JTUK

[quote name='Chris2112' timestamp='1321210121' post='1436540'] I suppose it all depends on the inidividual bass. A Sei will likely be as good as any, but at the end of the day you may struggle to escape the fact it's just a fancy jazz bass. [/quote] That can be true..it is just that they are better. I have never found a Fender anywhere near as good...or a good few other pretenders if recent experiences are anything to go by

2 are the same set-up The tonal differences on the two are huge though, so I pick whichever one to start based on the soundcheck and even a whim. I might even choose one over another if I want to play in a different style that gig

I went the other way and have 2xDB210's. still 60lbs though..!!! This is fantastic for me...and highlights what I miss in 2xGS112. I went looking at SL112 the other day but couldn't find them. I tried the SL410 which is light...but still a lift, and so I am still looking for a pr of 12's with a harder edge. The SL410 has nothing if anything over the 2xDB210, IMV through a limited blast in a shop.

and that piano....FCS..!!

Yes.. a bit of a lost voice. But please, take that gtr off him..!!

If the bass sounds ok with those strings and is playable, then don't worry about neck wear. If you go through the neck get another one.

[sup]The SWR400 is still a good amp... and an old one will be superbly made.[/sup] [sup]On the early[/sup][sup] ones don't use the bass control past 12 as it was very sub which sucked power from the output...and pretty unusable. The EQ[/sup] [sup]takes some getting used to...but VERY capable.[/sup] [sup]I don't consider the amps that followed them to be in that league, myself, SWR-wise,[/sup]

I think the OP is concentrating too much on knowing where the notes go in a song rather than 'playing' it. If you think shape and intervals and can hear them...you don't need to concern yourself with what the notes are called. Common dep trick where people will throw you the same song...depending on the singer of the day...in all sorts of keys.

[quote name='BigRedX' timestamp='1321027921' post='1434588'] IME they all sound different, because pretty much every one has different, woods, pickups and pre-amps. The J-style basses vary even more since some have the traditional bolt-on neck construction and others are neck through. [/quote] Indeed..as that is part of MP's build process, He will ask you what you are after. I have two J5's..one maple and one RW..and they couldn't be more different. One is MM, the other Paul Turner.

My SWR400 runs VERY hot...you'd jump if you put your hand on it. No fan needed either.. It was built and designed that way...altho later models had a fan, IIRC. I always think amps that can do this are built very well with good materials.

Both are 6m

I would say ..by those defintions..a bit of both. I am not interested in learning lines note perfect only to find something else is off in the band ..and therefore the track struggles. I'll just take the jist of the track and make it work with the players WE have got in the band. Trying to rip some studio versions is a hopeless task at times..either down to sheer sounds OR playability, I never get bands who do this..and after putting so much time into a track they obviously want to do desperately..can't then look objectively at it and say...actually,we suck at playing it.

I think he makes as good a bass as is out there.... or that I have seen, Eye for detail and styling and execution is fantastic. I use 2 J5's atm..and am considering getting another one made.

Must admit..am getting pretty close to vetoing some songs. But.....you live and die by the set you do...and it is far easier to be popular if you play songs people know. A friends band picks and keep songs ENTIRELY on what the audience does when they play them.... if they go to the bar, then they drop them. Missing the point there, says the Landlord... I think that idea is ridiculous tho as we have a duty to educate some of the punters,.... I refuse to do a KoL number though... and other songs are confined to a party-dancey set...

