thodrik

I got a big virus thing too. Bad form I say! Harmless enough basses and the ethos behind the brand is admirable. Personally I wouldn't mind a different scratchplate so it didn't scream Musicman, but its a minor quibble.

Not really if you have nice hair and people think you look pretty onstage. Most people wont know the difference. If the way you play is preventing you from playing what your brain wants you to do, then its worth having a think about your technique. Also with recording I think that poor technique can show up, especially when matched with a bass with pretty low action. That said I don't think there is a textbook 'right' way to play bass, in the same way that has developed for the piano, violin etc. The electric bass has only been around for a small period of time, so I still think there is scope for developing technique and ways of playing the bass. I personally think there are far too many 'session player' clones that predominantly use slap, double-thumb technique whenever they can, and will only ever play fingerstyle on the back pickup of a really expensive jazz bass. I think it leads to a very 'boxed in' understanding of the various ways and styles in which a bass can be played.

[quote name='Delberthot' post='983593' date='Oct 10 2010, 06:17 PM']As the owner of an 800R and 2 700RB II amps I can say that they are no more complicated to work than ordering a pizza over the phone - if you can't work it then you're in the wrong game. You just need to spend a few minutes checking out the manual like you would with any amp.[/quote] Cheers for that, I'll bear that in mind if I come across another one as supplied backline somewhere. I didn't have access to the manual when I tried it, so it was a bit befuddled by the features. I'm also one of those that believes that if the amp should sound good when run 'flat' (or without anything boosted or cut), but if the amp does sound good flat, then it makes a lot of those extra features pretty redundant. Ordering pizza over the phone is well within my capabilities, but seems comparatively complicated and not really worth the hassle since I already have pizza in the fridge that I like the taste of.

[quote name='Musicman20' post='983516' date='Oct 10 2010, 05:21 PM']I went with Orange mainly because I preferred the tone, but the weight difference is pretty massive, and the Orange can do an 8 ohm load. If you have an SVT CL/VR, you must be 'rock hard'.[/quote] The Ampeg weight is pretty something. I was playing a gig the other week when the bands were sharing an 8x10 cab. When it came to moving the Svt from the top of the cab so I could put my own one on top of the cab, it just about did me in! I love the idea of an all-tube amp, but the weight and cost put me off, as well as the fact I know nothing about biasing tubes which scared me when buying my last amp. Which is why I have tended to gravitate towards hybrid amps. Someday though...

[quote name='fretmeister' post='983455' date='Oct 10 2010, 04:29 PM']I have no doubt this thing sounds awesome. But - 85lb Eighty Five Pounds!!!! Is anyone without roadies really going to buy it? That is utter madness. My Mark Bass F1 head and a Tech21 pedal gets damn close to proper SVT with 75lb to spare![/quote] I think that the words there are 'damn close'. Even with all the lightweight amps and eq pedals available, it still isn't going to deliver the 'authentic' sound of an all-tube Ampeg SVT, which regardless of model or place of production, is always really heavy. Some people are always going to prefer to have a real tube amp as opposed to a set up which can be made to sound 'damn close' to the sound that they want to obtain. For me its not the weight of the Heritage SVT that will put people off, but rather the cost which I think is over £2000. I think they are limited production though so are meant for Ampeg devotees, who judging from most of Ampeg's output have never really been concerned by weight. Of course there are also those that don't like tube amps or Ampeg in general, who prefer the sound of lighter, more transparent sounding amps. Also I'm pretty sure that in addition to the weight, the F1 and vt bass is a lot more cost-effective, even before you take maintenance of an all-tube amp into consideration.

