thodrik

Interesting that. I was thinking that I see so many Behringer stuff about at gigs, but never really see it in shops. Now I know why.

A five string bass. Vigier/Sadowsky/Sandberg/MM Stingray. Realistically the G & L L2500 or the Sterling by MM Ray 35 is already way more than I can afford. An all valve amp, or failing that the EBS Fafner II or Mesa Big Block 750. A 1970s Fender Jazz. A nice 4x10 or 2x12 at 4ohms, to run said amp through. DR strings. I will start saving for these first I think.

The VU meter on an Ashdown. Input pads when there is a gain/input volume knob (like the Ampeg SVT 450). Graphic Eq sections on an amp that already has bass. middle and treble knobs (Ampeg SVT 450). Built in octavers (or any built in effects) in amps that rarely come with a footswitch (Ashdown). Side-mounted fans in rack-mounted heads, so you have to buy oversized rack cases so said amp can 'breathe' (EBS Fafner). Any attempt to excite us by trying to jazz up mid controls as something really exciting (the 'ultra mid' controls on an SVT 450). 1000 watt amps that are actually two 500 watt amps that can't be used in mono(Ashdown/Trace Elliot). Mute switches, they only lead to people telling you that your amp is broken if people try it.(Trace Elliot/Ashdown). Being designed to look like a valve amp, but containing no valves, making the amp twice as large and heavy as it could be, with the only benefit being some space to store a cable or two (Ampeg SVT 450). Really loud fans (Mesa Walkabout). Having a 'special' input jack which means that you could run an active bass on no batteries, impressive but not really that much use (EBS Fafner and probably the other ones I dunno). Pointless LEDs or lights that are only there for visual purposes (The glowing red bulb on EBS Fafners). Having tube overdrive capabilities with no footswitch, so if you play quiet or have a clean part to play, you either have to magically turn down the 'drive' knob and then up again, or use a pedal to get the 'dirty' sound, making the overdrive potential of your amp pretty pointless (Ashdown/EBS Fafner mark I). Room balance knobs (Fender Pro series). Master volumes that go from 0(silence), 1(quiet), 2 (loud), 3 (full power), when the numbers go to 10 or 11. (Like Marshall guitar amps). Ashdown Little Giants. Still love my Fafner though!

I have a Valve drive myself. Its really good as a preamp on low gain settings, it adds a little bit extra to the sound of most solid-state or hybrid heads. On the higher gain settings it works well too, though personally I prefer the EHX English Muff'n for gritty bass overdrive. The EBS one sounds a bit flabby in comparison and lacks a bit of bite naturally in my opinion, though you can pretty much use the eq to get the sound you want. You can swap the tube as well obviously to get a different sound. I don't use mine much to be honest, it might be something that needs to go eventually. Good pedal though.

I used to be obsessed with obtaining a really low action, but its not something that bothers me now. Not that a play with a really high action, but its nothing that I'm overly concerned about. I do have limitations though as I do don't like anything overly 'spongy'. I think that there is a difference between having a higher action and a poorly set up bass (generally off the wall basses in a guitar shop, though there are exceptions). I don't really measure my action though, I just tend to know when it feels and sounds right for me, and usually I won't go far away from a set up provided by someone that knows what they are doing and knows what I want.

Not a fan of the ying/yang design, its not that it isn't nice but more that it isn't for me.The general contours and shape of the bass is really nice though. I would probably get a Monarch.

Seems to be in really good condition, way too steep on the price though. Strung out guitars have two Jazzes from the same time period, in a fairly similar condition, priced £1399 and £1899 [url="http://www.strungoutguitars.com/Electric/"]http://www.strungoutguitars.com/Electric/[/url]. If I was heading to Bass Direct armed with £3000, I'm not too sure I would really be heading out with a vintage Jazz, and I'm a big vintage Fender fan. On second thoughts though, the original case and instruction manual is not something you see everyday, and I'm assuming would add a fair bit to the price. Regardless of everything else though, its a vintage Fender, somebody will buy it.

Decent enough strings. I have had been using them on the Sadowsky for all my gigs this year. For about £18 they do the job , nothing special but I find that they last about as long as the D'addario prosteels I using before, sound about as good, and are cheaper as well.

Neither of them went to Leeds College of Music, so I don't think that there is any evidence of either of them being musically talented on a technical level.

