thodrik

My rig has been a keeper for the last four years because it does that job and I have no money to replace it anyway.

[quote name='Ou7shined' timestamp='1331552813' post='1574518'] Ah well, first imagine a 4 string drop tuned as being a 5 string in open tuning without the redundant string there to get in the way. Then if you use a "normal" 5 string set, strangely enough you're actually tuning [b]up [/b]to get drop C, not down as is the perception. Then because with the style of music you are often using the open strings as an integral part of your riffs a 5 string in standard tuning won't cut it so well. True, on a 5er in standard tuning your final note goes down a semi tone lower than (for example) me in CGCF and all the other notes are there... but for this reason standard tuning doesn't have that required "evil" sound. I have nothing against 5ers. I have one and have a 4 banger strung BEAD. It's just a case of the right tool for the right job. [/quote] Exactly.

It really depends on the tone you are looking for, the style of the band, and how anything you record is going to mixed. You could have the greatest most cutting bass sound ever but if you decide to mix it like ...And Justice For All, then it doesn't really matter. From experience, if the guitarists are also downtuned, using an amp like the dual rectifier with a big scooped eq, and the drums are using obscenely massive sounding triggers, it can be hard to get a bass to cut through. Being honest I prefer the no 2. I just don't like the blend personally, its like two different bass sounds with each sound fighting against the other. I prefer something that just sounds a bit more cohesive, though I'm pretty old fashioned. With no 2 (even number 3) the grit might actually get lost in the guitar mix so anything you hear might just be the clean part. Both good sounds. Maybe no 2 for some kind of bass intro to a song, but number 3 would work better in a mix. No right or wrong answer really. Personally for any 'metal' metal with lots of double kick drums I would use a fairly clean sound verging on gritty, based on some kind of emulation of a valve amp being cranked, or failing that a valve amp being cranked. Then get somebody to mix it so the that the bass is heard.

I'm sure I've read that the Sandberg 'hardcore masterpieces' or whatever they are called get some kind of vibration/acoustic treatment that the non-aged and less-aged basses do not. Normally I take these things as marketing mumbo-jumbo but when I was trying out a few Sandbergs I did notice that the said 'hardcore masterpiece' had a lot more acoustic resonance which in my opinion translated to a much nicer tone than the other Sandbergs I tried. I was very tempted at getting it, but I didn't, as I don't like false-aged finishes. I prefer to 'age' the basses myself.

[quote name='Mr. Foxen' timestamp='1330178996' post='1553774'] Heavier strings. Setup. [/quote] Usually the first thing I do with a Precision, or in fact just about any bass!

Ah yes, its 'that Sadowsky thread' time of year again. Just like some people will always consider TC Electronic amps to not be loud enough and giving an overly compressed sound, some will consider the Metros to be too expensive and not as good as bass X which is available for much cheaper. There is no better when it comes to a Musicman, Rickenbacker, Sandberg, Fender, Sadowsky or anything else. Just play them all and decide which one you like best. You might end up with a Squier or Mexican Fender that plays awesome. On the JTUK sub-topic I would also say that there is nothing more annoying that going into a shop to try a high end bass which is so badly set up that it is impossible to tell whether the bass is actually any good.

Percentage of my effects that I need?: About 10%. I have about 6-7 variations of preamp/overdrive/distortion pedals (Boss ODB3/Aguilar Agro/EBS MetalDrive/Sansamp Bass Driver/EBS Valvedrive/EHX English Muff'n/I have an old Bass Pod somwhere). I will generally only use two at a time, three if I'm feeling fruity. I have a Boss Noise Suppressor, Bass Chorus and Aguilar octave pedal too, these rarely get used these days (I sometimes walk 40 mins to and from rehearsal so can't be bothered with the extra weight). I like the ability to mix and match what I have, but I could probably live without them. If I had a nice two channel Valve Amp or something like the EBS Fafner II or Mesa Big Block 750, I could probably happily run without any effects whatsoever, since most of my effects are essentially trying to achieve the sound or a driven tube amp.

[quote name='pantherairsoft' timestamp='1329237103' post='1539348'] :-) I had a guy ask if he could use my Roscoe at a gig about 6 months ago. We played a live show with ska & punk bands (odd mix for us to play with) and one guy was drunk out his face and wouldn't let it go. Asked about 5 or 6 time if he could use my bass rather than his Mex Jazz. I thought he was joking around to start with... turns out he does it at every gig and often people say yes! [/quote] I've had that before at a gig, except substituting a Roscoe for a Viger. Worse thing was he asked if he could borrow my Ibanez, which I assume is the drunken name for every bass not shaped like a Fender!

[quote name='margusalviste' timestamp='1329081770' post='1537020'] Well, I have had 3 Sadowskys and I can easily compare them with Sandbergs. They are a bit different though but the quality is there. [/quote] I have a Sadowsky Metro and nearly went with a Sandberg JM4. Build quality seemed about the same, as in very high. I just preferred the modern 'snap' of the Sadowsky sound, but it was very close. The Sandberg I tried sounded pretty vintage to me, though it was one of the 'hardcore relic masterpieces', so may differ from the non-relic models.

