thodrik

Must say I've enjoyed reading this read. However it has confused me to the point that I'm not sure what 'core tone' is anymore! I prefer to think that tone is in your brain more than it is in your fingers as your brain controls your fingers (alcohol sometimes has a role too). That said I have three basses, all with maple fingerboards, which all sound vastly different acoustically and even more different when plugged in. No matter how hard I try, I can't really make my P-bass sound like a Vigier. I still sound like me when playing both of these basses. So I guess 'core tone' is provided by the player in a way. each bass I tend to get a get a sound I can work with and leave it at that. I don't really change settings between songs, mostly because I'm lazy, partly because I'm happy with the sound I have and partly because I don't think anybody would care if bumped the mids at 500Hz for a certain song or used a pod to change my amp from a GK to an Ampeg! Most people at a gig would probably notice that the basses looked different before they would notice that they sound different. In fact most people probably wouldn't care or notice at all. I must say I've never been that bothered by digital processing, plug ins and the like. I have used them before and will again but there really is no substitute for a good amp, good cab and somebody that knows how to mic things up properly in a studio. This does take time though and for a quick recording a pod or ampeg plug-in thing is pretty cool. We could all get by ditching our amps and just gig with DI boxes and in-ear monitors. I just think that too much technology ends up taking some of the fun out of playing and recording music, at least for me. I just want to get a good bass, a good amp and play loud. I probably completely missed the point of the thread and for that I'm sorry!

I've heard that Mesa amps work really well with Bergantino cabs. That said, most good amps should sound good through Bergantino cab! Lots of good stuff about, just try them out and see what you like in terms of features and tone. You could consider EBS or Aguilar as well.

Anything using a passive bass, I'm gonna take a Precision every time. It just works. I love the neck profile of Jazzes, but I find the passive pickups generally a bit weedy in comparison. I'm not a fan of the back pickup neck 'burp' thing: when used by a great player it works, but sometimes I feel that it just provides a perfect bass tone for music that goes nowhere. I just love the fundamental you get from a Precision. If you start to get into active electronics though, I do think that the Jazz style pickups provide a lot more tonal versatility, as evidenced by the amount of 'J bass on steriods' basses available. Yet the fact that nobody really describes an insrument as a 'P bass on steriods' says a lot for the original design of the Precision.

[quote name='simon1964' post='730835' date='Jan 31 2010, 05:37 PM']TBF that's how a lot of the Fender blurb marketed it. It doesn't make a Jazz sound like a Precision, but it gets it a bit closer, and certainly gives a fatter sound. Personally, I like the added versatility.[/quote] Probably why they stopped it then: 'Buy this then you won't need to buy our other bass.' Hmmm, sound marketing technique. I think they are back to the 'you need to buy both of these instruments if you can'. I do love Fender though and you can't blame them for trying out new things.

I would love to try out a Fodera but as stated by somebody earlier I have my doubts as to whether it would be worth the extra money over an NYC Sadowsky, unless you count that Fodera basses have a very unique design that is totally their own while the Sadowsky is pretty much Fender-based. If you need a Fodera then paying all money is somewhat justified, (like owning a Wal I guess). If you need a great bass though, there are many other companies you could also consider that make top quality instruments, just without the price. I probably would have to sell my 4 good basses and come up with some extra money to come close to getting a Fodera, which considering this list includes a Vigier and a Sadowsky Metro seems a bit extreme!

I remember a sales guy tried to big up the S1 thing with the argument of 'you can make the Jazz bass sound almost like a Precision'. I already had a Precision, thus I didn't get excited about something that almost get the low-end thump of a Precision but not quite! If you just want to use one bass exclusively though, the idea starts to make a lot of sense. Good idea in theory, in practise I just didn't think it added enough to the sound to get me all excited, at least on two or three I tried (Fender QC and all that).

