All Activity

In all honesty, they generally seem to be very well cared for and cherished. They're not an ordinary generic 'super jazz', more a full blown Status bass disguised as a Jazz bass. The preamps are seriously powerful and the build quality is stunning. We were discussing the T-Bass the other evening, and the original 15 limited edition models (a friend of mine has one of the 15) were more curved and svelte, and the full production models had more of a slab-like body, hence the increased weight.

Sire v7 would be my recommendation well done for helping him get away from The Dark Side

The link does not work for me.

The words "art" and "artist/e" have acquired a lot of baggage, as is evidenced by many comments above. A lot of people seem keen to say something along the lines of "Artist? Me? Nah, mate. I'm just a regular geezer who plays in a band". Music is a form of art. Therefore, those who make it can be considered artists. It's up to them whether they choose to refer to themselves as such, but beware inverted snobbery.

Maybe 'hate' is a little bit of a strong word, but I have definitely made mistakes over the years. When I was living in the South West, I would treat myself during the Xmas holidays, usually from the Andertons sale. Several basses I bought were epic, like my Fender Elite Dimension, and my American Original Jazz (both of which I've kept for years), but several would be returned immediately. One such case was a ltd edition spalted Maple Spector Euro LX. Yes, maybe the neck was a little thick (fingers to thumb), but the real issue was that the one in the sale was equipped with the insipid Aguilar pickups. Now I know Aguilar make fantastic pickups, but whatever I did with this bass, nothing sounded anything more than dull and generic. The bass had utterly no character. Obviously, I now know that Spectors need the EMGs for their signature sound, but in this case I personally drove it back to Andertons on the very same day to return it.

Oh, are you sure? That would be a real surprise (to me, anyway). I’ve always hankered after one of his basses.

I’ve had a few custom models that have been pristine too, which makes it all the sadder to hear when it goes wrong. I had my latest spec all worked out and ready to pull the trigger, but this has made me reconsider.

I have one of these for sale in the 'Sales' section of the forum... half of your budget!

Practice is cheating.

Sure. If you create something from an idea in your head, whether that is original or a copy, and it provokes an emotional response, then you're creating art. The difference between craft and art is really just verb/adjective. You craft a piece of art. Whether or not you consider it or feel like it, it's down to the beholder to decide if its beautiful art or not. I think we undersell ourselves too much and have mostly forgotten that many people can't even contemplate how we manage to play an open E in time with the rest of the band. Something we see as easy and everyday, really isn't to your average person.

Schecter dug pinnick

I think the OP got there, because the owner pretends they are the biggest Custom Shop in Europe. Strangely, their non Custom Shop models are pristine, I had a few, and there's nothing to complain about... Go figure.

Hi Steve, I've had The BB 414, 424x and 1024x. Loved them all. They all sounded great and we're super flexible with the powerful jazz pick up at the bridge. I fell out of love with the look of them and sold them all and moved on to precision basses. I did manage to buy the 414 back as that was my favourite and it's now getting regular gigging time along with the precisions. Not tried the newer 434 but would 100% recommend the 414, 424 range. Just be aware they can occasionally be on the heavy side.

Easiest thing to do is cut some bass and treble. Voila mids.

So it begins! I started last night, back to page 1. I tried to figure out what my roadblocks were with this before and I think it’s my age old bass player problem - I hear just one note at a time and not the complete chord. For example, in the example showing the reharmonisation into 1 or V7 - the 1 chord stays the same so I’m fine, but the 2 chord now being a V7 - I’m not hearing D chord, I’m hearing an A root with C as b3 and F as b7. I think, for me, I need to practice these patterns against a I-V7 loop to hear how it works. And then I had to go pick my eldest up from a gig he was playing. A small start, but a start nonetheless. Thanks for getting this going.

If you have the ability to blend your pickups, rather than just toggle switch, just favour the bridge a bit more, that will get you most of the way there. However, some sort of humped EQ curve from 250-750Hz should get the job done too.

Indeed... And while it's often formulaic in terms of acts and Jools always has to smear his boogie on anything he can, it's a shame that this is the only live (occasionally new) music show regularly on TV (that I know of, at least). This dearth most certainly doesn't help raise interest in any grass-roots live music...

I found the issue - it was the cable from GX-10 to my amp. So no problems with GX-10 reliability. I transport it along with my amp and shoddy cables in a large DJ bag designed for records. They don't make it anymore, but it's this sort of thing: DJ bag. I find it good as a headphone amp (large headphone connector type), but usually use Spark Neo for headphone practice.