chris_b

I sold my last full valve amp, Mesa 400+, 20 years ago and for the next 10 years or so used an SS amp with valve pre, then SS amps and for 10 years D class. I can categorically say that my sound has not been getting worse for the last 20 years. IMO it is an indication of the evolution of all amps and D class amps in particular. Weight isn't a problem between a 5lb amp and 26lb amp. So my use of D class is based on the tone and volume. As we said on Page 1, if someone doesn't like the sound of an amp being pushed to the limit, get a bigger amp, because that particular problem is a User Error. My point here is that everyone has preferences but preferences aren't fact. That people with less experience may be reading this thread and thinking they are is the problem.

I've been using NYXL's for about 3 years and I love them. They are full range with a nice top end, and they are just fine on my frets.

I would love to gig in venues where PA's and proper facilities were laid on, but I usually play in pubs, clubs and functions where little is provided by the organisers. Many times no lighting or even a stage. The stage area is my "office" and "organisers" can be very flaky, so I aim to make the stage sound the same on every gig without having to rely on anyone else. I am also prepared to provide the room with bass. That's why my rig is a modular system that can go very loud. I have used D class amps for the last 10 years and the generalization in the thread title and the prejudice in many posts is plainly not true. In my experience and in the experiences of many others, D class amps do the job as successfully as any other type of bass amp. If that wasn't true, D class wouldn't have outsold every other type of amp, on a world wide basis, for many years. In my experience the good players do not "buy with their eyes".

If the mood takes me I vigorously tap my foot. I actually did that once.

If you have an amp that runs out of steam at higher volumes, don't blame the amp, just get a more powerful one, or maybe some better speakers so you don't have to push the amp so hard. I've played my Aguilar AG700 at ear bleeding volumes and the louder you go, the better it gets.

My favourite Reggae singer. Very sad news.

I've only played 1 NYC and my Japanese Metro blew it out of the water. I hope the Japanese Sadowsky crew carry on and start up their own line of "Sadowsky's". I'm waiting to see what the Warwick basses are like but I know Yoshi's basses would be impeccable.

The point about the Japanese Metro's is that they were less expensive than the £5-6k NYC basses because they were made in Asia, had very few options, no chambering and the tuners were licenced (not the full US made Hipshots). The wood, electrics and pickups were the same as the NYC basses. In no way were they cheap or lesser instruments. Measure them against other basses at their price point the Metro's are a very high quality product. So far the Warwick made Sadowsky basses are an unknown, but they have a very tough act to follow. If it works out, they will be great basses to own.

Always has.

I find if I listen to any song a few times without playing it, I can get the structure in my head and have an idea of the patterns before I start to pick out the notes. If you already know the geography of a song the notes will come with less effort, even on the more difficult bass lines.

IMO re-runs of threads can be helpful. Over time people's experiences can change and grow their advice, which will be very useful to others.

Router, not hammer and chisel. Professional repair man not DIY.

He should have 4 strings, everyone knows Jaco did.

I agree. Also, the gig bags my Sadowsky and Mike Lull basses came in were very 3rd rate.

I roll mine with the "twist", as per electricians and PA hire company practise. I never have leads break or fail. My main instrument lead has been with me for 30 years.

Apparently WZ was writing the song in the dressing room, before a gig, and the drummer heard him singing the Werewolves bit and did the wolf cry. WZ added it to the song. You really wanted to know that, didn't you!! Also I always thought Ho Lee Fook was the one in the Kings Road, Chelsea, but I might have made that up!

Apparently Fleetwood and McVie spent the whole night playing Werewolves only for the first version to chosen. They get their usual beautiful feel.

We had music theory lessons at school, but no actual playing. Then they were dropped after the first year because it became a voluntary course and not enough kids wanted to continue. I pushed myself to understand and read music by the time I left secondary school. I was slow, but could read to a level that enabled me to play simple bass lines in a recording studio from the dots. I work with chord charts these days but the dots have never featured in my bass playing life since that first band.

Everything that Warwick does with this brand in the first months will be under the microscope. I can't imagine that bass would have got through Sadowsky QC. I understand Roger Sadowsky bigging up the business relationship, but are we seeing a difference in Warwick QC?

VW's right. Rhythm, groove and locking with the drummer are the first priority for a good bass player. I'd say, then comes good tone and only then the bass lines. You can play a great line, but it's not great if you are out of time or sound terrible.

This is exactly the difference that the guys who make these instruments say exists between maple and rosewood. And the doubters still doubt. The Wyn video is a demonstration, Michael Tobias taps his body blanks and chooses the most resonant pieces. And the doubters still doubt. The flat earth society lives.

Joe Osborn played bass on this one.

I have played for free and I'd do it again, but if someone else is making money out of my playing, then I won't be playing for free.

I've also read that Alembic believe their sound comes from their pickups and electrics. That's OK. They will know their basses better than anyone else. It might be true with basses made from many laminates. It doesn't discount the point made in my post.

That depends on the context of the gig. Are you playing in the Dog and Duck, Later with Jools, the Albert Hall or at Muscle Shoals studio. Are you a loud noisy band or a quiet musically complex band? A Flea or Freddy Washington? Fortunately there are guys making basses for all those situations because it seems to be a thing that many players can hear the differences in their basses.