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Everything posted by Doddy

  1. I'd say that the Mu Tron really stands alone as the classic envelope filter. So many other filters are based on it. Special mention to pedals like the EHX Bassballs, the Seamoon Funk Machine, and the DOD 440. There are tons of great new filters about, by companies like EMMA, MXR, Subdecay, Mr Black, and reissues of the classics mentioned above.
  2. I heard about this. It's a shame, pretty much all my favourite basses that I own are all Ash bodies.
  3. I've got nothing against either brand. I play a Warwick regularly, and I was very close to buying a Sadowsky a couple of years ago (I still want to get one at some point). I just find it interesting that there is no mention of the Warwick made basses on the Sadowsky site, with the exception of the initial press release and the distribution contacts.
  4. I totally agree, which is why I played a load of instruments before deciding. I knew roughly what I was going to get when I ordered mine because I had played a few beforehand, and I trusted them to make an instrument of the same quality. Which they did.
  5. Cool. I save money in other ways so that I can buy quality equipment for my profession. Just like the difference between buying a Squier or a Fodera.
  6. Really? Because there seems to be certain people who have an ego about playing cheaper instruments.
  7. Why do people buy top spec BMWs or Mercedes when Renault Laguna does the same job?
  8. To be fair, the majority of the audience don't care what bass is being played as long as it sounds good. I don't even think that bass players can correctly identify a bass purely based on sound 97% of the time. But, I do think they are more likely to identify the player. Back to woods- I do think they make a difference to the sound of an instrument, particularly the fingerboard.
  9. The hardware on Sire basses is fine. I've used a V7 on a load of gigs and recordings, and it's done exactly what it's supposed to. Sure, it's not Hipshot or Gotoh, but it's cool. Personally, I wouldn't get too hung up on humbuckers or 24 frets, and I'd get a Sire, which are my favourite basses in their price range.
  10. I don't think you get the 'tone is in the hands' quote. It's not about making a Jazz sound like a Precision or a Hofner or whatever. It's about how a particular player brings their individually to an instrument. It's why Pino sounds different to JJ Burnell even though they both play Precisions, or why Marcus sounds different to Jaco even though they both play Jazz Basses. Likewise, a player can play different basses, and while there will be a change in sound due to the instrument, there is still something recognizable in the tone due to the player. Look how many discussions there are about whether Geddy Lee played his Jazz or Ric.
  11. I guess that you're assuming that people use the same gear all the time. My signal chain changes depending on what the gig is, so it would be something like this... Mostly fingers (often thumb, sometimes pick) > a Bass > Elites or LaBella strings (but sometimes not) > Spectraflex cables > some pedals > an Ashdown amp > 1 or 2 Ashdown 1x12 (or sometimes a Bergantino HS410) There are far too many variables to nail it down to one rig.
  12. I had an F Bass BN5. I played a lot of basses, and they were the best I played for what I wanted.
  13. The thing with Fender is that, along with Gibson, they are an iconic brand. The Custom Shop is expensive, and I would guess that most of their custom is from Blues Lawyers. Most working players with that kind of money to spend seem more likely to buy a vintage Fender or look elsewhere. When I went shopping for my last bass, I wanted to get the best instrument that I tried. As it turned out, it was quite expensive, but what I got was a high quality handmade bass (no CNC), in the configuration that I wanted. The tone wood thing isn't a gimmick and does affect the sound (IMO especially fingerboard material), and I was able to speak directly to the builder about what the best combination was for the sounds I wanted, and he knocked it out of the park. The fact that they were really nice people was a bonus. I've got a few cheaper basses which I like and gig with, but none of them come close to my high end instruments in terms of quality of construction and sound.
  14. But even an onboard preamp will be coloured by what pickups are in the bass (as well as the wood, if you're in to all that). I always use the Sadowsky preamp with my passive Fenders. Does ot make them sound like a Sadowsky? Probably not, but I think it makes them sound 'better'. Maybe the reason they don't make outboard preamps is simply because they want to keep them for their instruments- If you want a Status preamp, you have to buy a Status. John East used to make a pedal preamp- the STMP-01. Maybe it wasn't a big seller?
  15. You did, but I still take issue with being classed as unprofessional for not carrying a spare amp (not by you obviously). If people want to carry a spare amp, that's cool. I have no issue with that. But it in no way reflects on the professionalism of someone who doesn't, as long as they are still prepared to deal with potential issues.
  16. Most bands are going to have at least a small PA for the vocals, so if need be you can go through that. It's not ideal, but it will get you through the gig.
  17. I agree that it's about the people hiring you, as well as your own reputation, and you need to be prepared. I'll never argue that. What I will argue is that not carrying a spare everything is unprofessional. Not all gigs allow you the luxury of taking backups for all your gear. Things go wrong, but it's how you handle it that makes the difference. If you run a DI in your signal chain, then if the amp goes down you'll still have a signal out front, so you can carry on (all be it unideally). If a pedal goes down, a quick bypass of your board will sort it in seconds. If a string snaps, you might not have chance to stop and pick up another bass if you're in the middle of a 30 minute medley or something, so you need to carry on and rethink your playing. What is unprofessional is these things happening and then you panic and stop playing while you are fannying about to fix them.
  18. I've got the old, brown Boss GE-7B, and I wouldn't say it was noisy. It's a good pedal. For a different option, I think that the preamp section in the Fender Downtown Express is really nice. It's designed by Alex Aguilar, so you'd expect it to be decent. You should be able to pick one up used for around £100.
  19. I guess I'm not professional then as I never take a spare amp and, depending on the gig, I don't always have a spare bass.
  20. The bass isn't played at twice the bpm, it's just subdividing in to semiquavers.
  21. I put usually put an EQ first in the chain because I want it to affect my clean sound before it hits any other effects. If you put it at the end you can use it to EQ the effects. Some fuzz pedals lose low end, so you can use the EQ to add in some bass after if you want. Like I always say, with pedal order you need to move them around and see how their position in the chain affects the other pedals.
  22. It's not that unusual. I've got 5 active basses that don't have any passive options.
  23. So if you can comfortably play semiquavers at an average tempo of, say, 120 bpm are you counting that as being crotchets at 480 bpm?
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