Its a lot of money to sure. Sends a strange message to the made in Asia stuff though, I thought they were still billed by Ampeg (up until the last few weeks) as still being top of the line stuff. No comes off as second rate to the US stuff. Of course people will pay the price if they really want 'Made in USA' Ampeg, or at least Ampeg think they will. If people don't buy them, Ampeg will just say 'You complained about us moving stuff to Asia, but when we gave you the chance to buy American you didn't take it'. I always thought Ampeg should be for gigging bassists, but this seems to be a move into the boutique market. I do get annoyed at the 'buy our stuff because we have history' idea though. History as it turns out, is pretty expensive. I don't have any money but if I did I don't think I would consider the Heritage head. Loads of good second hand Ampegs about for less than half the price. Neo cabs look interesting, so I will give them credit, but no 2x12 is kind of confusing as others have said.

Without doubt my brother. He is a guitarist but there is nobody else I totally trust my gear with. I doubt he would sell them. He has a Gibson EB3 on long term lone already. He, or his son would make good use of my stuff. I would ideally like them to be used rather than use as ornaments. I would like them to never be used for folk music but I suppose that is out of my control! Buried with me? Not sure about that. But I personally feel that Frankenstein bass should have been buried with John Entwistle, nobody should have touched that after he went. Amps? don't really matter as much, they could be sold.

I'm using a 2x10 and 1x15 set up. I love it but I feel its a bit of overkill for some gigs! I have seen a few 2x10 and 2x12 used together. I would like to try that out. I'm thinking for smaller gigs a 2x12 is a better all round cab than a 2x10 or a 1x15. All things considered, I would really rather have a 4x12 or 4x15 (a couple of 2x15s would do) My brain is tired though as I've been reading uni stuff all night, so logic isn't running high.

I like the look of it and 300watts should be plenty to carry most gigs. I'm guessing it goes for around $750-$1000 which will magically become somewhere just under £1000. It should be significantly less expensive other MESA gear to justify being an entry level product. This might just mean that the price of other Mesa gear will go up accordingly to make this the case! Seriously though, I wouldn't trade my Walkabout in for anything now, though if this amp had been available last year I would have been very tempted. Not the most inspiring of blurbs though as others have mentioned!

I've got one of the old GP7 SM300 combos, with a 15 inch speaker. I used it for 8 years without any amp problems at all. Though when other bassists used it they would often say the following things. 1.'Your amp is broke' = The mute switch is engaged 2. 'There isn't much headroom, its clipping all over the place'= I've got both the gain and master volume set at nine, set the amp for passive and play a Stingray 3. 'The graphic EQ doesn't change anything'= It rarely does when ALL of the EQ switches are set for a 12db boost. 4. 'Its sounds sterile and quiet'=I crank the treble and the cut all frequencies below 500Hz, but still expect the sound of an Ampeg 8x10 paired with a vintage SVT amp to be achievable through a ten year old solid state combo with one speaker. Some people just think that the only sound you can get out of a trace amp is the mid scoop pre-set, which once engaged really does colour your sound. I quite like it but I do think it can destroy the personality of certain basses, as it just never agreed with my Vigier Excess, though it sounded great with my Precision. However I still think you can get a good tone out of most basses using the Graphic EQ without the pre-sets. I've tried lots of other Trace amps and feel they are unfairly cast as only being able to 'do' one sound. Clueless bassists that don't how to work a graphic eq can get some horrible sounds though. However, I do think that in the last 15 years hybrid tube-solid state amps have kind of taken up the market where the solid state Trace Elliot stuff used to be.

I have a distinct urge to say 'horrible bassist, horrible looking bass' but that would be cruel and untrue. The bass isn't that ugly. The bass just looks a tad radical looking for what he is going to be doing with it, but that is about it. He is a multi-millionaire and if he wants to play that bass then more power to him. If somebody wants to pay more than 3 grand just so they can play the same bass as the guy from U2, I would be a bit worried, but can't say I would care that much. I would doubt Warwick are thinking they will sell that many off the guys name and people looking up to his technical skills on the fretboard. Its more the case that Warwick can say 'Adam Clayton could choose to play any bass in world, and he chooses to play Warwick basses'. Regardless of playing ability, having the bassist in one of the biggest bands in the world uses 'Type X' of a bass does mean something. I seriously don't have a problem with it at all, it will probably be a great bass, albeit expensive. In a few years he will probably be playing something else, and he will probably keep using loads of different basses in the studio anyway.

