thodrik

I think that the Blacksmith has largely the same eq and gain structures as the the TC line just with lots more watts and weight. I honestly think that the Blacksmith is pretty damn excessive, which is probably a reason why I never seen one in the flesh outside of seeing it in the back line at a Mastodon gig about five years ago. The RH line are generally well regarded in terms of reliability, so I don't think you can go wrong really.

Most of mine assembled around the sofa while my girlfriend is out. Two Sadowskys, Two Vigiers, a Fender and a Gibson. [attachment=231973:Basses on couch.JPG]

I really like the D'addarios. The Ernie Ball Hybrid Slinkies are another one of the nickel sets that I use. Dunlops are nice too but not my favourite.

I have the Duality. I love it but it is very much just a fuzz rather than an overdrive. Not much subtlety to it either, which is why I bought it. The duality and frequencie options allow you to pair the fuzz to work well with whatever bass you are using which is great. I pair it with either the Aguilar Agro or the B3K as my overdrive pedal'. From looking at the specs though it looks like the Source Audio might offer a bit more variety.

I've never had a problem 'cutting through the mix' with a Jazz. It might be another case of your bandmates listening with their eyes. They think 'Precision = solid fundamental' and 'Jazz = thinner sound'.

I also use the balanced tension 120-50 set. Best set of strings for downtuning I have ever used. It can cover anything around D standard to C standard and the drop D variants. I had to widen the nut on my Vigier to fit them on. No truss rods in that bass though! My Fender Precision needed a proper set up to suit the new strings, nothing drastic though.

Thanks folks, I must have missed it when Bass Direct started stocking them. I did try a couple of sets of Newtones which were very nice, but I thought that the £18 120-50 D'addarios I was using previously were as good, if not better, than the 'custom wound' strings I got from Newtone for about twice the price.

Wow, two and a half grand for a Musicman? Still, that is (as far as I am aware) one of the more premium versions of the Musicman range. I have no doubts that it is an absolutely cracking bass, but for me it is about £500 over what I consider to be what I would be willing to pay. Probably just a sign of the times though I guess. Mind you, I see that Bass Direct have a used 2009 Fender Jazz for sale for £999, which is more than the basses cost when new in 2009. That to me is even more crazy! [url="http://www.bassdirect.co.uk/bass_guitar_specialists/Jazz_USA_std_4.html"]http://www.bassdirect.co.uk/bass_guitar_specialists/Jazz_USA_std_4.html[/url]

I just noticed that Bass Direct have started stocking these. [url="http://www.bassdirect.co.uk/bass_guitar_specialists/Kalium_strings.html"]http://www.bassdirect.co.uk/bass_guitar_specialists/Kalium_strings.html[/url] Does anybody have experience with them? My only knowledge of them is from them constantly being brought up in Talkbass threads. The gauges on display look a bit ridiculous. I love heavily downtuned doom music but is there any real benefit for being able to tune to the octave below a low E string? The hybrid drop F sharp set is a bit tempting. Basically the same as my four string set of 120-50 D'addarios tuned to C sharp standard with a low F sharp string instead of a B string. The question is, how the hell will a 174 gauge string fit on my string saddle? I presume that they are tapered?

[quote name='Twincam' timestamp='1478369979' post='3168721'] An eb3 if long scale should get just the same action as a sadowsky or any other higher end instrument. Any good luthier should be able to get any bass to play excellently given the time. If its the shortscale version then not as applicable as the string tension is different on a shorty. [/quote] My EB3 is short scale. I think that all EB3 basses are short scale other than the EB3L, which I would love to try. I can get a pretty good set up on mine, which is a 1974 model. The limitations and eccentricities of the shorter scale length and three point bridge means that there is also a degree of compromise between action, string tension and intonation. I could probably get an absolute dynamite set up out of it if I replaced the bridge, but that would probably be more hassle than stress than it is worth. I've had for over fifteen years now, so it is definitely a keeper anyway!

A Musicman Stingray ever since I saw that Tim Commerford rig rundown... It will be something else next week.

