vindibona1

Sire makes a very nice guitar for the money.  I've played one and read other reviews.  As you stated, the tuners are ok, but will get replaced just as others have mentioned. It's a shame because that seems to be the only weak link.  They are so much better value than Fender. Congrats. 

On 4/6/2018 at 05:37, Jono Bolton said:

Most of the VMs I've tried have been the older ones with the satin neck. As stock they weren't that good IMO. Once you start modding a bass it skews the comparison. I never felt the need to mod any of the CVs/MFs that I've owned. I genuinely believe that they're better than MIM Standards as well, maybe not so with some of the higher end Mex Fenders.

Quite honestly, the only thing that *needed* to be done to my VM is a fret level. I LOVE the feel of my VM and consider the build quality is quite good. The  While I'm fairly new to basses, I know what a good build looks like as my guitar collection includes and American Deluxe Strat and a Gibson numbered limited edition LP as well as a vintage Martin and a couple higher end Taylors. If you Google VM vs CV you'll find differing opinions and few folks dislike either of them.  The CV Jazz isn't even an available in the States any longer.  The biggest difference I see is soft maple body vs basswood (and agathis for the 77's).  I'll admit that if I were to buy a gloss neck Squier whether it be a VM or CV the first thing I'd do would be to get out the scotchbrite pad.  I will stipulate to disagree and call it a draw. 

On 4/3/2018 at 10:33, Jono Bolton said:

In my experience, the VM and CV ranges don't even compare; any VM I've had my hands on has felt cheap and sounded weak, however I've had 4 CV models (bass and guitar) and 2 Matt Freeman Precisions (made by the same factory that make the CVs) and they've all been excellent. As Lozz, great instruments, and not just "for the money".

I dunno dude...   Perhaps it's because I have a 2010 VM, given a choice between my VM and a MIM I'll take my VM any day of the week.  With the new Aguilar pickups and fret level/setup and heavy bridge there aren't a lot of  MIA JB's I'd trade for.   I know they changed the recipe a bit in 2013 (particularly going to a gloss neck while mine is satin) so maybe that's part of it. 

On 4/1/2018 at 05:55, Mastodon2 said:

I think it's also worth noting that you don't have to "move" to anything. You can settle on any number if strings you feel comfortable with, but there's nothing stopping you from picking up a bass of any other configuration and playing it. You'll get used to switching between them. 

 It may be important to add that if you have multiple configurations, once you get used to the new one IMO it is important to cycle through all of them regularly.  We all get used to what we get used to (psycho-sensory adaptation) and but even the previously familiar can become temporarily unfamiliar. However, if you do practice routinely with your entire stable you won't even notice when switching. 

Congrats. A nice bass indeed.  My experience has been with a Squier VM 70's JB and after a few upgrades and fine tuning it plays way above it's pay grade. I think if I were to add a precision bass to my collection if very well might be the Squier CV. 

16 hours ago, lozkerr said:

Well, I've gone for it! I've bought the Jazz I borrowed, and I'm rapidly falling in love with it, even though it's giving my fretting hand a different type of gyp. But the ability to just whizz across the fretboard rather than race up and down it is fantastic. And that lovely sustained tone... oh, it's gorgeous. The only downside is having to relearn all the starting points for the scales, but that's a small price to pay. Aye, it took a big chunk out of my bank balance but I thought that as I would graduate to a pro axe anyway it seemed sensible to go for broke rather than buy another cheap instrument.

So, what two fives did you buy? And have you got a favourite?

Ok... I gotta see what you have.

The abridged story is, that I found myself at a GC and they had not yet put an Ibanez BTB675M up on their website. I fell in love with it before I even played it. The manager made me a killer offer and I knew that if I didn't take it it would be sold within 20 minutes.  Only when I got it home did I realize how big the fingerboard is. 35" scale length. 19mm string spacing. 47mm nut. 9.5 pounds. I began thinking "Am I going to be able to play this beast?".   It was challenging at first.  45 days to return it if I didn't like it.  So after chatting with my sales buddy where I often buy gear (not local) he convinces me to try a Yamaha TBRX605FM.  He shoots me a price that I can't turn down either. I have 30 days to decide on that one. It was gorgeous, but smaller with 34" scale length, 18mm spacing, 43mm nut.   Only 8 pounds 1 ounce.  A little easier to play out of the box. Different sounding than the Ibanez.  I'd just sold a bunch of guitar gear so the two basses and an incoming bass amp were fully funded. 

So, I'm cycling back and forth between these two bases and in less than a month's time the Ibanez ceased to be daunting and huge feeling and is even easier to play for some things.  It's got a meaty sound while the Yamaha has a brighter sound. The Yamaha was the "logical" choice, but I know that I'll never ever own a finer bass than the Ibanez and didn't have to go out-of-pocket for either. So why not? 

Without further adieu... here are some pics... [Let's see yours now]

Hi Laura!