Interersting question. I'm the same, I mix and match stuff the whole time. I write left-handed, throw things right-handed, play tennis right handed, play golf right-handed and box out of the orthodox stance. I do all of these things badly. Despite this, I can only play the bass right-handed. Playing left-handed just makes no sense to me whatsoever! Maybe if I kept at it I would get better at it but the fact is when I picked up the bass it only made sense right-handed. Maybe it made sense play right-handed because the left hand is busier. I'm glad I did learn left-handed though, the choice of left-handed basses is pretty poor and you have to pay more for the same basic instrument! I do admire people like Scott Reeder though, who can get a right-handed bass, turn it upside down and play really well without even re-stringing the thing! I don't think you would gain that much from practising both ways. You have to have two basses or restring it every time you change hands. Also, I would think with muscle memory it would be easier to get your hands being able to perform one role rather than two. Unless you want to be bass version of Michael Angelo Batio, I don't really see the point to be honest!

I voted cool but I would consider it to be 'Cool' rather than cool: as in it looks different but I suspect it wouldn't be much to play and I personally wouldn't want to own one. The cutaway looks a tad severe, but to each their own!

I'm going to put a word in for guitar guitar in Glasgow. Always friendly and always let me try stuff out, even if I was only there to buy strings and accessories. I think this was on the basis that they knew that I would eventually find something and buy it. After trying out an Overwater. a Warwick Thumb, a Rickenbacker, 2 Sandbergs and on one occassion a Wal Mk I (was a close call!) over a two year period I eventually bought a Sadowsky Metro. They must be relieved! I'd also put in a word for CC Music, who now stock Markbass stuff, as well as Ampeg, Eden and Trace Elliot amps and have some cool second hand stuff. Bass selection is really good but a bit limited compared to the bass amps on offer (Fender and Sandberg, with the odd second hand of something else). I must say that my experience in Denmark Street this summer was pretty underwhelming in terms of choice and customer service. I'm sure some retailers hear a Scottish accent and assume that this means that it is pointless of showing them any expensive gear, as 'Scottish people don't like spending money'!. I did get to the Gallery but it was just to buy an EBS Valvedrive, which you can't seem to find in many places unless you order it. I didn't really have the time to really consider anything else! Seemed really good for choice though and customer service was good after they realised I wasn't there to waste their time.

I did a gig/radio session thing in Wales, was given a 1001rb-II head and a 4x10 rbh cab to use (the distance was a bit far to get my own stuff, we only had the car). I was very impressed.

I wouldn't trade my Precision for anything. Yeah, it is a simple design, with arguable flaws within that design (access to upper frets!). However, I really think that it can be used for pretty much any kind of music. Tone comes from your brain and your fingers, if you feel comfortable playing a Fender Precision then I don't think you really lacking anything else. Also in terms of playability I have never played a jazz bass that could play as fast as my Precision. I just think the idea that a Precision is only good for plodding around in the background is a bit of a myth.

Can't say I was overly impressed. Its not that it was bad, it just seemed a bit Queens of the Stonage-lite. Really, why not just call it Queens of the Stoneage since it is based around a revolving door of musicians? That said I support most of Josh Homme's musical decisions/directions and I always prefer Dave Grohl behind a kit than behind a mic. Will probably give the album a shot at least before I form a concrete opinion.

I'm still pretty much a sucker for Trace Elliot stuff. Not really sold on the new combos compared to the old stuff though. They just look a bit plastic if nothing else. That said I am impressed by the cabs, which are pretty lightweight (for TE standards!) and very functional.