I always use the Pre Shape 1 when I use my Trace Elliot combo. I found Pre Shape 2 to be far too muddy in terms of sound. I know 'mid cut' or 'smiley face' pre shapes are unfashionable these days, but I always thought that my Trace Elliot combo was naturally pretty middy sounding anyway. The Pre Shape helped to open up the sound and remove the natural 'boxiness' of the combo. I would always add a bit of the mids back in to even out the sound. I could try and EQ the sound in I wanted using the graphic without the pre shape, but I found the whole thing a bit fiddly and the pre shape was just quick way of getting a half decent 'reference sound' to work from. From experience though I far prefer bass, middle and treble knobs rather than a graphic EQ.

The older I get the less fussy I am in terms of the action of a bass. Most of my basses now have about the same action, but I make allowances to fit each bass as I can't expect to get the same action on my Gibson EB3 as on my Sadowsky. I generally use heavier strings and a much higher action now than I did about ten years ago. I started using the bigger strings to fit the lower tunings, but it also had the knock on effect of making it harder for me to continue 'slapping and popping and double thumbing on really light strings' technique which I l had learned for the sake of learning rather for the sake of actually being interested in that type of playing. I usually have D'addario Balanced Tension 120-50 strings on the 'downtuned' basses and 105-45 D'addarios on the standard tuning ones. I'm not fussy in terms of strings though, I will swap the standard tuning D'addarios for Ernie Ball or Rotosound with no problems.

[quote name='bjelkeman' timestamp='1477949239' post='3165524'] I haven't had lots of time testing it yet, but at least in some tonal ranges (lots of mid), the M900 approaches my Mesa Carbine M9 in behaviour. They aren't the same, but considering that I really like having a Darkglass preamp in front of my M9 normally, the M900 is going to be my lightweight amp for when the M9 isn't practical to shlepp. The M900 is punchy, loud, quick. The M9 is too, but somewhat gnarlier in a smoother, more organic, way, with the gain cranked up. The M900 is edgier, and will clip at very high volumes in a way the M9 doesn't. (But all class D do?) Two great amps. And then I haven't taken the Darkglass preamp effects into account yet. I If I can only add something small to a backline, the it will be a Darkglass B7K. If I can bring a whole rig it will probably include the M9, but the M900 can do both, and really well too I think. [/quote] Interesting. I just bought an Mesa M6 the other month. I have have been using it with the B3K and Darkglass Duality with good to great results. The M900 might be a good call for the same reason, though I just bought the M6 for situations when my Trace Elliot V6 is impractical, though to be fair a 400 watt valve amp is pretty much impractical in just about every situation.

I have a 1978-ish Precision that I have owned since I was 14 (I'm 30 now). I have played it so much the lacquer has pretty much worn off. It has suffered numerous cosmetic dings to the body (people bashing stuff into it, guitarists ramming into it). So essentially it has a bass that has suffered 16 years or wear and tear on top of the 20 years of wear it had before I even owned it. Funnily enough though it is still in better condition than most 'hardcore aged' guitars you buy new for an additional extra fee. I only have two basses that I have bought brand new. My Vigier Excess has 12 years of wear on it including some scratches and dings to the . Numerous cosmetic dings and the jack socket had to be replaced after it stopped working. My Sadowsky Metro has been gigged relentlessly for the last 6 years or so since I bought it (the Fender was getting a bit too unreliable). Lots of little dings and some work to fix one of the tone knobs that got bent out of shape. Otherwise it is still okay and in pretty good nick. I take care of my basses, but cosmetic dings are bound to happen when you use them in a practice and gigging environment. I actually take far more care of my double bass and even that has suffered some damage from cellists who should have paid more attention to their surroundings when swinging their bow around when setting up! If any of my basses suffered serious damage (broken body or neck) I would be absolutely devastated.

I think that they look pretty damn cool. My 'super jazz' needs are largely fulfilled, but if I was looking for another one the Mayones would be on the list of ones to try for sure.

