thodrik

This, so many times in one night. http://www.youtube.com/watch?v=1Ee4bfu_t3c

[quote name='dood' timestamp='1399755196' post='2447420'] Drop C and Drop C# works very nicely with this set on my PJ bass (34" scale)! [/quote] Works well for C# standard and drop B for me as well. I am a big fan of the gauge.

For me its anything more expensive than an American Standard Jazz or Precision. I would probably class the American Standards as a high end bass as well since at this point they are about a grand. Though 'high end' doesn't necessitate 'good'. Lots of successful touring players are using Mexican Standards and variety of less expensive models.

I would love an 8x10 for the rehearsal room and a nice 4x10 to bring to gigs. Happy enough to run with the 15 inch speaker in my Mesa Walkabout. Most of the time I am DI'd from either the amp or DI box, so most of the time the cabs are only serving me.

[quote name='lowlandtrees' timestamp='1399737968' post='2447191'] I am definitely not confident with setting up especially with the twin rod on the Rick...it looked like an old english long bow with the 105-50s. I put flats on and the action was perfect. The SUB appeared to twist. Maybe get someone who can set up to look at it. Would like an old precision anyway [/quote] Rickenbacker basses are staple of the stoner/doom scene, so they really should be able to manage with bigger strings. If in doubt, just put it into a shop for a set up, or take some time out to figure out how to do it yourself. It will be worth it.

[quote name='discreet' timestamp='1399739543' post='2447211'] Tru dat - but also because by the time the act come on stage the crowd are generally off their heads. [/quote] Great point.

Its the same idea as booking Jay Z and Rolling Stones in previous years. Book headline acts who aren't traditionally considered to be a good fit for the festival. It gets a bit of media attention for the festival and a few commentators will talk about how the headline act are the 'wrong act' for the festival. Then the act plays the festival and everybody is 'amazed' that the act goes down well with the crowd. Of course the reason that the act goes down well is because the act have sold millions upon millions of records, are household names throughout the world to the point that their popularity is not confined to a genre and they are well known for giving a great live show. In short, I don't care, won't be there and won't be watching the television coverage featuring gurning BBC presenters throwing up ironic 'metal' horns.

If you have a good PA system and monitors to every gig you could probably get by without owning an amp. Going from venue to venue with different house PA systems, I usually find that there are too many variables for me to be comfortable not bringing a bass amp. For that reason I always bring an amp.

I use the D'addario balanced tension 120-50s on my late seventies Precision, as well as a Vigier Excess. No issues with either them. Most basses should be able to handle heavier gauge, downtuned strings. You just need to set up up the bass for the strings and tuning. Just throwing on a heavier set and hoping will often give poor results.

I always like listening to Billy Sheehan talk about his gear, equipment and general philosophy. I don't always agree with everything he says but he has clearly thought about every aspect of his set up and gear. The fact that he is willing to go into such detail as well always make him a good interview. Also, a lot of stuff seemed to be 'rock solid' in that video.

[quote name='BigRedX' timestamp='1396953117' post='2418994'] Depends entirely on bass. IME a lot of manufacturers simply add another inch onto the scale length in an attempt to find a cheap solution to getting a good sounding and feeling low B. However this is IME never successful. There's far more to it than that. It's all about the overall construction of the bass, and that is far more important. A well made 34" scale bass that has been designed and built with the needs of the low B string in mind will always out-perform a bass that simply has 35" scale length and a wider neck to accommodate the extra string. TBH any manufacturer capable of building a 35" scale bass with a great B string will be able to do exactly the same with a 34" scale. Of all my 5-string basses the ones with the 35" scale length are the poorest performers when it comes to getting a good B string. By all means go for a 35" scale if you prefer the feel of the fret spacing, but don't automatically expect the extra inch to make the B string better. [/quote] Great point. My Vigier has a scale length of just under 34 inches. Perfectly decent B string performance. I suppose ultimately it depends on the bass.I tried a few 35 inch scale Overwaters and really didn't take to them, but really liked a couple of 35 inch scale Laklands I previously tried.

