Pros that use non-pro basses...

[chris_b]

For all the years I played a Fender Precision I could easily have used a Squier. I definitely wouldn't have chosen a Futurama Bass II.

I started on a very semi pro Framus. Actually it was a pretty good bass when you consider the other cheaper basses in the shop, a whole lot of Asian and Eastern European made junk.  If a new band had a hit you could see them playing their various Hofners, Vox's, Hagstrom's, Rossetti's etc on their first TV appearances. On the next week's Ready Steady Go they would all be playing brand new Precisions, Strats, Rics and Gibsons. That was when pro and non-pro gear was a valid definition. 

[Bassfinger]

Dave Pegg.

[Doddy]

This sounds awful, although it's not meant to be, but the whole 'pro gear' designation seems to be aimed at the Blues Lawyers.  I started to notice it in drum shop adverts a few years ago, where everything that was classed as professional cost over 2 grand. I always found it odd, because I knew of far more professional drummers who were using what was classed as 'intermediate' gear.  I've also lost count of how many pub bands you see looking for musicians , who specify 'must have pro gear'. It's funny, I've never heard a professional talk that way. As long as you sound good and can play, no one cares if you're using a Sadowsky or a Sire.

[Beedster]

2 minutes ago, Doddy said:

I've also lost count of how many pub bands you see looking for musicians , who specify 'must have pro gear'. 

I know, you've got to laugh though, I auditioned for a band who said exactly that. Talk about 'All the gear no idea'. There must have been £20k worth of amps, guitars and drums in the studio, they looked rather disparagingly as I wheeled in my rather old and beaten up Mesa Road Ready cab and 400+ head, and looked positively ill when I pulled out a very ordinary looking Precision. We started with Come Together and it became immediately obvious that to them 'Pro' was short for "Demonstrating commitment to the band by spending lots of cash' as opposed to some perhaps more relevant things such as, I don't know, practicing, understanding EQ and volume (oh, and reverb), learning lyrics etc. I didn't stay long 

[bassaussie]

The most obvious answer for me would be Paul McCartney and his Hofner bass. He's stated for years that there were two reasons he bought the bass. The first was that it was symmetrical, which helped with him being left handed. The second was that it was significantly cheaper than other options such as Fender. George and John were willing to get loans to pay for their more expensive American instruments, while McCartney wasn't willing to do that.

[Lozz196]

19 minutes ago, bassaussie said:

The most obvious answer for me would be Paul McCartney and his Hofner bass. He's stated for years that there were two reasons he bought the bass. The first was that it was symmetrical, which helped with him being left handed. The second was that it was significantly cheaper than other options such as Fender. George and John were willing to get loans to pay for their more expensive American instruments, while McCartney wasn't willing to do that.

Yes, I read somewhere that for years in the early 70s he wanted a Fender Precision but that as the basses he already had were sufficient for his needs he resisted the urge, stating he’d been brought up to look  by after whatever money he had.

[BigRedX]

Surely the most important things are that the gear sounds and looks right for the band and won't break down when used.

[CookPassBabtridge]

2 hours ago, Doddy said:

I've also lost count of how many pub bands you see looking for musicians , who specify 'must have pro gear'. It's funny, I've never heard a professional talk that way. As long as you sound good and can play, no one cares if you're using a Sadowsky or a Sire.

Couldn’t agree more. It’s ludicrous that there are bands who think commitment and ability are somehow proven by how expensive or ‘pro’ your gear is. The only possible justification I can think of for such an ad is having a cab/amp powerful enough for venues of a certain size.
But if you sound good, play well, and get on with the people you’re playing with, that should be enough.

[Lozz196]

1 hour ago, BigRedX said:

Surely the most important things are that the gear sounds and looks right for the band and won't break down when used.

Agree. I was quite amazed when I saw said seasoned pros I mentioned using older cheaper gear, but then looking at the gear you could see that they’ve (or previous owners) have used it for years. So obviously reliable. And then when hearing them, well said Mex Fenders/Squiers/Epiphones sounded great, more than up to the job. It did make me question my need to only have/play US Fenders (and still does, it’s just something I can’t seem to get past).