I tried a Mark I. Really nice bass but I didn't buy it. I don't think that I would buy one now and I think that there are a lot of basses out there which are of similar quality. If you want a Wal though then you will need to get a Wal, as I don't think that there are any direct comparisons.

[quote name='bartelby' timestamp='1476442382' post='3154331'] That's what I was thinking. I don't have any remasters, just the originals. I've heard negative things about the most recent remasters too... [/quote] Really? What were the negatives? To be honest, I'm not really a fan of remasters of originals unless I consider the originals to be a bit flawed. For example, I don't see much need for the Temple of the Dog 25th anniversary remaster. I have the original, it still sounds perfectly fine! I consider the original Metallica albums to sound pretty flat and devoid of any real bass, though apart from Justice, I don't have any real problem with the originals. I think that the remasters are an improvement of the original, though I don't consider them to be essential purchases. I think that the original Justice is mixed terribly and that a remixed and remastered version of the album would sound entirely different and one that I would love to hear. Even then, I still think that the songs are needlessly long with unnecessary parts. Still, I want to hear it.

Cool video. It is a nice change to see a bass rig rundown with a guy who has really thought about every aspect of his rig. It nearly made me want to try a Musicman as well.

If I remember correctly the 2008 remasters for just for vinyl. The 2016 remasters were part of a 'special' reissue of Kill 'Em All and Ride the Lightning as expensive box sets with extra videos, photos and outtakes. I haven't spent much time comparing the 2016 remaster with the 2008 remaster. I would imagine though that if you already have the 2008 remaster, you won't hear a massive improvement.

I'm not sure that the Justice for Jason stuff is actually Jason. I always thought that it was somebody else who had rerecorded it. I think this has a better remix of the songs featuring Jason's parts. https://www.youtube.com/watch?v=W3rhsKdFCmM It is nearly a fun hobby to wade through all the different attempts to make Justice more listenable. Some people love the original, I just think that it sounds broken. I think that there will be a remastered (and hopefully remixed) version of Justice in the not too distant future. The remastered Ride the Lightning album is pretty damn good. You get far more of Cliff in the mix.

I lusted after a Wal for several years. I eventually tried a Mk 1 with the intention of buying it. It was a very nice bass but I didn't think that it was worth the money, which was £2000 at the time. It would probably be worth about £3000 now given current marketplace demands so I lost out on potential 'sell on' profit. However, I didn't think that it was worth it at the time, as I already had two basses which I considered to be equally as nice sounding and nice to play as the Wal. It was still a cracking bass though and I still think that Wals are among the most beautiful basses on the market.

I feel bad pretty much echoing Dood's recommendation of the D'addario Balanced Tension 120 - 50 set for about the fifth time! I have used the strings for D standard/drop C, C# Standard/Drop B and even C standard/drop B flat. Personally I think that the strings are most suited to C# tuning. If we are talking D# standard/drop C#, I can make do with a standard 105-45 set. It is all down to personal preference though. I have seen lots of bassists using standard 45-105 sets for that tuning with no problem whatsoever. I just like the big 120 string! Personally yes, I prefer a stainless steel string to a nickel, but with the massive difference in price when it comes to buying single strings, I'm happy to buy the balanced tension nickel set at £18 or so. If D'addario made a Prosteel 120-50 set I would buy them. They are fantastic value for money and in my opinion are far better suited to the lower tunings than more expensive sets apparently optimised for lower tunings (DR DDT and the Dunlop equivalent). Again, that is just my personal opinion. I know that a lot of fellow Basschat folk will recommend Newtone strings as well as they are able to make you a custom set to match your tunings. I did this once but ended up going back to the D'addario set again as I thought they offered better value for money.

Okay, I don't mind the look of them. The question is how they play and sound. The price point is reasonable for a made in America bass. Generic yes. However, I see a bunch of basses (and amps and cabs) that I consider equally as generic looking. My own view is that the horn just looks too long and the design looks more suited to a bolt on design rather than a set neck. Pick ups and bridge look cool though.