radiophonic

Bit of an odd one, but generally positive. We played a mixed media event, which turned out to have a strong Christian/redemptive theme. We were the only full band, although there were other solo/duo performers, plus film and discussion. The odd bit was that just as I was starting to relax into the set, we had to stop and play the second half an hour later. It would have been nice to know that in advance. Quite a buzzkill. The gap did give our guitar player the opportunity to educate the sound guy about the gain structure of his mixer though, so we had much better sound second time around and we got called back for an encore (a proper one - not the 'we've held back one song' type of deal). There was also a giant mirror filling the whole back wall of the room, so I watched us play over the heads of the punters. A bit disconcerting! I got to run my full rig at proper volume and hear what a Pike distortion really sounds like through a cranked 4 x 10. I'm duly impressed. I think I need more low end in my sound though. Can't decide if it's the bass or the speaker configuration, I suspect the latter.

It's horribly cynical, but exactly what I'd expect from a pub landlord. We do charity gigs but only if we know the terms up front. Due to the history and demographic of the band, we know quite a few people who have overlapping involvement in arts organisations and refugee charities in the midlands and do stuff for them, but it would never involve a commercial venue like a pub anyway. I'd always assume they were on the make.

I'm a fretless novice, having played fretted for 30+ years. If my band play an acoustic set or a short set with the right tunes in it, I'll only take one bass and sometimes it's the fretless. I'm already finding that some individual songs diverge very quickly from the original line, once I start playing them on fretless and sound hopelessly compromised and crude once returned to fretted. It's not really a genre thing, although for me, Steve Harris style galloping triplets are easier with frets. It will also depend on the pickup format of the bass of course, whether you string with flats and how much your right hand technique changes between basses. I'm having to force myself to play closer to the bridge on a Jazz than I do on a Stingray for example, just because of the offset of the body and where I like to rest my thumb. The natural position for me on a Jazz is much further forward, giving me a very smooth tone that just doesn't cut it with a saturated guitar sound. Moving my thumb to the back pickup = increased string tension and suddenly I'm trying more staccato things that I wouldn't have thought of otherwise. It's just another bass really, with another set of options.

How much are you looking to spend? Bass Direct have a Black / Maple '92 EBMM in right now. I'm pretty tempted myself, but have Spector GAS. Looks to be fantastically good condition. These were built before they started using plastic on the battery cover and trimming down the bridge, but have the 6 bolt neck. Sort of a classic era (not that there are really any duds AFAIK). I have one from the same era and it's the nuts.

I notice that Bass Direct have an Ian Hill model in. I need to go and have a play, pronto. They also have a black '92 Stingray which would be an actual perfect backup for what I have. Decisions decisions. Getting out is logistically way too complicated this week alas. I just wish PMT Nottingham would make a tiny effort and actually stock a few basses that aren't Fenders or Fender clones. It's a hell of a lot closer and I might actually buy something if they thought about their stocking policy for 5 seconds.

[quote name='cetera' timestamp='1489677453' post='3258909']
You need to try the Ian Hill or Doug Wimbish model then.....
[/quote]
The DW is more of a jazz profile though isn't it? 1.5" nut? I'm happy with 1 5/8 ish but just want it a bit shallower at the nut. What are the Ian Hill ones like? I love the sound btw.

Not considered a Sterling. Call me vain but the Spectors are very pretty.

I'm now starting to wonder about the depth of the neck and whether that would be a long term issue (the ghost of a previously owned Wal). I went back and played my Stingray last night and the playability around the first few frets is exceptionally good. If I could find something with that kind of neck profile but a much more modern sound and a compact body shape, I'd be in business.

I went and had a play. I tried both a Rebop and a Euro LX (some kind of signature model, all white). The Rebop does suffer neck dive, but more generally, it just wasn't as nice to play or as full sounding as the LX. The only downside of the Spectors as a whole was that rather chunky neck joint. If I were to go for one, it would have to be an LX I think.

That's pretty drool-worthy. I'll try and pop into BD later this week if it's quiet at work. I'll see if they can redeem themselves. I can at least get an idea of how the Spectors balance and take a look at relative build quality across the range. This is likely to be a protracted decision due to the outlay after all. Anderton's are now stocking Spector too and I notice that PMT Brum had a pic on their FB page. No stock listed on their store-site, but this may be a case of 'look what's coming'.