I played through a 700rb and 4x10 cab (I can't mind the name off hand, but it was the expensive artist line one). It gave out a really nice sound that is as good as any amp company, if you like the general sound. It adds a fair bit of colour to the sound, not very transparent in my opinion, but if you like it, then its great (kinda like the Trace Elliot preset). That said, I found the front face of the amp to be a bit 'busy' with lots of knobs I neither really understood or knew how it worked, as the tweaking I did didn't seem to change the sound much. Mind you, run pretty much flat the amp sounded great. The way that GKs seem have a different idea of using Gain and master volume was also a lot different to most amps I've used. Add in the bi-amp capabilities and you have a really cool amp with a lot of features that I would never really use! I prefer a simpler tone layout myself as I'm not very tech-minded, but I have no doubts that if I had more time to study the controls etc, it would be a setup that I would be really happy with.

Kyuss, Free, Mars Volta, Soundgarden, Deftones, SRV and Double Trouble, Black Sabbath (up to and including Never Say Die), Fleetwood Mac during the Green era, any incarnation of the Bluesbreakers or Yardbirds and anything involving Jimi Hendrix or Buddy Guy. Bill Haley and his Comets too, I don't know why, I just know it would have been cool.

[quote name='LukeFRC' post='980197' date='Oct 7 2010, 08:46 AM']yeah, it probably is easily my favourite to play too, it sounds imense. Unlike thodrik i find i can take it anywhere and plug it in, with or without amp and it sounds great. two controls, wide open... you gotta love a good JV squier[/quote] Yeah, in general I think P-bass can cut it against any bass. Its just that mine in particular is pretty mellow sounding when run flat, so it always takes a bit longer to get the sound I want than my active basses, which seem to naturally put out a much thicker sound, which is what I've been going for. I can nail this tone with the Precision, but it requires a decent preamp, whereas the other ones have a great preamp on-board. Its horses for courses really. The Squier is really cool sounding though.

[quote name='bubinga5' post='980079' date='Oct 7 2010, 12:01 AM']Thodrik, do you prefer the P bass to the higher priced basses you own...im always fascinated to hear.. got any pics of the Valenti Luke?[/quote] Well, in a way, yes. Its more of a sentimental attachment though, since I've had the Fender for ten years and it was my first 'real' bass when I was 14. Its a 1978 model, and I picked it up for £380 quid (how times change!). To be honest, it plays as well as any bass I've played in terms of the neck and action, including my other basses. It has issues, like the finish on the neck is starting to wear, somebody cut the scratch plate in half in order to make it easier to fix electronics problems (it needed some serious soldering when I got it) the pickups are pretty low in output and the tone pot crackles. Its pretty much immaculate otherwise... I do every gig I have with the Sadowsky, sometimes the Vigier, because of the superior build quality, better pickups and increased tonal variety on the bass and ease of getting a nice sound with too much fiddling with eq, pedals, that I generally had with the Precision. The Fender is also heavy as hell, and I didn't feel comfortable taking it on the road/to gigs with me in case something happened to it. I could (but obviously don't want to) sell the Vigier or the Sadowsky Metro, because I'm confident that their quality is of a standard that most Vigiers and Sadowskys are really good, so I wouldn't have to look far to find another 'good one'.I don't think I could sell the Fender though, as I don't think I would find another like it. I think if you happen to get a 'good' Fender, especially an older one, its well worth keeping. I would probably take a Sadowsky, Vigier or a Valenti over a new Fender Precision every time, but not over 'my' Fender.

[quote name='LukeFRC' post='980044' date='Oct 6 2010, 11:24 PM']The difference is, even though i've a feeling the valenti is the better bass, the fender jazz feels like 'my bass' also the 70's pickup spacing means it compliments the 50's style p bass well once ive sold the valenti and warwick and only have the two[/quote] I know that feeling. I know that my Vigier and my Sadowsky are much 'better' basses than my Precision, the Precision will always be 'my' bass, whereas the other ones are really nice basses that I just happen to own.

Fender or the Valenti for me. Fender seemed to have a bit more bite, but the Valenti seemed to have a smoother clean. At least to me on one listen.

