fezzza

Bump, Will consider any G&L/Musicman trades, cash adjustments on my part if nececcary

Think I'm sold now, no-one fancy parting with theirs?

[quote name='Graham' timestamp='1373299394' post='2135843']
Where are you based? You'd be welcome to try my Tribute L2000 if you're nearby.

I have serious SB-2 GAS, but can't find one local to try out.
[/quote] I'm from the north-east unfortunately which is probably a bit out of the way, appreciate the offer though!
[quote name='neepheid' timestamp='1373302354' post='2135887']
If it's double humbuckers you want then you have two choices in the Tribute range - the L-2000 and the M-2000.

The Tribute L-2000 has one of the fattest 4 string necks I've ever encountered (1 3/4" or 44.45mm at the nut and really chunky, deep profile). Which is great if you like that sort of thing Passive/"active" (I put active in quotation marks because the EQ is passive, cut only before it hits the preamp, which is either simply a line boost or there is a setting that gives a treble boost), switches everywhere (pickup selector, parallel/series, passive/active/treble boost). A lot of folks get confused about the EQ, I did when I first picked up an L-2000 but you get used to it.

If you'd like a thinner neck (and perhaps an easier life) the Tribute M-2000 has a lovely neck that's 1 5/8" (41.275mm) at the nut and a good bit shallower. 18V active only 3 band EQ and pan, simpler (for some) to get along with versus the switches of the L-2000. I guess that's more in keeping with a 3EQ Stingray but lacks the coil switching options that an HH Stingray would have on the 5 position switch.

I own both and I like 'em both.
[/quote] I wasn't aware there was any significant difference in neck width between the two, I'm used to playing Jazzes so the M-2000 would probably square up better in that case, seem to be a little more expensive at first glance too?

I've been having serious GAS for a G+L for a while, specifically one outfitted with double humbuckers, the tribute series models look gorgeous and are more importantly in budget. Haven't got a chance to try one of these in the flesh yet however. Pretty stupid question but how do these differ from Stingrays? I've heard the necks are relatively similar, obviously both basses have humbuckers and had some input by Leo Fender. Just inquiring about everyone's opinions on these basses, Which model is the best value for money, etc. Cheers!

Bump

I've got a couple of shots taken up close but I can't send at the moment since I'm on holiday, I'll happily post them when I get back

I got this in a pretty swift trade so I'm not 100% but I think the guy who sold me it said he got it new in 2009

Bump

Bump for Pics.

It's rather hefty compared to a lot of other fenders i've played, and North east england, not too far out of Newcastle, I could probably arrange a courier if needs be if distance is a problem

it's 9Ibs or so according to my bathroom scales, that's without the gig bag but I doubt that'll make much difference

[s]Bit of a feeler here, I've got a MIJ Geddy Lee jazz bass in black , got this in a trade 6 months or so ago and gigged heavily for a while with it ( used mainly for drop tunings ) but now I feel I can't really justify having two jazzes and I'm after something a bit more diverse, there's a bit of physical wear on here, a couple of dings/chips but nothing major, plays brilliantly, ultra thin neck and a really punchy sound.
As far as trades go I'm really after a proper musicman bass at the moment ( not sterling ) or perhaps a P bass special/G+L, Will happily add cash if I like the look of anything.

Pics to follow when I get home.

Cheers[/s]

Now withdrawn

After a couple of trades/purchases this weekend this is the new family.

[quote name='Highfox' timestamp='1356275806' post='1908648']
and a vid of Bakithi demoing some of the Graceland stuff. Great rhythm and touch./watch?v=nAgd9Ijw6WI[/media]
[/quote]

that's exactly what I was looking for, Cheers! Might have to give diamonds on the soles of her shoes a go too, the whole album is brilliant

[quote name='Muzz' timestamp='1356268680' post='1908542']
It's great song, but lots of production in there - there's a second bass track where he plays the melodic bits, and IIRC it's all fretless. Even the bass fill near the end is studio-produced: the second half is the recording of the first half played backwards. There's an interesting story about it online somewhere. EDIT, there you go, beaten to it...

The bassist is Bakithi Kumalo, he's an extraordinary and quite unique-sounding player. Check him out on YouTube, etc.

