Lo-E

[quote name='The-Ox' timestamp='1445443046' post='2891535'] 2010 reissues are single coils? Interesting indeed [/quote]Yes, they're "reissues" of the original Bi-Sonics, but the word on the street is that they sound very little like the originals. To the OP's question; it's a little like asking to compare bacon to avocados: I love bacon. I love avocados. But if I had to compare the two, I'd be at a loss for words. The Guilds, as others have accurately stated are well-made, larger, have very thin necks and will have a less woolly tone than Gibson hollowbodies of similar design (because of the design and placement of the pickups). Danelectros are crudely made (in a wonderful sort of way), smaller, lighter in weight and tend to have a tone that's strong in midrange (thanks to the lipstick tube pickups). As to which would suit your needs better - you'd really have to try them out and see. Personally, I think Danos are a blast to play and find Guild necks too slight for me, although I like their tone, but my hands and ears may not look for the same things yours do.

I once read an interview in which John McLaughlin said that you can follow any note with any other note as long as the listener has been "properly prepared" for it. He didn't elaborate on what that proper preparation might be, but I always found it interesting and I keep it in the back of my mind when I'm playing experimental or improvisational music that's perhaps a little bit 'out'.

I'm very lucky that the bands I play in - thus far - don't play exceptionally loud. I've had very good luck with ER15s for years. I haven't found that the ER20s roll off too much high end, but that they simply roll off too much of everything. It's still relatively flat, but it sounds like it's in the next room. For that reason, I prefer the 15s. Human hearing is a bit funny in that, as we suffer hearing loss, we lose sensitivity to certain frequencies when they are at lower volumes, but we become more sensitive to the same frequencies at higher volumes. For example, those of us who have mid-frequency hearing loss will have trouble hearing people who speak softly, but loud mid-frequency sounds such as guitar amps will be more painful to us that people without hearing loss. For me, the 15s seem to balance things out in a way that enables me to hear vocals clearly without mids getting muddy the way they do with more attenuation. Everyone's ears, and degree of hearing damage, is different of course, so it probably pays to experiment.

[quote name='rodney72a' timestamp='1445130913' post='2889038'] EBMM. Very high and consistent quality over the last 30 years. [/quote] There was a recent discussion about EBMM quality on Talk-bass and the general consensus was that they've only continued to get better over the years and I tend to agree.

While I've liked the Ashdown heads I've heard, I can't say I've ever been all that crazy about their cabinets. Before you write me off as overtly biased, I'll gladly admit that I'm not that familiar with their entire product range and that there are a fair amount of recent Ampeg cabs I've disliked as well. Having said all that, I recently played through a friend's SVT-210AV and was completely floored by how good it sounded and how loud it was capable of getting for a moderately priced 210. I know that Ampeg gear is a fair bit more expensive on your side of the pond, but I urge you to give one a listen if you can. I did not have high expectations, but I was completely impressed.

[quote name='wateroftyne' timestamp='1444324002' post='2882278'] Put it between two heavy sheets of glass in the sunlight. Leave it a while. Sorted. [/quote]I was going to suggest the sheets of glass, but in a very low oven. I expect the sun would work, though.

It's just under 800 US dollars, unless I'm mistaken. Granted, that's still a lot more than the $600 it sells for here.

[quote name='Thunderpaws' timestamp='1445112422' post='2888937'] Yeah, those new Ampegs are a great idea but stupidly expensive for what they are. [/quote] The pf-20t is a little spendy, but not unreasonable in the States. How are they priced in the UK?

These were marketed in the States as Vantage with a slightly different headstock shape. Excellent basses, as I recall.

It sounds to me like your needs can be met easily with a solid body EUB. They're durable, easy to transport and you can use whatever amplification you're using now, although some may require an outboard preamp. There are several available with 34" scale lengths which will be immediately familiar, but will not sound as good playing arco and the tension will be a bit floppy. I suggest going with a full scale EUB if arco is your main goal. Arco, as others have pointed out, is a major undertaking. I absolutely suck at it. My neighbor is in his early eighties and has been a full-time orchestral bassist and teacher for his entire adult life. I once mentioned to him that I needed to get my arco playing in order. He said: "Yeah, tell me about it. You and me both!"

All at once and infrequently. I tend not to change rounds until they won't stay in tune or intonate. I tend not to change flats ever.

On the lower end of the price scale, ibanez has always impressed me with how much bass you can buy for the money. Their mid and high end has always been fantastic. While I have never been all that impressed by Yamaha's budget instruments personally, I think their mid and high end stuff has been consistently great since the early 70s. Both Ernie Ball/Musicman and G&L have kept their quality up for as long as I can remember. In the fancier category, Fodera, Wal, Zon and Sadowsky are all pretty consistent after decades of building. There's always the possibility of getting an occasional dud from any company. I've even played disappointing Foderas and Sadowskys but, for the most part, these brands have really kept it together.

Flats on a J has been a go-to combination for reggae cats forever. I've heard some pretty great rock tones from that combination as well, but you're right about some of the growl going AWOL. As for the flats & P combination; well things do become standard for a reason! It worked for thousands of R&B hits for decades. It's a great sound (especially if you just happen to have a B15 lying around!).

On a fretted bass, capo on 1 and finger on 13, relief from 6th fret to string anywhere from .125 to .2mm Action at 12th fret usually around 1.6mm for the G working up to 2.4mm for the E. At the nut, I cut the slots so that when I fret between 2 and 3 I can tap the string over the first fret and just barely hear a click. I've never measured it precisely. On a fretless bass I tend to go just a bit lower and flatter if the neck will allow it. These numbers were converted from inches, so my apologies if the mm measurements don't fall conveniently on available feeler gauges.

Thanks, all, for the warm welcome! Luckily for me, Bluejay, Brooklyn is enormous and Vinne's shop is not close at all. If it were, I'm sure I would be lured in and then, in turn, would not be able to afford to live in Brooklyn any longer. All the same, you're more than welcome to drop by a gig any time! I'll be the one playing something less expensive than a Fodera. -E

Hello Basschat! I've been a regular on Talkbass for a number of years, but I thought I might wash up on your shores to see how things roll in the UK bass world. I've been playing bass for around 30 years, both BG and DB (not much of a DB player, I'm afraid) and have been in and out of countless bands in NYC and the surrounding area. I'm currently busy with two acts and take occasional outside projects, provided my day job allows me the time. Very little of it makes me any money; hence the day job. I'm looking forward to "meeting" all of you and getting a sense of all things bass on your side of the pond. I'll probably spend some time lurking until I get into the swing of things. -E