[martthebass]

When I think back through the years I think the vast majority of the gigs I've played have been played on a 90s Mex Squier Jazz and more recently, an Indonesian Squire Mustang.  I love my EBMMs and Rick but they aren't the go to basses for gigs.

Ironically, I once lost out on an audition because I turned up with a Status bass and it wasn't right for the 'MOD' band......

[Woodwind]

Many different levels/facets to what pro is.

Playing originals music for a living potentially puts different requirements  on what's used than if you were a session bassist for a living.

On a tangent, Looking at double basses (and generalising a great deal) a pro bluegrass player could get away with a sub £1k bass, a pro jazz player could well manage on something for a few thousand pounds, a pro classical orchestral bassist would struggle on an instrument under £15k 

Edited November 22, 2020 by Woodwind

[Beedster]

16 minutes ago, Woodwind said:

Many different levels/facets to what pro is.

Playing originals music for a living potentially puts different requirements  on what's used than if you were a session bassist for a living.

On a tangent, Looking at double basses (and generalising a great deal) a pro bluegrass player could get away with a sub £1k bass, a pro jazz player could well manage on something for a few thousand pounds, a pro classical orchestral bassist would struggle on an instrument under £15k 

Yep, agreed, but as I said earlier, there is a world of difference between acoustic and electric instruments, and ‘get away with’ is to my mind more about a cheap and feedback resistant DB actually being a better pro choice for the bluegrass job than one that, for jazz or orchestral is more resonant, sustains for longer but on both bases feeds back more.

£15k is bottom end for orchestral, at least once you factor a bow in as well

[Nebadon2000]

You may[it's subjective] consider a Pro Bass one that is carefully designed, built and with competent QC; using 'A' level Woods, hardware and electronics; durable with excellent tone.

But a  "Pro Bass" does not make a Pro Player [I am my own evidence😀]

But it may be safe to say a Pro Player will sound like a Pro Player with most any Bass.

IMHO American Fender, G&L, Yamaha BB, Ibanez Premium and similar are entry level "Pro" with Ibanez Prestige, EBMM, Lakland maybe a tad of a step up in overall quality then we get into Sadowsky NYC, Fondera, Wal and the like.

Back in 70's [and up to now] many "Pro Players" got their Basses of the Wall at Sam Ash like the rest of us, my guess looking for better they spawned things like Fender Custom Shop and many of Boutique builders we see now [Sadowsky NYC etc.]

[Steve Browning]

I think both Norm and Guy Pratt regularly use their Bass Collection instruments. 

[Drax]

From past experience any available drummer or guitarist advertising themselves as having 'pro gear' is generally the last person you want to be in a band with.

[Newfoundfreedom]

7 minutes ago, Drax said:

From past experience any available drummer or guitarist advertising themselves as having 'pro gear' is generally the last person you want to be in a band with.

I beg to differ. 

I have 5hit gear and I'm the last person you want in your band. 😆

[Doddy]

13 hours ago, Nebadon2000 said:

You may[it's subjective] consider a Pro Bass one that is carefully designed, built and with competent QC; using 'A' level Woods, hardware and electronics; durable with excellent tone.

But a  "Pro Bass" does not make a Pro Player [I am my own evidence😀]

But it may be safe to say a Pro Player will sound like a Pro Player with most any Bass.

IMHO American Fender, G&L, Yamaha BB, Ibanez Premium and similar are entry level "Pro" with Ibanez Prestige, EBMM, Lakland maybe a tad of a step up in overall quality then we get into Sadowsky NYC, Fondera, Wal and the like

100% a good player will sound good on any bass, and that a good bass doesn't make a good player.

The rest I completely diagree with. Calling US Fenders and those 'entry level pro' is successful marketing and in reality, total bull. They aren't inherently any better or more professional than their Mexican or Korean counterparts, especially because CNC machinery is so accurate and consistent.

It's like I said earlier- in the professional world, no one cares what make your bass is as long as you sound good and play well. Don't get me wrong, I love and play expensive basses but ultimately no one cares if I turn up with my F Bass or my Sire. In fact, I know of 2 of the busiest bass players in London, one regularly uses Sire basses, and the other often uses an old Hohner B2A.