I got lucky with my 1978/79 (not bothered dating it exactly) Precision when I was 13. Prices then seemed to reflect the idea that Fenders from these eras were not as sought after. It cost about £380 in 1999. I always wanted a 'vintage' jazz partner to the Precision. I played loads of Fender jazzes made in the era around 1969-1983, but didn't find any that seemed right. On top of that, the massive prices for basses in this era meant that I wasn't sure that I was actually getting a good deal. A mid to late 1970s Jazz usually goes for £1500 and above now, and in a pricepoint comparison the 'vintage' Fender's I tried could not hold a handle to the new Fenders, Sandbergs, Sadowsky Metros etc I tried. I gave up on the vintage quest after about 4 years and ended up with a Sadowsky. I mean its not 'proper vintage' but its a really good bass and I was so fed up of looking at 1970s Fenders that I was and still am happy to just play a really good bass.

Sometimes its okay, sometimes its annoying. Most annoying song lately was the first song on the new Machine Head album, which was hyped as a 'sonata in C#', yet it featured a fadeout. If they going to boast about how this was a serious composition, they should have at least have composed an ending to the song. In situations like that, I really think that the fadeout is a cop out.

My general idea has always been a 300 watt at 4 ohms MOSFET amp played through a decent 8 ohm 1x15, 2x10, 4x10 or 2x10 should be enough for rehearsal or gigs with a PA. I played for 8 years through a 300 watt Trace 1x15 combo and though.. TImes and technology have moved on a fair bit since then. An efficient 200watt class D head and good 1x12 could do the job in many cases. It really just depends though, and your guess is really as good as anyone else's. Drummers vary quite a bit in terms of loudness. It also depends on the room, where you place your amp, how far away you are from other band members/your amp/your hearing etc..

I always loved cranking my EHX English Muff'n. Then the power adapter broke...

[quote name='bassanton' timestamp='1327346234' post='1509742'] Here goes my #1 bass: MV4 HPJ [/quote] That looks awesome.

Both good players with questionable dress sense. I personally think Claypool is slightly more versatile in that he can really do a good job 'playing straight' when he wants to. Flea always seems just to just sound like Flea, even outside of RHCP. Whatever, I like them both.

It would have to be the Fender, more to it, my Fender Precision. Finish on the neck is wearing, scratchplate cut in two by a previous owner due to dodgy electronics (since fixed), dodgy orginal bridge, it is mine. I would sell everything, Vigiers and all, before I would sell that. If I did not have that sentimental value though, I really don't know. Probably the Fender still, the Fodera's just are a bit 'wow' looking for my taste. The looks just wouldn't sit with my grumpy personality!

Seems strange that they have a go at the problems of 'famous-named basses' but are willing to basically use the design of said 'famous-named basses'. I would certainly have a look at one if I saw them, though I would try anything if asked. But essentially it seems like Warmoth with fewer options with the bonus that they actually make it for you. They need a few non-jazz bass designs though, or any other designs.

[quote name='omikin' timestamp='1327441090' post='1511375'] There is a 4x10 and a 6x10 as well as the 8x10. And I don't think the cloth is roadworn - I think that's seeing through to the back. If you see the pictures from the link at the top of the page you'll see what I mean. [/quote] Ah okay, makes sense now. Now my only gripe is the price.

Looks like the grill cloth is 'roadworn', which is something I don't like. Still, they look nice. Could have done with a 4x10 in the cab line though. Great features, good looks, not so good price but that will probably come down over time.

[quote name='1976fenderhead' timestamp='1327152295' post='1507042'] What percentage would you say of fuzzes in the world have a clean blend? I'd be surprised if it reaches 5% What you say of fuzz getting lost in the mix is true (that's why for example the guy at sfx added a mid boost switch to the micro fuzz) however I like to try to fix that with the tone knob or eq instead of blend, as the clean sound and the fuzzy sound always sound too separate, they don't mix (pun intended), unlike what happens with distortion and OD for example (to my ears of course). Fuzz mixed with clean always sounds to me like clean with some hairiness on the background. That's what this video sounded like. [/quote] I suppose I'm kind of similar. I usually find a clean blend to be a 'worst of both worlds' option, though I do admit that it can be done right. I just never got on with the one on the Boss bass OD. If I'm going to use fuzz, I will just go all out. Back to the topic, yeah it sounds fairly cool in places. I wouldn't mind trying one out and it should be fairly affordable. In general though I prefer a generally 'gritty' sound that still has definition to a half clean/half fuzzy.

Congratulations. Must be a bit of change from the Trace V-Series in weight! I have still yet to try any to the GB stuff, which for my wallet is probably a good thing. Edit: happy birthday from me too!

[quote name='EBS_freak' timestamp='1326203597' post='1493718'] Marketing in the UK is tricky. I suspected that there would be a double power T90 given the extra holes in the chassis - that hasn't materialised... yet. [/quote] I'm still waiting for that!

Are you using the new TE cabs? In which case I wouldn't necessarily say that you need to replace everything and go neo, as they are not exactly that heavy compared to the old TE cabs, which are heavy as hell. Nothing wrong with using two 1x15s if that is your thing. I really don't understand the '15 inch speakers have no tone' argument. Whether there would be too much low end going on would probably depend more on eq than the cabs. If you like the sound of the 1518c on its own, nothing 'bad' will happen if you get another. The only thing I think you'll lack is any high-end sparkle, which isn't so much a '10 vs 15' thing rather than the fact that new TE 15 cabs do not have tweeters. Two 4x10s would probably be capable of going 'louder', but there is only so much volume that you actually need when gigging. You could also look at getting a couple of the TE 2x10 cabs, which could add up to a 4x10, but with two easy lifts rather than one hard one.

I write left handed, play bass right handed. I alternate between left and right for so many tasks I'm not sure whether that makes me left or right-handed. I have no idea why I play bass/double bass right handed, but its probably for the best in terms of being able to try different basses. Beyond that I don't think it makes any difference.