[quote name='Paulhauser' timestamp='1489487283' post='3257284']
Those anniversary models are great! Full maple body wings and some custom options (black strip on the neck, inlay) make these more special than the normal Euros and they are a limited run.
As for the Rebop, if you are lookin at the PJ version of it, bear in mind that the P pickup is closer to the bridge due to the deep pocket insert than on the neck through Euro. Not that it is a bad or good thing, just good to know FWIW)

I can't comment on BassDirect as I've never dealt with them. But they do carry the largest selection of Spectors in Europe AFAIK.

edit: now that I've checked, the bridge pu is also closer to the bridge on the Rebop
[/quote]

Yes - It was the PJ model I was interested in. The only way is to plug in and have a go. I've heard a few on line demos and they don't seem to vary very significantly, certainly not enough to notice once the guitar player cranks it up. Bass Direct totally wasted my time on the only the only occasion I dealt with them previously and were extremely patronising and rude in the process. Basically I drove for an hour to try out an amp that they had confirmed on the phone that they had in stock and invited me to demo, then the same guy I'd spoken to by phone refused to let me try it because he wanted me to buy something else that I made it clear from the get go that I couldn't afford. When I pressed him on my intended purchase he just reiterated that MarkBass was more transparent and that anyone needing to use tone controls was playing the wrong bass. IMO, anyone who is that rude to a serious customer deserves to go out of business. I bought online instead. Others have had no problem, so maybe the problem is me. Whatever, I'm reluctant to hand them any money. They do have a load of Spector basses, mind.

[quote name='Paulhauser' timestamp='1489482914' post='3257234']
I can not comment on the Rebop neck dive issue as I never had one, but I've heard about it.
Doug Wimbish signature is a Euro4 with a different neck profile and otherwise quite indistinguishable compared to other Euro4's with orange color. So you can get away wit hthat :-) (the one in the classified is a US NS-2 with a DW neck profile. This is an option on the US 4 string instruments and is called DW because he was the first to ask Stuart for a 1.5" nut)
[/quote]

I'd actually prefer the standard nut width I think. I certainly have no problem with the Stingray nut width, provided the neck isn't too deep. The two 40th Anniversary models they have in BassDirect at the moment look very nice and Trans blue or red would be ideal - I'm not keen on plain wood or orange stain options. That said, the Rebop is a lot less money, so it'd come down to playability. I could just do without having to deal with Bass Direct again!

A lot of useful info - Thanks. The neck dive issue on the Rebop isn't something I'd considered and I assume it's due to reduced body mass due to the bolt on neck, rather than a difference in geometry? Alas, the only 4 string Spector I've seen for sale on here was the Doug Wimbish signature and aside from the price, I think it'd give me a massive case of impostor syndrome! I'd really have no excuses. That guy is a legend. Bass Direct are local to my job at least and seem to have a decent range, but I'd prefer not to deal with them if at all possible. It may be my only option, but an inconvenient trip to PMT Birmingham may be required. PMT Nottingham have about 3 basses that aren't Fenders. Anywhere else in the Midlands I don't know about?

Before I dive in further, the main ergonomic thing I have to address is how offset the neck position is. I have a Jazz and I have a real problem with how far to the left the neck sits, due to the offset. I made a big and expensive mistake with the Jazz - having played several but only sitting down (as is normal in a shop). Hanging round my neck it's all wrong. In comparison the Stingray feels like a significantly shorter scale length, even though it isn't. It's really hard to judge, looking at Spector due to the 2 octave neck and the small body, but where the first fret falls is a big issue for me (not being a tall person). I may not be able to stump for an LX4 (assuming I can't offload the Jazz - no luck so far), but a Rebop might be more in budget.

Having almost pulled the trigger on a P-bass, I managed to take my foot of the GAS at the last minute. I'm after a back-up for my Stingray but want something that sounds different too. I think I've kind of got locked into a Fender way of thinking and fixated on the P option without really considering other alternatives. For the same (or less) money than a Chinese built Squier P, I can get a Korean built Spector... and so on up the range until we're into serious money. The necks look to be ~1 5/8 at the nut (a plus), they are relatively small bodied (also a plus) and not offset (non negotiable). I hadn't really considered them. The 'Euro' built ones look to [u]very[/u] competitive compared to a modern stingray or USA P and even the cheapies look pretty well specced, with corners cut where you'd expect (basswood, bolt on etc).

Any Spector players on here care to comment?