[Baloney Balderdash]

There really isn't such a thing as professional or amateur instruments , only professional and amateur players. 

[Japhet]

I've often used my £85 Harley Benton Precision copy in preference to my Stingray or other expensive basses. It plays a damn site better than some of the 70s American Fenders I've played too - and it did so straight out of the box too. King's new clothes and all that.

[kodiakblair]

I'd hazard a guess there's huge number of Pros using lower priced gear.

 

Couple of lads I know in Ghana play cheap Peaveys. One did a TV gig on a £90 Milestone, the other only plays a 5 string Zephyr. The lads in Kenyan Afropunk band Crystal Axis play Squiers. 

Then there's the 1000's earning their living playing in holiday resort bars/ restaurants and hotels  across the world. 

 

Rudy Sarzo plays an Indonesian built Peavey Cirrus.

[Grahambythesea]

Jack Cassidy uses his Epi, which didn’t cost a fortune. Admittedly he had a hand in the production, albeit adapting an earlier Gibson Les Paul bass. (Did LP design it or Gibson just use his name?)

[Nebadon2000]

10 hours ago, Doddy said:

 

The rest I completely diagree with. Calling US Fenders and those 'entry level pro' is successful marketing and in reality, total bull. They aren't inherently any better or more professional than their Mexican or Korean counterparts, especially because CNC machinery is so accurate and consistent.

It's like I said earlier- in the professional world, no one cares what make your bass is as long as you sound good and play well. Don't get me wrong, I love and play expensive basses but ultimately no one cares if I turn up with my F Bass or my Sire. In fact, I know of 2 of the busiest bass players in London, one regularly uses Sire basses, and the other often uses an old Hohner B2A.

Bless your Heart. My feelings/opinion are based on my Experience and how 'I' perceive the Idea. I hear you but you seem to be making an 'Assertion'.

assertion - opinion dressed up as a fact

PS; Eliminating those whom have sold a multitude of Records; I know many of the busiest Bassist Live and Studio in my area whom use Fender Americans, EBMM and Sadowsky's. So What.

Edited November 24, 2020 by Nebadon2000

[therealting]

On the flipside, I have done gigs with musicians who were incredibly capable, but with gear which was constantly unreliable. Having expensive beer doesn’t necessarily make you a better player, but they can make you a better person to hire than someone who is equipment is it up to the task. This is not to say that inexpensive instruments cannot be made to be reliable.

[Beedster]

1 minute ago, therealting said:

On the flipside, I have done gigs with musicians who were incredibly capable, but with gear which was constantly unreliable. Having expensive beer doesn’t necessarily make you a better player, but they can make you a better person to hire than someone who is equipment is it up to the task. This is not to say that inexpensive instruments cannot be made to be reliable.

There is nothing worse than the guitarist who has no spare strings, the drummer who only has one set of sticks with him and breaks one of them showing off during soundcheck, of the singer who's got a dodgy mic. And I had them all in the same band on the same night in Kingston (Upon Thames, not Jamaica)! But that's not professional gear, that's professional attitude. No amount of expensive gear makes up for that. 

[Doctor J]

Yep, a pro attitude makes all the difference. I used to be in a band with a guy who was always having the strap coming off the button in rehearsals. He was a very talented player, singer and songwriter but low on work ethic or application. We badgered him to get straplocks and, eventually, he relented. We were amazed, it was quite unlike him. We played a gig shortly afterwards and, as usual, the bass dropped out for a while, then sort of came back, then gone again and he'd contorted into a hunched shape at the side of the stage. What happened?

The usual, the strap was only on one button, the other end lying on the floor, and he was trying to support the weight of his bass, a rather nice Tokai Thunderbird, in his hands, on stage in front of an audience

He had tried to install the straplock buttons with... a butter knife. Of course, the screws weren't tightened sufficiently and worked themselves out so, this time, the strap, lock, button and screw all came off. Attitude > Equipment.

Edited November 24, 2020 by Doctor J