LukeFRC

[quote name='Sean' timestamp='1413544881' post='2579322'] From what I can see from my own experience, he has. The Gen 3 stuff is fantastic. I wasn't a fan of the earlier gear mainly down to build and as a result didn't buy one but with the Gen 3 I'm converted and I'm stupidly fussy about the function, quality and value of stuff. [/quote] out of interest... does the walkabout have enough power for it?

Didn't they put their 3D power management thing in the X.2 series? supposedly less bottom end limiting

[quote name='jacko' timestamp='1413297902' post='2576838'] thanks Luke. Unfortunately I'm wanting to see how the m9 sounds with my speaker set up. Guitar guitar edinburgh let me spend an hour or so in the shop testing cabinets with my old mesa titan but I had to put down a sizeable deposit in the first place before they got westside to send the cabs over. (was deciding between 115 & 210 or 212 & 210 so they were guaranteed to sell the 210 ). Might talk to them again to see if they'll maybe take my Mpulse in trade. [/quote] I think you must be the 2nd or 3rd person I know who's gone from the M-Pulse to a m9 - on paper I would have thought it would have gone the other way but hey ho

I have one a 85NT - the reach and balance take a bit of fiddling to get to a place where it balances... mine is just under 9lb I think so not heavy but not light. but the sound is amazing. I don't know how to describe the sound, it's punchy and funky but is heavy and can rock - it's got the grind growly mids and a sweet top end. Like Wariwckhunt says you won't confuse it for a P bass. Think if a stingray is one step from a Fender bass..... well the thumb is the step after it.... I tried the same model of Ibenez SR in a shop, it's the one with the wenge neck isn't it? It's a similar kind of ballpark, but with a bigger fatter sound from warwick's pickup placement.

was that the question ebenezer?

[quote name='Stylon Pilson' timestamp='1413367497' post='2577508'] Once upon a time, when a gig consisted of two bands, you had the headliners (who everyone had come to see) and the support band (who went on first). There was a nice little symbiosis there - the support band added a little bit of extra value to the night, and the headliners were doing them a favour by giving them exposure. The audience stayed until the end, because the headliners were generally who they'd come to see. But with these band nights, the crowd generally consists of friends of the bands. So the people who came to see the first band will stay until the end of the first band, some of them will hang around, but some will leave early. Over the course of the evening, people come and go. It usually peaks around mid-evening. By the time it comes to the last band, the crowd will be people who've come to see the last band specifically, and leftovers from the previous band's friends. S.P. [/quote] we used to make sure we were right at the front and normally dancing for anyone we supported and would get most of our friends to do the same. didn't go down as well with serious band at uber serious industry showcase mind... .

[quote name='bassintheface' timestamp='1413366783' post='2577487'] I think our method works much better! [/quote] sounds great!

I thought in originals bands being last was what you wanted? at least that's what we always wanted.

[quote name='owen' timestamp='1413237777' post='2576312'] There is no one bass to rule them all. It is just fun having a change now and again. You have no idea how a custom will sound until it is built. I know this from expensive experience. [/quote] did a furry leopard print double bass not sound like you thought? [quote name='OliverBlackman' timestamp='1413315503' post='2577122'] I've owned a few "high end" basses and have, for the first time since I first picked up the instrument, ended up with just one. A MIM Precision, although with a few mods. I'm constantly surprised by what it can deliver, and I definitely don't miss having a B string. If anything its opened up the fretboard. I do hanker for a 70's Jazz bass but I wouldn't need it, it would just be fulfilling a long standing desire. [/quote] good point there - one bass and you have to really really learn to play it. Many basses and it's easy to fanny around swapping them or knob fiddling or the like.

