Lowender

[quote name='steve-bbb' timestamp='1383470881' post='2264673'] like this? [media]http://youtu.be/Pd2pSLFjOas[/media] [/quote] Great, now I have to wash my eyes out with battery acid.

http://www.youtube.com/watch?v=Sc5bGEp8ERU

[quote name='molan' timestamp='1383481243' post='2264829'] I heard Alphonso Johnson talking about this once. He said he'd met several players who killed it when playing to a pre-recorded backing track on headphones in their bedroom / studio but had zero feel for dynamics in a live band environment. I've come across this a couple of times personally. We auditioned a singer once who had an agency, recording contract, released a single, performed 'live' on many occasions, and to big audiences too. We started the first song and he was badly off key but, even worse, not even close to being able to keep time. It turned out that in his entire singing 'career' he'd never played with a live band and he simply couldn't handle all the stuff that comes with it. He could hear himself OK but all the band 'input' and dynamics of a live kit etc totally freaked him. Tried another song and had to give up half way through. Poor guy was distraught His agent was actually the one telling him he needed to get out with a live band and to stop just using pre-recorded backing in order to become a better singer. Sounds like he knew what he was on about! I also know an absolute wizard of a guitarist. He can shred like a monster and can play all the Vai, Satriani, Malmsteen, Van Halen etc. etc stuff. He can tap and sweep pick and has an amazing depth of tone. He's got a web site where he gives advice to people and has loads of views to his YT channel but he never, ever plays with other musicians. I think there's just a modern phenomena of 'YouTube bedroom bassists' (Alphonso's phrase) that just have little interest playing with a band. To me it seems a shame because playing alongside other people is what makes it all worth it but I can see the attraction of spending hours practicing to record the perfect take for YT and then publishing it - probably gets a wider audience than many a gigging bassist [/quote] Agree completely. But I also think some really fine musicians on YT get a bad rap because people assume they're just "bedroom bassists." I guess YT is a good way to showcase ONE talent. Unless you're one of these guys. (Who play all the instruments themselves). http://www.youtube.com/watch?v=f6gE46WPpPY http://www.youtube.com/watch?v=dchDv-6tOOM

Lover Bergantino. They do have a certain depth to them. Larry Hartke claims it's because they lack high end but I can with absolute certainty say that he's wrong about that one. Can't get with the Aguilar. I also find the tone controls to have little effect.

[quote name='Myke' timestamp='1383407345' post='2264163'] Her youtube videos got her playing with Jamiroquai on a couple of their tour dates! I'm slightly jealous of her.. [/quote] Yeah, I wonder why they invited her on their tour. Can't imagine.

I never understood why anyone would use passive single coils. They're weaker and noisier. Now, I understand passives sound more natural and woodsy and single coils have a sweetness to them that humbuckers do not.

The Squier Deluxe is really unique and if they stop making them (which they may) they'll be regarded as one of the great "forgotten" models. How do they do it? Well... The most obvious answer is the labor cost. But I also think Squier is attempting to make more than good budget instruments and delving into really fine instruments. (Such as the Deluxe and CV's). I also think the work ethic in Asia is far better than in Mexico (go ahead, call me racist) and the quality control is superior as well. FYI, the ebonol neck on the Deluxe is a form of graphite that is used to make bowling balls! It's GREAT -- [i]VERY[/i] similar to ebony, but with a glassier high end and hard as diamond which helps create a more stable neck. That, matched wite the powerful punch of those pips (whatever they are). Makes for an amazingly clear sound. The bass doesn't have a ton of tonal variety, but what it does, it does very well.

I think Marta is terrific, but it's interesting how Freddie grooves it a bit more -- and after all, that's pretty much all it is -- a groove. I also think Marta has proved her point. She can do an outstanding job of replicating 70's/80's funk basslines. (Yeah, I know Jameraqui are 90's , but they sound 80's.) She's also adorable. If I were in a funk band looking for a bassist, I'd hire her in a minute. But as an artist, Maybe she should start utilizing her talent for more than copies, otherwise she'll get stuck known as another YouTube novelty of "Oh, isn't that cute...but, so what" category.

[quote name='Roland Rock' timestamp='1383377434' post='2263686'] I think, and I can't believe I'm about to say this, that I'm increasingly fond of headless basses. [/quote] That took guts.

We all go through transitions and changes in taste. But I find it interesting that something that seemed so fundamental gets stood on its head. For me, it's basses with maple fingerboards and block markers. I though they were ugly and cheap looking. I felt they ruined the aesthetics of a maple board and I actually found the blocks to be distracting. They through me off. The neck seemed too "busy." It connoted something that a beginner needed to find his place. Now...I LOVE THEM. They make perfect sense, especially when playing on dark stages or with light shows. They're also great when reading when you need a quick glance over at the neck for reference. They make perfect sense. What did you think you'd never like, later to find it suited you well?