It depends.A 9-5 job is pretty good in terms of it allows you to be available for gigs any night of the week or weekender type gigs. That is unless its one of those '9-5' meaning '8am - 8pm' which becomes a bit of a problem. Jobs with irregular working hours like bar work, baristas and shift work can really annoying in terms of coordinating working hours with rehearsals and gigs. Band members shifts end up overlapping and you can end up with less time to rehearse than if you were all just working 9-5. Overall though, jobs can help keep struggling bands going, even when the bands become fairly well known and seem 'big' to folk on the outside.

I played one and liked it. I did have to put the master up more than expected, but if you have a big/oud enough cab, say the Ampeg 6x10 then it will do fine.

Love my Sadowsky Metro. I have played a few Metros that didn't exactly blow me away, so I'm probably not in the 'fan boy' status. I do however like Roger Sadowsky's overall philosophy and general business practices, which is actually something that can sway me in a purchase. If I'm spending a tonne of money on a bass, I like it to go to a company that isn't headed up by [insert company figurehead you can't stand]. Still the Metros are now at a price point where I probably wouldn't be considering them just in terms of price. I really like the Sadowsky eq as well, though generally I only add a tiny bit of added bass and leave the treble off. I generally prefer a 2 band over a 3 band, just for simplicities sake. Once a 3rd EQ option is added, I end up twiddling knobs trying to find the 'right' sound and balance of mids, rather than just getting on with it and playing.

[quote name='Joeyfivebags' timestamp='1397053792' post='2420173'] I'm assuming your using the d'addario .145, if so did you get tapered or non? Did you have any issues with fit at nut or bridge? Been contemplating going that heavy for a while but not if i'm going to have to get nut work done. [/quote] I went non-tapered as D'addario don't seem to make a tapered 145 nickel, at least one that I've seen. It went on but it was a tight fit at the bridge, but that was more down to the specifics of the Vigier Arpege monorail bridge, which is a fairly neat and intricate design compared to the lump of metal on my Precision. I have since switched to a Pro Steel tapered 145 which I think gives a much better tone. You might need a bit of work done at the nut, but I didn't anyhow, as I have always used a 135 minimum for a B string. Not been playing the five string Vigier much recently and I'm even thinking of selling it though so I can't really give much of an in depth account.. Back on topic, I have been using the 120-50 sets for the last 8 months of so on my Precision with no complaints. In terms of price and sound quality they are the best strings I have ever used for tuning down a few steps.

Different woods, electronics, pick ups, strings, finishes, neck radius, hardware, fret wire and construction techniques. It all adds up to a slightly different sounding bass. In a blind listening test they will all sound like jazz basses. In terms of looks, feel and playability an individual player will probably notice more of a difference. The small differences can end up determining which variant of the jazz bass model a player likes the best. Generally it comes down to 'play the one you like the most'.

I don't think that the valves in the SMX amps really do that much other than add a little bit of added 'warmth' to the sound.

I'd guess that maybe you are overthinking things. One persons 'versatile, all round sound' is another's 'thin, characterless and generic' sound. The best option is to just find some Aguilar stuff and try some. The amps aren't that hard to come by. In terms of cabs etc, people on here would probably advise against mixing different sized drivers in a single rig. They will also advise you to buy a Barefaced cab and to try numerous other amps. Essentially just buy whatever you want as there is a lot good gear out there.

I did a lot when I was younger and doing classical double bass and theory etc. I found them helpful in terms of knowing scales and improving my fingering, intonation and technique. I don't tend to practice them as much these days, but I haven't forgotten them. I wouldn't say that knowledge of music theory is all important,but it can certainly prove helpful.

I like all the bands but have no interest in going. I must admit I have become entirely fed up of the summer rock festival circuit consisting of the same old headliners mixed in some other bands reforming for a bit of cash. But then I am a grumpy so and so.

I used to be fairly low, but have raised it over the years as fingers have strengthened etc. Still, I generally have a lower set up than the average bass I will try in a shop, but I think that is more to do with having basses set up properly rather than having a preference for low action.

I have tried two, loved one and didn't like the other, but that was mostly due to set up. If I was to ever buy a Rickenbacker though, it would be this walnut model. Gorgeous.

Cry/Sansamp/back up amp depending on my level of preparation.

I've got it. Fairly flexible bit of kit. Capable of some really nice and some really harsh sounds!

Sound as good? Yes, sometimes even better. 'Sound as good' really meaning 'look as cool' to retro-hipsters? No chance.