[quote name='danydan' post='988756' date='Oct 15 2010, 02:30 AM']Hello Thodrick, i think in your way generally, so i really understand what you mean... I just speak about this MM master built because i try it and i can say it's a real very good bass, and try to say people who can, buy it because it' will be a collector bass. I win anything to say that Keep on groovin' :-)[/quote] I have no doubts that it would be an exceptional bass and a collectors item, and that anyone who wants to buy it would not regret doing so.

Out of the options you listed I would probably go for the 2x15 as a single cab solution. Plenty of volume and personally I think that they look really cool. A 4x10 and a 1x15 is quite a lot to carry about, and would probably need to run on a crossover, though there are people on this forum that advise against any mixing of different speaker sizes. If carrying about 2 cabs I would probably go for another 4x10 personally.

[quote name='greyparrot' post='986845' date='Oct 13 2010, 12:34 PM']If the Alembic mark king sig had humpty dumpty on the headstock i really would not give a hoot! [/quote] Hence my warped mind!

[quote name='danydan' post='986247' date='Oct 12 2010, 09:11 PM']Euh !! it's not a Fender preamp inside; the preamp is important ok, but before the preamp the wood and the built is amazing; the built quality of this bass is closer of a Sadowsky US and the sound too in his own way (Fender way but in my opinion you can sound it in your own way, like Marcus Miller does)[/quote] Umm, okay? I was commenting on Fender eq circuits in general, not on this custom model, which I never really been totally sold on compared to other campanies. I'm sure its an amazing bass that I could make to sound in my own way, but for that money I would be more likely to buy a bass built to my own specifications, rather than to Marcus Miller's, or failing that buy a genuine 1970s jazz, fit a badass on it and insert a Sadowsky preamp. That just me though, I'm just against having someone else's name on 'my' instrument, other than the person that built it. To me it just says that I'm either just copying or following in someone else's footsteps and that whatever I do in music, I'll never be as good as the person whose name is on the bass. I know that is total rubbish, but it is the way that my warped mind thinks. Obviously, I'm not the market that this bass is aimed for.

I just don't think it comes across as well, as there are lots of variables lead to nuances between basses which appear pretty obvious in person but end up sounding pretty similar when recorded. It easy (ish) to tell a difference between a Jazz and a Precision, but between rosewood and maple fingerboards, and different pickups or different models, the differences could be so minimal as to actaully make the different options seem unnecessary or just for looks, which is not something companies would want. I don't mind 'ballpark' examples of the sounds of certain models of bass. However, most high-end companies are keen to stress that you can acheive 'virtually any' sound with their particular type of bass. So if they then have a video or audio demo of 'this bass sounds like this' it kind of defeats the point. Also the way I play will be totally different to the person doing the demo anyway, so really how useful is the sound sample anyway? Personally for me it doesn't work for cabs either. I think that Mesa Boogie did a big video blog on the differences between the different bass cabs. To be honest, although there was maybe some difference between the sounds it could have been down to mic placement, or that they used a different bass or for each cab (which seemed to me to defeat the point of a 'cab' test). As my guitar-playing brother would say '...Yep, it sounds a bass. Wow.'

Well, at least it has a Badass! I'm sure its a great bass, for the collectors obviously. For £4600 I would probably want my dream bass though, rather than Marcus Miller's. I tried one of the Japanese (I think they were anyway) models a while ago though, and was fairly impressed. This was before I had tried Sandbergs and Sadowskys though, I'm guessing that if I tried one again, my opinion of the Fender eq circuit wouldn't be as high as it was then.

It all seems pretty annoying. Finding one of the problems is pretty common on a Fender. Finding about three is just unlucky. If it really irks you I would return it. I don't think the truss is really a problem though, more the pick guard and the neck pocket (which doesn't look that bad). Of course if you send it back you might get one that has none of those issues, except the fretwork isn't as good. I doubt that would happen though, I'm just thinking about what would happen if I sent it back!

I have three basses with maple fingerboards, they all sound really different when played acoustically so I'm not convinced by the 'maple sounds like X and rosewood sounds like Y'. For me its mostly down to looks, the difference in tone is pretty minimal and is generally down to the design, construction and finish of the bass rather than the wood on the fingerboard. That said, I didn't set out to buy a bass with a maple board, its just that the basses that I played and liked just happened to have them. Rosewood is just as good.

A classic Fender, probably my Fender P, though if I was greedy, which I am, it would probably be one of those 'slab' Precisions or a pre-CBS Jazz.