Having played for over 30 years and owned dozens of basses (currently own 11) and played pretty much everything mentioned, I actually AVOID trying new basses. If I can't make what i have work, nothing will. The only basses that catch my curiously are vintage P's. The only one mentioned I still have not tried in the Dingwall. They look weird and I think I'd hate it and hope I would. I'm out of room.

[quote name='Dingus' timestamp='1383313700' post='2263039'] If you think an Alembic is ugly then I would be very interested to see your taste in women ( or men)( or whatever) . [/quote] Don't be a dick, alright?

At one point I HAD to have an Alembic. The sound was so unique. Then suddenly, that sound got on my nerves. And all I was looking at was a really ugly bass.

If you use an EBO with the treble on your amp all the way down and the bass all the way up and add an octave box, you will cause an involuntary bowel movement in everyone in the northern hemisphere. Is that enough low end?

[quote name='ras52' timestamp='1383239583' post='2262032'] Hm, I'm impressed with the CV and was just thinking the VM P5 might be my "give five a go" bass. [/quote] Check this one out. Nice! [url="http://www.musiciansfriend.com/bass/squier-deluxe-jazz-bass-active-v-5-string-electric-bass-guitar"]http://www.musicians...ric-bass-guitar[/url] Though the neck is wide . I prefer a narrower spacing on a 5 so this one suits me fine. Very inexpensive and sounds pretty damn good. [url="http://www.musiciansfriend.com/bass/ibanez-sr305m-5-string-bass-guitar"]http://www.musicians...ing-bass-guitar[/url]

Just got a delivery for a Squier77. Set it up. And it's going back. Like other VM's I've played, it's just a cheap instrument. And I SWEAR by the CV's. Love them! Think they're high quality instruments, as is the Squier J Deluxe. But every VM has been flawed. It LOOKED great! Gorgeous glossed maple fingerboard with white pearl inlays and white binding. It sounded pretty good too. But it just felt cheap. Tight. Couldn;t get the action low without buzzing. And I do set ups so that wasn't the problem. There is a tipping point where you can cut so many corners. And the VM seems to be it. It's not bad for a beginner, but for an extra few quid, go for the CV. it's so much better IMO.

Go to "Bass comparison's thread."

Squier vs Fender [attachment=147310:Squier vs Fender.mp3]

what the heck. it isn;t accepting the file. Damn! Sorry.

A Squier CV, a Squier 77 and a MIA standard. (Not necessarily in that order). Rear pup/front pup/both pups with a pick. My observation: The rear pups sound very similar in all of them. The front pups have a very distinct difference. The bass that sounded least impressive sounded best with a plectrum.

When this thread started, I had no GAS. Since then, I had to get a Squier 77. And it's coming today! (claps hands and jumps up and down like an idiot).

I ubderstand they're very nice basses, but for some reason, Fender copies don't do it for me. (One of those irrational dislikes). All my basses look like the original design. RIcs look like Rics. Ibby's look like Ibby's. MM's look like MM's. The Hofner is a Hof. To me, copying another style looks like you're trying to BE that style. I do have an epiphone Les Paul Jr, but that's because it's essentially the same instrument for a quarter of the price.

[quote name='Dingus' timestamp='1383183672' post='2261394'] That doesn't surprise me at all . It's just the latest in a long line of similar blind comparisons we have heard on Basschat that show how - depending on how they are recorded ( Trevor Horn at Abbey Road might have got slightly different results) - expensive basses and less expensive basses don't sound that different . [/quote] I didn't set out to get the optimum sound -- just do a comparison of tones as pure and uncolored as possible so the inherent qualities of the guitar came through .

[quote name='molan' timestamp='1383162097' post='2261096'] I They're just a, very professional, operation that makes a decent profit (and there's nothing wrong with making an OK profit - all business should be expected to do this) and exercises a genuine duty of care for its employees. I really can't see what's wrong with that. . . [/quote] Absolutely nothing. I presume the people who make Ibanez are nice people too. ; )

Interesting. Of course all the basses were played full up with the same flat EQ The basses are ... 1: Fodera 2: Squier 3: Music Man I wish I could do another comparison but I don't have the Fodera any longer. : / I will do a slap/finger/plectrum comparison once I get the new Squier 77 and pit it against a CV and a MIA. Though the MIA is by far superior in many ways, the others have a sound that works in some context's.