that does look nice

I love my BB1200 - didn't cost me much but as good as basses 4-5 times the price

guitarguitar glasgow have the m3 combo in according to their website

[quote name='Annoying Twit' timestamp='1413221106' post='2576018'] In a discussion such as this, it's always easy to talk about personal experience, the statements of experts, and what seems logical. However, there are lots of examples where all of these can be referenced, but even then, the claim is wrong. If we want to know if body wood makes a significant (e.g. audible to a human) difference, then the only way to know for sure is a well designed and executed experiment. And when experiments have been done, they suggest that body wood does not make an appreciable difference to the tone of a solid body electric guitar/bass. This doesn't mean that the question is answered. It's often possible to design a more robust experiment. However, from the actual information we have, the claim that body wood does not make a significant difference seems to be winning out. There are plenty of examples of how myths can take hold. E.g. bi-wiring of amps has been shown by scientific tests to be worthless. However, speaker manufacturers don't dare to release speakers without ports for bi-wiring, as they wouldn't be able to sell them. The myth is too strongly and widely believed. It could well be that the same applies to electric solid-body bass body woods. [/quote]I think that the way it's tested is interesting, as I said earlier when looking at wood it only makes sense as a component in a mechanical system - so the test that's oft quoted was the fella on talkbass who made bass who swapped a well made alder body or something for a lump of mdf, basswood or a railway sleeper or something (i forget what)- and people couldn't tell the difference. Which is fine if type of wood is the only thing we are looking at - but the massive lump of wood used was very thick - and therefore stiffer than the the same material at a thinner shape. Like for like shapes we know that the grain structure on alder for instance is very different to ash - and the density of wenge is different to maple - if these things are of different stiffnesses then we should expect some difference - there's a video of Jens Ritter talking about using thinner bodies as the extra flex shortens the sustain giving a sound he wanted.... the top end luthiers seem to go one of three ways - some engage with the woods to try and use them to create a "sound" (warwick a long time ago seemed to do this), the second type seem to use the Alembic approach in creating a mechanically stiff and fairly neutral platform with the woods and use the electronics to create the sound, and the third type are between them and offer all sorts of wood finishes cos they know bass players will buy them! [quote name='PlungerModerno' timestamp='1413225563' post='2576104'] Well in some ways tires are more like strings - or maybe the speaker cones???? It's not easy when you take an analogy to a ridiculous length... In any case I agree. The body wood could be compared to the body / chassis of the car. As long as it's not too flexible or brittle the car should work great - at least for a while! [/quote] unless you are adrian Newey in which case you use the flex in the floor of your car to gain a performance advantage over everyone else...

810 secondhand are pretty cheap when they come up....

the three musketeers, bill and others will probably have this/not need it... but someone linked to it on TB and it may be interesting for some... https://docs.google.com/file/d/0B_l73GVBBlIUNTc2YTc2YTktNTNmYi00YWNmLTlmY2ItZTU0MTRhMzdkYTAy/edit?pli=1

What I don't get... seeing as there is such consensus that they are such awful cabs... why won't someone sell me a cheap unwanted Big baby 2, or big baby?

[quote name='andybassdoyle' timestamp='1413202636' post='2575747'] Simply put, is it worth selling up the collection in order to fund one high quality instrument? [/quote] Simply put... no. Unless you know exactly the bass you want. I just had a look through some of your "topics started" - and there were at least 4-5 basses sold, or up for sale in the £1400-1500 mark - from high end makers.... so I'm guessing selling them all to get one would be a fairly high price bass.... which is fine - go to bass gear or somewhere and play your fodearas and your Wal's and the like - and if one clicks with you then maybe that could be the one. But watch the "more expensive is better" thing... it's not - you could pick up a bass for £300 secondhand or something that could be "your bass".... but the problem is with the selling it all to get one idea isn't the bass - it's the pressure you're putting on yourself to find that "one" - only to find in a couple of years you're playing in a different band when all you need is a decent P tone.... No bass is 10 out of 10, thats why lots of folks have more than one. Enjoy it, change them around sometimes.... have fun...

that's great - the SB2 and el toro are both basses I'ld like to try at some point. oh and a L1000.... interesting about the neck construction too - I think Peavey did the same with the T40

[quote name='stingrayPete1977' timestamp='1413202668' post='2575748'] Was it Bernie Goodfellow that said the woods do make a difference but no two are the same even from the same type of wood so you can't 'spec' a type of wood for a type of tone making the whole argument basically a non starter? He said he doesn't know what it will sound like until he plugs it in didn't he? And the best sounding bass he made was made from pieces of scrap wood glued together for shits and giggles! [/quote] which would make sense how we can buy loads of basses and every so often find one where the sound, weight, pickups, look and feel in our hands all fit together to be an excellent instrument. I do find the whole discussion a bit odd. I kinda want to go, yes of course the wood makes a massive difference, it's an firstly a acoustic instrument with a pickup..... but then when we get into a discussion about "tonewoods" then I want to point out that it really makes very little difference. The sound of the modern bass guitar is derived, or we understand in relation to the sound of a fender.... and he used the woods he could get that mechanically worked and he could source easily. It was a mass market product.

it's the isle of [b]Skye[/b] not sky......

I think to a certain extend the wood does affect the sound, the neck and body act as a spring and dampener to the vibrations in it - what it's made, and how it's constructed will have effects on the way a note acoustically sounds. I have two warwicks with brand new strings on, both 4 string, both same brand, one is made of maple with wenge fretboard, the other is wenge and bubinga.... can you hear the difference unplugged.... nope. can you make any sweeping generalisations? probably not. is it worth stressing over "tone wood" in your custom build? probably not, find someone who knows how to use wood and trust their exp. are pickups and pickup design far far more important? yep