[quote name='Chris2112' post='983759' date='Oct 10 2010, 08:44 PM']Doesn't everyone just get old, hard of hearing and accidentally buy a P Bass, doggedly sticking to it until the grave?[/quote] Nah, some of us just start off with one... I think that everybody goes through a phase of learning or being interested in styles that is out of their normal comfort zone. I went through an interest in funk and jazz from 18-21 as I started developing new techniques like slap, double thumb, tapping. I think its good to pick up these techniques to keep practise interesting, though they have never been used in the context of a band I've been in, because generally they just didn't mix. I have also been playing pop/rock stuff and even folk stuff over the years, which has aided my adaptability, but hasn't really changed my overall outlook on what I want to acheive which has always been fairly consistent. The only problem is finding the right people to play in the way I want. As I get older I'm trying to focus on playing what I want rather than keep slotting into other styles. I really don't to fall into bridge pickup fingerstyle funk/jazz on a jazz bass a big eq bump in the mids, as it really does nothing for me personally whether its playing or listening.

I got a big virus thing too. Bad form I say! Harmless enough basses and the ethos behind the brand is admirable. Personally I wouldn't mind a different scratchplate so it didn't scream Musicman, but its a minor quibble.

Not really if you have nice hair and people think you look pretty onstage. Most people wont know the difference. If the way you play is preventing you from playing what your brain wants you to do, then its worth having a think about your technique. Also with recording I think that poor technique can show up, especially when matched with a bass with pretty low action. That said I don't think there is a textbook 'right' way to play bass, in the same way that has developed for the piano, violin etc. The electric bass has only been around for a small period of time, so I still think there is scope for developing technique and ways of playing the bass. I personally think there are far too many 'session player' clones that predominantly use slap, double-thumb technique whenever they can, and will only ever play fingerstyle on the back pickup of a really expensive jazz bass. I think it leads to a very 'boxed in' understanding of the various ways and styles in which a bass can be played.

[quote name='Delberthot' post='983593' date='Oct 10 2010, 06:17 PM']As the owner of an 800R and 2 700RB II amps I can say that they are no more complicated to work than ordering a pizza over the phone - if you can't work it then you're in the wrong game. You just need to spend a few minutes checking out the manual like you would with any amp.[/quote] Cheers for that, I'll bear that in mind if I come across another one as supplied backline somewhere. I didn't have access to the manual when I tried it, so it was a bit befuddled by the features. I'm also one of those that believes that if the amp should sound good when run 'flat' (or without anything boosted or cut), but if the amp does sound good flat, then it makes a lot of those extra features pretty redundant. Ordering pizza over the phone is well within my capabilities, but seems comparatively complicated and not really worth the hassle since I already have pizza in the fridge that I like the taste of.

[quote name='Musicman20' post='983516' date='Oct 10 2010, 05:21 PM']I went with Orange mainly because I preferred the tone, but the weight difference is pretty massive, and the Orange can do an 8 ohm load. If you have an SVT CL/VR, you must be 'rock hard'.[/quote] The Ampeg weight is pretty something. I was playing a gig the other week when the bands were sharing an 8x10 cab. When it came to moving the Svt from the top of the cab so I could put my own one on top of the cab, it just about did me in! I love the idea of an all-tube amp, but the weight and cost put me off, as well as the fact I know nothing about biasing tubes which scared me when buying my last amp. Which is why I have tended to gravitate towards hybrid amps. Someday though...

[quote name='fretmeister' post='983455' date='Oct 10 2010, 04:29 PM']I have no doubt this thing sounds awesome. But - 85lb Eighty Five Pounds!!!! Is anyone without roadies really going to buy it? That is utter madness. My Mark Bass F1 head and a Tech21 pedal gets damn close to proper SVT with 75lb to spare![/quote] I think that the words there are 'damn close'. Even with all the lightweight amps and eq pedals available, it still isn't going to deliver the 'authentic' sound of an all-tube Ampeg SVT, which regardless of model or place of production, is always really heavy. Some people are always going to prefer to have a real tube amp as opposed to a set up which can be made to sound 'damn close' to the sound that they want to obtain. For me its not the weight of the Heritage SVT that will put people off, but rather the cost which I think is over £2000. I think they are limited production though so are meant for Ampeg devotees, who judging from most of Ampeg's output have never really been concerned by weight. Of course there are also those that don't like tube amps or Ampeg in general, who prefer the sound of lighter, more transparent sounding amps. Also I'm pretty sure that in addition to the weight, the F1 and vt bass is a lot more cost-effective, even before you take maintenance of an all-tube amp into consideration.