slap sound so consistent and rich you feel like you can bite it in mid air. Oh and there's my 16" Wingbass with Roland GK pickup. Amazing little thing, perfect for playing synths or noodling around the house. The build quality is superb - beautifully carved black limba with a maple top. Guess what, the neck is dead straight because it's a plank of wood on the body, so the thing plays effortlessly and sounds huge. So there we go - If you are still awake, well done. Time to take Sybil for a wet walk. ped
  14. Hi bass friends I put up a post here a while back asking for a 70s jazz bass. I love the sound of a 70s jazz, with the wider spacing, and in particular the Marcus Miller slap sound (although Melvin Davis sounds amazing on one too!) This one was offered to me - you don't tend to see Atelier-Z basses very often but if you don't know about them they are made in Tokyo to super high standards, using fine ingredients and top craftsmen/women. This bass is an unusual one in that it has two important features - firstly the 70s spacing, which isn't always the case - and the body is chambered. As a result the bass growls like nothing else and it weighs under 4kg. Every time you pick it up it's really surprising because as you know, the traditional jazz bass body shape is quite large. Only recently I found what has been my dream jazz bass for some time and I can only realistically keep one. In fact this bass matches the other very well considering the relative price, and the fact it has taken a full weekend of playing and experimenting to compare the two goes some way to explain what a superb bass this is. It NAILS the Marcus slap sound. The only difference making the other bass win top spot is that I can get the action fractionally lower on the other bass. That said, I like a SUPER low action - anyone who plays my stuff at bashes normally thinks I'm mental (other factors probably play into this). The neck is dead straight but easy to adjust with a 5mm wrench - truss rod moves smoothly and responds quickly. Fretwork is impeccable and the fingerboard wood is gorgeous ebony. Because it's chambered the body is sliced down the centre - the back is alder and the front is ash, giving a nice mix of both tone woods. The controls are rear routed further lessening the amount of wood hanging from your shoulder. Leccy-wise you have two volumes, the second of which lifts for passive mode. Then there's a treble boost/cut, I'm not sure of the freq but it feels around 6K, very musical and adds tremendous bite, and when turned down it delivers thump. Then there's a bass boost only, adding girth and a very punchy bass response. Try the back pickup with the bass boost half way and treble rolled off. I live in York and could post this but will need to buy a case for shipping which I have built into the price. I'm also prepared to meet half way with quite a decent range, or if you can collect then it'll be cheaper for you. I've never sold a bass that I like as much as this - normally it's because I've fallen out of love with one or it no longer gets played or I can't quite get what I want from it. This is absolutely spot on, and I challenge anyone to find a better 70s jazz, especially given the light weight. Let me know if you have any questions Cheers ped
  15. I can’t believe we’re this many posts in and nobody has mentioned flatwounds yet! Worth a try - especially if the P is one bass in a collection. It’s fun experimenting!
  16. Lovely. Yes a P is an essential tool in the kit. I bet you feel quite inspired when you pick it up, and that’s how a great bass should make you feel. Best colour combo, too. Enjoy!
  17. Done it for you Chris. Great looking bass, I have always been very interested in Manne, I like the design philosophy and I love a headless with a 'headstock'
  18. Looks great, I should think it's highly satisfying too
  19. Ah I did wonder about that. I have no intention to upset the perfect setup I have been able to achieve with the bass so will maybe find out one day when I change strings. Good to know though, thanks.
  20. Thanks for the info. I think my switches are in the order Funkle posted above instead but the frequency detail is really useful Nothing on my headstock - I swear I’ve checked every inch of the bass but it’s probably staring me in the face just like when I’m looking for something in the kitchen
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