Another infuriating 'where is my bass in the mix' night. Hollow wooden stage - as soon as the Cajon kicked off, the whole bass sound evaporated into a resonating mush. I dutifully counted bars all night and tried to stay awake. People clapped and asked about CDs (ask your Dad) afterwards. I recorded the other bands set on my phone. They sounded great (sort Iranian folk/fusion - all sung in Farsi) - no bass player and no drums touching the floor. I'm looking forward t playing with them again next month.

Slightly OT, but as a noob to flats / fretless it looks like the gauges are typically heavier for flats. Is this right? I fitted 45 - 100 cobalts and they feel lighter than the same gauge rounds. I'm seeing 60 - 115 sets on Bass Direct. That's severe!

[quote name='PaulWarning' timestamp='1489053424' post='3253952']
problem with that is, just because you can't hear it doesn't mean you need to turn up, I'm sure we've all played gigs where it's difficult to hear yourself but out in the crowd you're well loud enough (had one of those myself last week) under those circumstances it's very difficult to stop yourself playing harder
[/quote]

It's more a gradual thing live. By the end of the set the singer and the drummer are physically much more warmed up so will push it more and the faster songs are near the end too. Everyone is playing harder by then. Soft + loud sounds very different to playing hard. I probably just have crap technique too.

When I play at home, I tend to find a nice low action is fine but as soon as the band kick off I need to dig in harder and it's clank and buzz. It's not like I play like Hooky or anything, but it's horses for courses really.

I'm in this boat. Promoters often want us to do 'acoustic' sets (promoters are mostly idiots), but I don't see the point of an acoustic bass. If you have to amplify it to compete with a guitar, what's the point? Plus they are bulky. I take a fretless Jazz, hide my pedals and inflict my lousy intonation on them. It sounds fine.

[quote name='CamdenRob' timestamp='1488553137' post='3249987']
I'm firmly in "Playing to three people on multi-band original nights" type bands and 99% of the time I just take my bass and DI straight into the PA.
[/quote]

Sigh. I'm actually thinking about getting a small active monitor. The scenario you describe only needs a DI, but the monitors are usually crap too IME!

[quote name='gary mac' timestamp='1488533044' post='3249673']
...and just to feed your GAS, here's my fretless

[url="https://flic.kr/p/vj29CU"][/url]
[/quote]

Lovely, but my intonation needs markers. I agree they look better without though.

[quote name='ivansc' timestamp='1488490245' post='3249495']
And in typically PC fashion we are all studiously ignoring that as usual this is The Female In The Band trying to assert dominance via a trivial meaningless "sticking point"

Bless 'em.


I have only ever worked in ONE band where there was a female member and no aggro. And she, of course, was the bass player!
[/quote]

Then your experiences are very different to mine. The last three bands I've been in have been mixed and when conflict has emerged there's been no correlation with Gender. Usually it's been a non-instrumentalist lead singer throwing their weight around or somebody deciding they want a more prominent role in the decision making process. I can't remember who this quote is from - 'A band is a democracy, comprising a limited number of dictators'.

I have P-bass GAS. I just really want one. Black and maple or White and Maple. Anything except Sunburst. One of the new Squier 70's ones with the block inlays will be fine. However, I really [i]need [/i]a decent Fretless with a non-offset body. As in 'I play songs in a gigging band that require a Fretless' kind of a need, but I'm really am not getting on with my Jazz for reasons unrelated to it's lack of frets. But I want a P-bass. If somebody offered me a Fretless Stingray for the right money, right now, even though it's exactly what I need, I'd still want a P-Bass. I've not been here long, but this is normal, right?

Entwistle - Can't stand the Who, or much other so called classic rock.
Geddy Lee - Ditto for Rush, apart from Moving Pictures. I can take the singing at a push but the lyrics and the drumming I find incredibly annoying.
Flea - Same story with the singer and what he has to say i.e nothing.
Primus - Annoying self conscious 'weirdness' sets my teeth on edge. Also, Rush covers. I just don't see the appeal, but I'd be an idiot to say Les Claypool isn't a great player.

I'm surprised at the lack of reviews on youtube. There are a couple but not very informative or not in English. I need to play a few P's back to back to be sure but it sounds like the neck profile is deliberately different to other currently available P basses. Unfortunately PMT in Notts have sold their only Nate Mendel, which was the obvious comparison to make. I don't understand why fender don't just stick the measurememts on their website.