chris_b

Average is good. The below average and above average people I've met have usually been pretty level pegging in the PIA department. Thank God for normal people.

I probably shouldn't have chosen that clip. He's recovering from a stroke and can be seen to be struggling at times but his technique is good enough to have made him an elite and world class bass player for the last 50 + years.

I'm a long time Lakland player so I'd say the 55-02 would be a great starting point. I'm guessing you'll be using pedals? How you use those will have a big effect on your sound. Also, IME the best sounding bass recordings are made with a good DI and good ears operating the desk.

I'd also recommend GHS Precision flats. I've had a set on my Lull P bass for 3 or so years and they are still sounding good.

[quote name='therealting' timestamp='1474816284' post='3140723'] I've heard those are quite tough on the fingers, and I have issues with my hands as it is. Do they come in a lower tension / smaller gauges? [/quote] There are lots of different sets. I'd adapt and just lighten my touch. According to Bob Babbitt Jamerson played with a very light RH technique.

As we learn about this stuff many of us progress to bigger, better or just different gear. The more you know the more informed choices you can make. Sounds like you're ready to move on.

Pre 57 Precision? You need La Bella 0760M Deep Talking Bass "Original 1954" flat wound strings..

I'm gutted I missed this. Sounds like the most comprehensive bash so far. Instead I was stretched out on the sofa nursing my lower back, again.

High arched fingers are important if you're playing a guitar and playing many strings at once. On a bass a low arch is the most you need. I'll use low arch and fingers resting on all strings. That's also good for LH damping. Here's a Chuck Rainey video. https://www.youtube.com/watch?v=7TAFWwqeHko

[quote name='therealting' timestamp='1474760893' post='3140370'] I feel like it would be a shame for Fender USA to stop making their core line, especially when apparently they'd just started to really get it right. [/quote] Exactly. Fender have finally addressed their issues and then they bin the model. Strange decision, but this is where they should have been in 1975. I was going to say that Fender know their business, but, after getting so close to Chapter 11 maybe they don't.

[quote name='peteb' timestamp='1474762872' post='3140382']Fender bass has to so many people, who just think that is what a bass guitar should be…! [/quote] Yep. Far too many people listen to bass with their eyes. They really should know better, but IME it's been that way since the 60's, so is unlikely to change. Thank goodness for the high quality replacement and upgrade industry that grew out of the reality of owning and playing a Fender in the 70's.

If I'm remembering correctly, that was last year. The Berg CN212 was the winner. None of the cabs sounded shabby and I could have gigged with any of them.

IME on all gigs, even the smallest, a little PA support for the Bass drum tightens up the sound of the whole band.

Phil is right. With your own gear you are in control and you have consistency every time you play. You don't have to fight your sound which lets you focus on playing better lines. If you sound good you'll work more than if you don't. I've played on many gigs with FOH but many more that don't put bass through the PA. Even with a good PA you don't always get good monitoring, so if you're doing this properly you need to cover every situation you're likely to encounter. My intention before I bought my first bass was to gig. Everything I have done is to that end so an amp and a good sound is critical for me. If you're only going to live in the studio you need a different focus. You have to play the bass with the best sound, but IME even the best studio guys gig somewhere.

My 68 P has the A neck. I bought that off the shelf in Brussels. Not the best bass I've ever played, but what did I know back then. I was happy as.... When I took the covers off I discovered that the bridge was quite a bit off centre. It took another 3 years to wear out the frets and have the nut break! And the pickup always sounded weak. I fixed all that and added a J, which was a wast of time, money and value. This is why I'm usually against trying to make a good bass out of a bad one. Just cut your losses and buy the bass you want.

". . . . worth the premium price tag?" I always think that when I see someone driving a BMW. It's so unreasonable that Bmers aren't the same price as my Volvo.

Here's hoping for a speedy recovery.

[quote name='moonbass' timestamp='1474610649' post='3139157'] if you have a bad back (they fit nicely on a folding sack-barrow though). [/quote] +1 I always use a trolley, even for Neo cabs.

[quote name='bassmayhem' timestamp='1474620604' post='3139235'] When it gets so "original vintage" it is unplayable, it gets rediculous. [/quote] No, that's when it becomes a collectors item. It really depends how much this bass is worth on the open market and how much the owner wants to maintain the value of the bass. An old Fender does have value over and above its worth as a bit of wood and its ability to produce a good sound. One of my earliest recollections of a P bass was on the wall of Pan Music in Wardour Street in the 60's and someone had carved the body into a sitar shape, and that was in the days when a P bass was the same price as a Ritter is today, and on Talkbass they are currently bemoaning the fate of a 52 P bass that's been broken up for spares. Owners can and will do what they want but there are [i]good[/i] things to do to a bass and things that you [i]have[/i] to do to maintain its playability, I don't think that I'd put a respray on either of those lists. Whatever the amount, a little or a lot, a respray [i]will[/i] affect the resale of this bass by reducing it's value. That reduction will increase over time as this bass becomes older and more sought after. So there's the answer to the original question.

When a bass gets to vintage, rare or collectable status any work that changes it in any way will devalue it. Chipped paint? People are paying extra for that!!

I understand back problems. I'm currently suffering. I had a couple of 112 Bergantino cabs for years then a 212 which I sold for 2 BF Super Compacts. These are as back friendly as you can get and still fill a large room with fat clear bass. I would check out a couple of modern 12's, IMO they'll sound much better than an old TE. Are you anywhere near Addlestone on Saturday? You'll find more quality gear on show at the SE Bash than anywhere else in the UK.

Right decision but he should have gone right away.

[quote name='Zummerbass' timestamp='1474379200' post='3137509'] Bergantino NV1156 has caught my eye [/quote] What interests you about it?

As the question is; who had the biggest and most enduring impact, there really is only one answer. While Bob Marley wrote some good songs, he wasn't as influential on other artists as Smokie Robinson, Bob Dylan or Paul and John and his band (while making good records) didn't change much in the industry. On the other hand The Beatles instigated many of the changes seen subsequently in every aspect of the music business; the writing of songs, band management, the recording industry, publicity and merchandising, so enduring is a very good way of describing the impact the Beatles are still making. Anyone who says The Beatles was just another band (as someone did here last year) hasn't done the required homework.

I have 2 amps that go to 2 ohms, a Thunderfunk 750 and a Mesa D800, but my main back up for the TH500 is another TH500. It just made more sense to me that a backup should have the same tone as the main amp and the extra benefit is I can daisy chain both amps and run up to 4 cabs from 4 ohm amps.