[quote name='bass_by_name' timestamp='1320885854' post='1432899'] Volume is not measured in watts. Beware of the Barefaced bubble on here, nobody who has ponied up their hard earned is going to say they are sh*t on a forum that thinks the sun shines out of a Barefaced arse. If I was buying a new rig I would look carefully at 2x1x12's, a 2x12 or 2x2x10's for a modular rig. Watts sells to bass players who are too stupid to understand the first point in this post, hence the number of very powerful heads on the market. However, if you like a clean sound, more watts is better. [/quote] I'll go with this. It should be relatively easy to get a useable amp... Markbass are one. I would look at Genz as well, if I were you...even TC, altho I would pair them with their cab package, IMO. Cabs are more of a problem as you have power, weight and carry concerns. 410 are still the cab to beat, IMO..but they are lumpy old beasts, by and large and even if they aren't that heavy..in some cases, they can therefore still be an awkward lift. If this is not a problem.or fitting it in the car..this would be result one. IMV Some people get round this with 2x210...as do I..as this is a lighter easier carry still getting the same sort of cab config. You might want to A/B your choice of cabs in these two configs at a decent volume to see any differences as the cab size of 410 may or may not equal 2x210... but there you go Lots of guys also run 2 12'...as the 12 has rather taken over from the 15 as a bass speaker. I don't think you loose anything down low going down this route but you wont get the clarity of a 10, IMO. Cabs makers might try and do this with reasonable success by making the 12 cab more mid biased and this is a reasonable approach, IMV. This gives two 12's cabs paired together, mobility, light individual carry at a max of around 45lbs per cab and a very powerful bass set-up..capable of handling 600 watts or so with the two cabs. People may prefer this to 212 as these can be a big cab and weigh 60 plus lbs. There are lighterweight options of these with NEO 12" chassis which might cut the weight down to closer to half that... but you still have to fit it in the car. If that is not a problem, then 212 come into the equation. To find what YOU like ..as opposed to what works for us...as we have had to do the same sort of research, I'd imagine, you are going to put in some groundwork. What I will say is that an amp of 500w does not need to have to drive a 410 and 115 in a pub or small club, I think one or other of those cabs might suit some...but not both. Personally, I think the 15" is finished as a bass driver with the options around today in 90% or so of uses for a bass player...but I doubt that would be a popular view here. The trend is modular and compact and preferably lighter.

[quote name='dc2009' timestamp='1320877936' post='1432784'] Shame about the left handedness, makes it look wrong [/quote] I thought that... Is this the one with the delivery saga..???

Simpler explaination if key is C C on the E string in unison with E on G str F on E string with A on G st A on E st at 17th fret with C on Gst at 16th G on Est at 15th fret with B on Gst at 15tth Gtrs should be playing a set part so you underpin this with these chords,

Yep..works for me..... but that is because he uses a very hard sound, plays well and has some imagination. The only other guy I can listen to slap on a fretless is Pino..but he has a bassier sound...so emphasises the precussive attack rather than the pulls to give it that element of funk. The last thing you want to do slap-wise is bury it in the mix...so you need a lively sound..and that is almost contary to a fretless, IMO.

Palm mute with thumb with a pick type action. You aren't going for much speed here.

Very difficult with the arrangments of Killers tunes as they are both clever but uneducated musically, if you know what I mean. Depending on what key you play it in..we play it down a semi tone...you'll just need to be able to play root and 3rd over an octave, so C, F, Am G...and one beat per bar.

[quote name='Aero' timestamp='1320855187' post='1432325'] Looks are obviously subjective, and if its not your style, can't argue with that. I'll assume you have not actually played a Status neck. The biggest differences I find are in the resonance of the neck and the low action. For me, the less the neck resonates, the more solid it feels. Fender basses have always seemed more variable in neck quality so I think many might benefit from a swap. Stingray necks seemed to have a more consistent quality to them. Differences would be less pronounced. I am happy with my maple necked Ray. Graphite is expensive but you have to search a long way and pay top dollar to get similar in wood. If Squier could release an affordable graphite necked pbass, bet they would sell like hot cakes. Cheers Fran [/quote] I have played Status and also agree about some necks being marginal in quality..this is why you don't scrimp there IMV. I have some wooden necks that sustain for ages with very low actions. One of those was a bog standard 80's MM.. as it happens and I'll long remember that MM could make good basses. I am not against a graphic neck.., just that I think you can get great necks made in wood. I would think an average graphite neck would likely be better than an average wooden one but then I would also think £300-400 for a wooden neck would be the going price, IMO

Delicate sounds of thunder for sure. Paul Simon in Central Park ( Graceland era ) Brian Ferry/Roxy Music Live at Frejus Deep Purple Made in Japan. Sheryl Crow @ Daytona Hon mentions Bonnie Rait, Sting Toto

Cheers..but at work so will have to pick my moments.

Agree about technique. Traditionally engrs needed a sound with no overtones or any ringing notes through poor technique so took that out of the equation by killing it with a foam mute. It did also bring into play a whole new sound which was then pursued and sought after. I call this the classic Hollywood film score and in itself is a great sound to have to call on but people emulate that now with a palm mute and they are unlikely to find it useable as a general sound..and messing about with foam for this and that is a pain. Recall a first session when the engr wanted to do this with my bass. I was not impressed

I missed it so will hope to catch a repeat on Sky Arts...but I did just catch the play-out of Bridge over troubled water at the end. Piano by that much missed genius, Richard Tee.