thodrik

[quote name='Dingus' timestamp='1394893579' post='2396390'] With the right accessories ( like this Rickenbacker bass for example) they could work as part of your outfit. [/quote] Love the amp and like the shoes. Starting to think whether it is worth selling a Vigier Arpege and EBS Fafner to obtain the funds...for the shoes obviously.

[quote name='BigRedX' timestamp='1394998927' post='2397629'] Can you provide a link the the 5-string Balanced Tension set you have? Last time I looked at Balanced Tension strings to get the B-string even in the same ballpark tension as the others would require something massive, or a complete set of floppy strings. [/quote] Yes, I haven't seen anything on the 5 string Balanced Tension sets either. I use a 145 and even that isn't close to being 'balanced', though it works well enough.

It is far too limited to be of any real use, or much fun. No choice in terms of bridge, hardware colour, control knobs, types of inlays. Choosing one option often means that one of your other options is automatically changed. Also, no natural finish choice, which means that you can't really see any difference between ash and alder. Fender might as well have just put a catalogue of the different finishes and left it at that.

[quote name='badboy1984' timestamp='1394812851' post='2395547'] I have got the amp yesterday. Need more time to see do I need a service on the amp. Where can I service the old trace amp in UK these days? [/quote] Pretty much any tech who has worked on bass amps for longer than 10 years. Chances are they will have worked on a Trace Elliot at some point.

Not light weight, but second hand Trace Elliots are good in terms of value for money. An entirely different sound to any kind of valve head though, so don't expect much old school 'warmth', at least not without a pedal or two.

Can't say I'm a fan myself either. Horses for course though etc.

Boss TU 2 for the last 10 years nearly. Lost one and replaced it with another. If I lost one again, I'd maybe get the TU 3.

In my Rob v Jason in Metallica debate. I really like both. Rob is technically more proficient but Jason was not only a player but his backing vocals have really been missed since he left. Sometimes I think that Rob hasn't yet stamped his authority on the band in terms of pushing his ideas forward like Jason, but that is probably more because he is a generally laid back guy rather than him simply being a 'hired hand/session player' type replacement. I think Rob was a great choice for Metallica and fits the Metallica image/brand/whatever really well.

My Precision is a fair old lump, I have never weighed it though but have always known that it is much lighter than my Gibson EB3, which is frankly ridiculous. If I really wanted a guaranteed lightweight Precision I would probably go in the Sadowsky/Mike Lull etc direction. Fenders tend to vary a fair bit.

Personally I think that EBS amps are great when it comes to mix and matching rigs, mainly because they go down to 2 ohms. The TD360 is pretty damn loud through a big 4 ohm cab.

[quote name='iamtheelvy' timestamp='1390578537' post='2347177'] By the way, I enquired with D'addario about a Stainless Steel balanced set. They just replied: 'Probably not. If we do it'll be a while before we can delve into that scenario Maybe end of the year.' :-/ [/quote] Strange reply, since the balanced tension strings aren't exactly completely new like the new 'flexsteels', but rather their standard strings in different gauges. Essentially all they have to do is just pick their gauges and packaging and they are pretty much there.

[quote name='0175westwood29' timestamp='1390867645' post='2350831'] think is i dnt think it will be mega "markbass" hi fi i can see a lot of metal bassists going for it, im also thinking there might be a trick or two on the back as there still no pictures, that i can find. andy [/quote] Possibly, Orange might be trying to move in on the EBS/GK/Mesa/Hartke using metal people. I just don't see Orange offering a really extensive eq system that you tend to get with such amps at a similar price point. If the blend is awesome though, it might render any other criticisms meaningless though.

As I usually say, if you want a Fender, just try lots of Fenders until you find one that you want. You could lust after a Fender from a specific period end up with a dog when you actually find one. £1500 -£2000 will get you a late 1970s jazz or mid to late 1970s Precision. I'd probably try the newer Fenders too, along with Sandberg and Sadowsky etc.

I'm sure its a nice amp but over a grand for a really heavy class D that is more expensive than your flagship tube amp just seems kind of strange. I also don't see many people going for Orange for the 'clean hi fi' sound, though I'm sure a line of high profile endorsers will magically switch after being suitably impressed/paid/whatever. I do like the blending capability idea though.

50-120 on the Precision 45-105 on the Jazz. Entirely different basses, used with entirely different tunings.

I suppose I had that feeling for a Wal until I tried one.

I've always thought that Ashdown amps were pretty good. Not noticed any dip in quality. Prefer pairing them with Ampeg cabs rather than the Ashdown cabs though.

A signature bass/guitar for a player who plays in alternative/drop tunings that is actually set up for those tunings from the get go. Is it really a signature model if it is set up in standard tuning that is never used by the artist in question? Troy Sanders/Biffy Clyro sigs, I'm looking at you! I am probably of the opinion that there already too many signature models as there is.

If you get one good reply out of ten that is a good ratio. Out of the good replies, one good musician out of 5 is a decent ratio. Sometimes you get lucky, sometimes it takes a while but Gumtree is still a decent resource.

Its only a step down so it isn't really a severe change. A heavy set of strings in the 110-50 and a decent set up would do the job.

Generally I have only played in one guitar bands, for several reasons: 1. One less person to organise in terms of arranging rehearsals and gigs. 2. It is difficult enough to find one good guitarist, let alone two. 3. It often makes for a quicker writing/arrangement process, partially due to reasons 1 and 2. I have played in bands with two and three guitarists as well and really enjoyed it. What works 'better' depends on the personnel and what you are trying to achieve musically. Generalisations such as 'two guitars muddy the sound' or that 'bands with one guitar sound thin' can generally be ignored.

I would probably get a Sandberg. If I was spending loads of money I would probably get a Sadowsky or Mike Lull.

In terms of string gauge I have used a 135 for a low A and it works okay. It all depends on personal preferences in terms of set up, etc. You could try the DR DDT extra heavy set of 125-65 or the bottom four strings of a medium/heavy five string set.

I have owned a 1978 Precision for 15 years so no surprise where my preference lies! I generally prefer the neck profile of Precisions to Stingrays. Aesthetically I prefer the look of Precisions too as I have never been a fan of the toilet bowl look of Stingrays. I never felt that a Stingray offered anything that I couldn't achieve with my Precision. Had I bought a Stingray originally I probably wouldn't have bought a Precision for the same reason though. Other reasons for not getting a Stingray include being fed of seeing them constantly being slapped to death by Flea fanboys in music shops and at sound checks, as well as not being impressed by the actions of certain company figures on certain online forums. These points are not really related to the quality of the instruments themselves though, which are generally exceptional.

Not sure about the look of the pickups on the more 'vintage' models, but I would like to try one out as I am intrigued by the electronics. Having seen lots of Fender-alikes I am not that fussed over whether a bass looks a bit like a Wal, I wouldn't make a criticism on a brand on that basis alone.