When we do it live, the keyboards do the melodic bass parts, and I play an approximation of the bass fill that sounds OK. If you've checked out live versions, you'll know there are some, erm, interesting interpretations of it out there...
[/quote]

Ah, makes a lot of sense now, I wondered if there was some multi-tracking going on, by the sheer size of the band paul simon performs with live

I know the whole story of the slap run being played backwards, it was the bassist's birthday I think?

There's just a part midway in the song, partway through the verse the bass changes to a higher register riff, which never seems to be played during live performances, I was just wondering if there was any reason behind it?

I heard graceland in it's entirity for the first time a couple of weeks ago and was blown away by some of the tracks, and some really interesting bass playing too, I felt compelled to learn call me al ( mainly for the slap run )

I've got myself pretty confused if the bass player plays something different to the normal riff midway through the verse, During the "bonedigger part" it sounds a bit higher register, played on a fretless possibly? I worked out the part but live the bassists never seem to play it, can anyone here who's learned the song provide some insight?

Whilst I did think it was the best, most playable bass ever, i've got to say I haven't tried much out of the £500 bracket, being the proud owner of a MIM fender and a sterling ray 34, I'm not too sure if a made in usa fender or a proper musicman would fare up against it, mind you I'm still very drawn to them, mabye the look, mabye the unique sound, It'd take a long while to get the money together as I tend to only end up with about 100 a week in pocket through work after expenses paid, etc, so I'll probably have to put this dream on hold for a little while

I wasn't Specically calling ric owners elitists, just I feel that the way JH goes on, I get that kinda impression, sorry if It came across as me having a rant.

But by a country mile they are the best looking, sounding, and easy to play basses ever, I'd probably be after one second hand if anything, times are tough

Very jealous of your collection by the way, and of the fireglo especially

I was just having a general look about the forum, and stumbled across the "notice to all owners of Rickenbacker copies" forum, and had a good read of it, worked myself up a little reading all the posts about how strict they are with copies, as someone who could never scrape together 1500 easily as i'm barely making enough to pay the bills, it annoyed me a little that Rickenbacker seem to be a bit of an exclusive club ( obviously you could say this about any high end bass, WAL, Fodera, etc )

I get the impression with Rickenbacker you're paying for the shape and the name on the headstock. nevertheless I found myself curious and went into a guitar shop this evening just before work to try out one. I'm ashamed to say it's the nicest bass I've ever played, it played so easily, the neck width was ideal, the sound, the look, just everything. Better than a lot of high end Fenders, Musicman basses, etc

I find myself at a bit of a dilemma, I love the bass, but I kinda disagree with the ethic, I just feel Rickenbacker try to market themselves as an elitist club, and then there's all this copy business.... Just wondering what everyone's opinions on the matter are

Little bit embarassed be asking this considering i've been playing a good 3 years, but i'm new to the forum, so what the hell.

So.. how do you exactly practise, properly, I understand there's no set times and everyone's gonna be different depending on how good you want to get, but I feel i'll make a load of progress in a week, then make none in the next month, I'm guessing a more "consistent" practise schedule would fix this? One day I might practise 15 minutes, then I could do 6 hours straight the next.

Should I spend the time practicing songs, different scale positions, Modes, Speed, slap, etc?

I could sit down and play scales and for countless hours but I can't seem to be able to apply anything at all! How do all you guys do it?

Cheers!

Thanks guys!

Already got my next few basses planned out, and a handful of effects too, so I think the GAS may be spreading.

Hell, I might even have to develop some ability

Been visiting this site for a while so about time I signed up and posted something!

I'm from up north, I'm just about to start a 2 year course in music, been playing for about three years, but i'm taking the whole thing seriously, haven't been in a band for a while, as i'm pretty much a bedroom bassist, but hoping to change that soon, I'm into a lot of Prog, Funk, Soul, Jazz, Metal, Alternative rock, Classical, Anything really, Although my biggest inspirations are Geddy Lee, Jaco, Les Claypool And Mark King, although I don't profess to be any good at slapping.

My gear is:
A 2011 mex jazz
A musicman Ray 34
Gallien-krueger 700rb II-115

Cheers for reading!