I started reading way before I started playing bass. Being able to read music notation and and have knowledge of theory is a great thing to have. It certainly allows you to be a more versatile musician, but not necessarily a better bassist in terms of feel, which comes from practice or natural talent. I do think that prior knowledge of the genre of music is needed before you can sightread effectively. So obviously a top funk player, would be able to read a funk piece and know how to make it 'groove' because he will have a great knowledge of that genre and how to play it. That said, I have never learned electric bass guitar through notation, theory or instructional videos. If I wanted to do that I might as well have stayed playing double bass in orchestras. Bass guitar for me is release from all that. I can pick it and play the way I want to play. Obviously knowledge of theory has affected the way I play and write, but its not something I make a conscious effort in doing.

For me the stock answer is going to be Fender jazz or Precision bass. They have been industry standards for ages and many boutique makers still use the basic designs. They can do metal, funk, jazz straight ahead rock without much issue. Will it be able to sound like a warwick though? Probably not. I personally think it comes down to whether the player is capable of playing different styles rather than the bass. Also looks can play more of an issue than an actual sound. You never tend to see guys in garage rock bands playing 6 string Fodera type basses. On balance my post doesn't really say anything, other than the Fender is suited to many different types of music because people see it being used for different types of music! Sorry about that. [edit] I did mean 'Fender' not Fenfer!

Ordered from them at the start of the year, had a few issues of things taking longer to arrive than I was originally told, but everything was sorted out and arrived eventually. They mean well and I would order from them again. At least they told me when there were delays, unlike some businesses...

3 rigs for me. Nothing really fancy or technical. EBS Fafner through Trace elliot 1518 and 1028H Cabs. Gigs when we have a van. Mesa Boogie Walkabout Scout. Gigs when sharing a car/getting to and from gig in a taxi An old Trace Elliot GP7SM 300 combo. When I have to supply a bassamp for all the bands playing a gig and I'm not familiar with the other bassists there (or I know that they are clueless!). For some reason I just don't trust other bass players when it comes to tube pre-amps so the Mesa is out of the question. Also, I bankrupted myself to get the Mesa, why should someone else get to enjoy it for free? Also, the Trace is a good combo, so I'm not exactly being unkind to them!

[quote name='Sibob' post='645856' date='Nov 4 2009, 11:42 PM']I'll let you know when I get hold of both the Squiers due to me lol Looking forward to it nomnomnom Si[/quote] Cool, I await the results with baited breath!

[quote name='Sibob' post='645781' date='Nov 4 2009, 10:17 PM']Surely this is just an issue with your perception of the Squier brand? If an instrument is built to a good enough standard and sounds great, then surely it deserves it's price to be based upon those qualities rather than the name on the headstock. Si[/quote] Ah yes, the old 'if it plays well then it doesn't matter what is on the headstock' argument. Lots of cheap basses play and sound perfectly fine, it is down to player most of the time to make something sound good,unless the instrument is just rubbish! The fact that this is a 'signature' bass means that the argument that the bass should be priced solely on build quality, quality control and so on doesn't really apply. Would the same bass, minus the Biffy association be sold at the same price? I very much doubt that! I'm not putting down the Squier brand or looking down on the brand. I own one of the Affinity jazz basses and it plays great. Its just that as Squiers are marketed as the budget end of Fender, there comes a price point where they might as well stick a Fender logo on it rather than a Squier one. The Johnston bass is only a little bit cheaper than a standard mexican jazz, so why would I spend 400 quid on a squier when I could just as easily get one that will play and sound pretty much the same for less than 200? I'm not sure if the Johnston basses are different enough from the other Squiers, paint colour and Biffy sig aside, for me to consider paying the extra money. Are Squier Johnston's going to be on such a different level compared to other Squiers, in terms of build quality, electronics and set up to justify the extra price? I'm not a massive fan of the band, so I don't really want it for the reason of band association etc. I have absolutely no doubts that the basses will be cool and play well, if people are willing to pay that price for it, good for them.