I was in a similar situation as you a month ago.  I got hired to play a musical (because I can read, not because I'm a good bass player) and a couple of the tunes had low D's and Eb's.  I wasn't about to start messing around with new gear and even installed a Drop D tuner in my 4-string.  But I got serious 5-string gas. And it's been a wonderful learning experience. I got lucky and dumped a bunch of guitar gear for good money and funded my bass habit and ended up with TWO 5-stringers, both completely different from each other [long story]. It's been a month and I'm almost acclimated fully.  4-strings are wonderful and have sustained bass players for generations. But I felt, probably like you, that putting off getting a 5-string was putting off the inevitable. I'm so new at it, but find 5-string  puts me in a different mind set. 

It's great that you found a 5-string that you're comfortable with out of the chute. If that's what you like I say go for one just like it. But if you can't find or afford what you know, then as suggested play a lot of different instruments.  If possible find one that you like and have the ability to try at home for an extended period. I don't want to hijack the thread, but am surprised that I ended up loving the (first) 5-string that I bought thinking I was going to return it because initially it was too big for my comfort at that time (thus the acquisition of the 2nd bass :0 ).  I was surprised at how fast my hands became accustomed to it.  I'll save that story for another time. 

Good luck. 

Interesting amp.   Never got any traction in the states.  Looks like something out of the Jetsons of the 60's.  You can play bass through it? 

Update:  I've had the BG250-112 home for a few days.  It's a good amplifier, for sure.  But I just played a Gallien-Krueger MB112, 200watts/12" and all I can say is wow!   I also played their MB110 and that too was impressive.  The MB110 puts the Fender Rumble 100 to shame in a handbasket.   My sales buddy whom I do a fair amount of business did me a solid and quoted me a great price on the MB112 and I couldn't pass it up.  I'll have both amps here for a few days and I'll be able to provide more information later in the week. 

Getting back to what I'm learning about the BG250... As I said it is a very good amp. Better than the Rumble 100 in the same price ballpark.  What concerns me about the TCE are the "fancy" electronic components. i'm seeing reports of electronics failures and has me questioning this amp.  It's got some sort of freqency shifts in the tone knobs and the Toneprint thing which is cool for some folks, but for me unnecssary.  I do like the built in bass tuner a lot as I only tune in standard tuning. But it's not chromatic, so if someone needs alternate tuning, they'll need an external tuner.  The GK is smaller, lighter simpler... but about $100 more. 

Well... The Fender Rumble 100 went back to the store today.   The Fender sound is unique. In the bedroom a little too boomy and trebly at the same time.   Even if the BG250 isn't super loud it will still hold its own in a "normal" band mix better than the Rumble.  So far I haven't played anywhere that needed monster power and most situations go into a DI -> house system.  I've started to experiment with a guitar (perish the thought) EQ pedal. I'll post that somewhere, I'm sure. 

On 3/25/2018 at 19:50, rushscored4 said:

I have the original Fender Rumble 100, the latest 100 V3 and the Stage 800 and I also have a TCE BG250-208 and I much prefer the Fenders. I find the amp models and tones of the 800 all useable whereas I think the Toneprint facility on the BG250 is a bit gimmicky! I also think both the smaller Rumbles have a better sound and are are more powerful than the TCE despite its stated higher output.

Mind you I generally only play small pubs and clubs in the UK with no FOH or need to plug into the PA so I haven't used the XLR out on any of my amps. If I did need to I've also got an Ampeg PF-50T and PF-350.

I got a chance over the weekend to demo several of the  BG250 amps.  I did not care for the 2x8 at all compared to the 1x12's of the Rumble 100 or the BG250-112.  So if you're comparing the 208 to the Rumble I can see how you'd like the sound of the Rumble better.  The 208 just seemed to lack bottom end. To my ears the Rumble is both bright and boomy and pleasant sounding.  But I think it may be a bit underpowered.   While you say the Toneprint is "gimmicky" I'll go further than that... virtually unusable and OVER-HYPED... by a lot.  Toneprint only brings special effects to the amp and limited special effects at that- and NO TONE EDITOR FOR AMPS. So you can't do pre-set EQ's with Toneprint, which is something that the hype led me to believe. Having said that, The BG250 is a decent amp for the money.  It appears to me that the Rumble 100 is a practice amp that you might be able to gig with while the BG250 is a small gig amp that you can practice with.  I dunno... I am going to check out the GK 110 and 112 later in the week. Maybe later today. 

Not sure what's available across the pond the Peltors makes a compact headset that folds small and is low profile. I've got a set and they will work well enough to protect you when shooting so they should do the job for music. A lot less obtrusive than the full blown set.  (Link shown for illustration)

https://www.ebay.com/itm/PELTOR-SPORT-EAR-PROTECTION/222891816837?hash=item33e5633785:g:j6AAAOSwvvBasV40

On 3/5/2018 at 04:58, DaveFry said:

Suppose you are on stage in an unrehearsed situation when the piano player starts off solo and then sticks two fingers up . 

Do you :

A ) accidentally swing your headstock into his nose ?

B ) silently agree with the drummer that you'll both sort the piano player out after the gig ?

or C ) know that this number is in D major ( or B minor ) ?

It is an old method of showing the key : a number of fingers pointing up denote the number of sharps in the key signature , pointing down means flats . If it is in C major then a "C " shape is made with finger and thumb .

Here is an example . The Legendary Johnnie Johnson indicates to the the pick-up Australian band that the tune is in C major :

 

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Next , a different hand signal :

At 1:30 Alan Gorrie points at his head . He's not saying " Yous Yanks are all head cases .Pal ! " , it means the head ( ie the part of the tune at the top / head of the chart ) is coming up next .

 

Please contribute examples of hand signals for educational purposes .

If someone throws up two fingers I know they're not flashing the "peace" sign, being in the States I know they're not flipping me off... so that leaves "second ending" or two  sharps .

BTW... That Daryl's House recording ought to required listening for sound guys in training to listen to as to how to properly mix. Today's "engineers" seem to go to the same school as today's photo retouchers (see official portrait of Melania Trump and ad image of Britney Spears). 

Updated grille on a Land Rover? 

4 hours ago, G-Dog said:

From what I read, the settings and menus of the Studio 40 and Stage 800 are identical.  The only difference being the power modules and speakers.

Do you think the more expensive (powerful) one would be pretty good?

I believe that this will be a lot like the Mustangs... People like the upper end a lot. But the lower end in my experience was extremely disappointing.  Relating to guitar amps, when I was looking for guitar amps the sales guys were all pushing Mustangs and thought the sound was substandard in comparison to other SS amps in that price range. I felt that it might be great for a kid starting out who wants to play with sounds, but they (lower end) really weren't serious amps.  I've taken lessons on the lower end Mustangs and always found the sound lacking and sterile.  When I demoed the Rumble 40 Studio I felt the same way.  But again, I suspect that the 800 Stage will be a different beast. For $800 USD it had better be as it's getting into Mark Bass price territory.  As for the Studio 40, I think $150 is a lot of premium for a gizmo on a lower end amp when you can buy the Rumble 100 for $50 cheaper and add an EQ pedal  or two (I'm a fan of cheapo Behringer pedals btw)... or buy a TC BG250 and download tone prints.  JMO

Edit: At this moment, at home I'm testing a Rumble 100 and a TC Electronic BG250-112, each about $300USD to see which of these I want to keep.   After two days with the Rumble and one day with the BG250 I'm leaning  toward the latter. One of the features of the BG is the XLR out is a balanced output with both pre and post EQ. The one disadvantage to the Rumble 100 and the standard Rumble 40 is that the XLR output is only EQ'd, while the Studio 40 has an XLR out that offers both pre and post EQ/effects.  I have no horse in this race and am leaning toward the BG as it just seems like a more serious amp than the Rumble and a whole 'nother league than either of the 40's.  Just my opinion and personal experience. 

I know I'm a whole lot late to the party... But I tried one of the 40's the other day.  My thoughts are that if it's like the Mustang amps, the expensive one will be pretty good and the cheaper one extremely "meh".  I was totally unimpressed by the Rumble 40 Studio which I played side by side with the standard 40 and to me the extra $150 isn't worth it.  Too complicated and to me very toy-like. JMO

I just brought home a 112 to compare to a Fender Rumble 100.  Such different amps.  I think the Toneprint thing for the amp is a bit over-hyped.  The sound is decent though perhaps a little compressed?  I haven't had a chance to open it up for maximum volume.  I've only had them both for less than 2 days. 

The 112 seems more sturdily built than the Rumble. The knobs are more professional looking and feeling than the Rumble.  The Fender knobs and buttons feel a bit cheap to me.  But we're talking about $300 amps here.  

Which one I will keep? I don't know.  It is possible that I will return one should I come in contact with a Gallien-Krueger of similar specs and compare that. But I'm leery of the MB 110 having a much smaller cab and a 10" speaker. 

On 3/11/2018 at 04:48, Rikki_Sixx said:

I’ve been leaning toward their hot pickups but playing recently with headphones on the hum has been grinding my gears! Are the Aguilar hum-cancelling set much different to the Duncan Designed pickups that come as standard?

Yes... MUCH different.  The AG 4J-HC are noiseless. I've experienced no noise through amps, or house system. My condo has dirty electricity and sometimes even with some noiseless pickups I get a bit of hum. NOT with Aguilar 4J-HC.  They sound terrific and I'm so happy with them.  A BIG upgrade from the Duncan Designs. Much clearer sound. Not cheap. They cost more than the bass (which I bought used for $150) but well worth it for a bass that's a keeper.  Even if I upgraded basses I'd take the Aguilars with me and put the DD's back in when I'd sell it.  

I can't speak for a 5 string replacement set, but I just replaced my Squier VM70 Jbass4 with a set of Aguilar AG 4J-HC pickups. OUTSTANDING!  I am SO happy with them. They say the stock Duncan Design pickups are decent but the difference is night and day.  So great having noiseless. I also spent some $ on having professional fret leveling and setup and a Gotoh bridge and when I pick up a (stock)  American J Bass and think I prefer my Squier I think I must be out of my mind.   I have to give the Aguilars 5 Stars+.