To be honest, I'm surprised that they have not produced a really lightweight head to accompany the single 10 and 12 inch cabs they do. That said in terms of price, the amp heads and cabs they do make seem to be in the same price bracket as much of the Aguilar, Ampeg, Trace Elliot and Eden stuff, and much less than Mesa Boogie, which to me are more realistically their competitors in the 'non-lightweight, professional quality' amp category than the ultra high-tech, lightweight amps. The Proline cabs are really heavy, but really well built. Probably not the best of things to though unless you are gigging a lot and have the necessary transport, and/or help to lift them, which is probably why you only tend to see them on big stages, if you see them at all in the UK. The Neoline stuff is lighter but more expensive, but no more expensive than other quality cabinets. I wish they cheaper but alas no! Anyways, I think EBS is always going to be more a niche product that some people like and others don't. It seems to associated in the UK with metal, jazz or funk, and I'm not sure that increased visibility in stores across the UK will change that perception. It would also be potentially unwise if EBS tried to essentially copy the business design of Markbass and other lightweight heads just to try and break the UK market, since their current stuff is doing well in Europe, and well even if they did try it, there is a chance that Markbass and the like would be doing it better anyway. They generally seem to be going in a different direction, the Fafner II is probably indicative of this.

I'm guessing that its a very good thing. Nothing against GB basses (they look great), but I found their customer service in terms of trying to order a rack unit to be pretty poor when I tried to order a rack case. Two emails unanswered. Two phone calls unanswered. When they did answer, I twice attempted to place an order, both times they took my details and said they would get back to me when they had what I wanted in stock, which they never did (Over a period of six months). Finally they did deliver when I called again, even though they still didn't have what I wanted, meaning they had either made no attempt at getting it for me or had lost my details (twice). I don't mind a 'personal approach', so long as it works! I might be in the minority in terms of customer service experirence with GB, but personally I think the move will probably be for the best and allow them to just concentrate on their own products.

When doing covers, it was always You shook me all night long by AC/DC.

MV4 Metro 59 burst. Until I actually get a camera I have to rely on others to photos of my basses. I managed to crop out my head on one of them to save you from differing levels of beard. Proper photos should be up at some point...eventually.

'Do you listen to Neekleback?' Thats a really good one. Well done to whoever did that.

If the band is someone else's baby, then attempting to completely change basslines is a bit of a risk. Some bands have a guy that writes all the songs and want their songs to be played exactly as they imagine them in their head. Others seem to have a general idea of where they want the songs to go and are prepared to change and adapt to the ideas of others. I think I have my basic audition 'routine' regardless of style 1. Bring my Precision, it fits every style and does not really immediately categorise me as a rock/blues/metal/folk bassist. Lets face it, there are non-bassists that distrust any bassists that do not play a Fender. 2. Run through the songs as they are on any recording, or if there isn't a pre-written bassline, just play what you think the song needs 3. If everybody is happy, gently ask if you can change a few parts of the bassline, usually it isn't a problem if you have just done No. 2. 4. If they insist on me playing it a certain way, I will for the remainder of the rehearsal, but at the end will probably say that the project is not quite what I'm looking for unless its a) its a paid gig b ) the band is really good even with really simple basslines, maybe when they write their next batch of songs they will make more use of the bass and let me write the basslines? It sounds like the original poster didn't get on musically with the folk. Its not really a big thing, finding the right band and/or good musicians isn't always easy. Just keep looking.

Great looking bass, but almost too 'coffee table' looking for my own personal tastes.

A good cheap 4x10 cab that would do a good job would be the Peavey TVX series. Second hand would probably be the best option. Hartke is really good value for money too for amp and cabs (I don't really like the aluminium drivers myself but that is besides the point). Also there are loads of Trace Elliot amps and cabs around for little money second hand. If you can get on with the Trace Elliot sound its pretty good stuff for the most part. You could also maybe get hold of a second hand Ashdown ABM head. I quite like them (not as much as the Trace Elliot stuff), but some other just don't like them at all. You have to remember about transport too, which if you don't have, makes getting a 4x10 and a head to gigs a bit of a pain! If transport is an issue I'd maybe suggest getting a 2x10 or 1x15 combo that has a good bit of power. So long as it has a DI and you can hear yourself onstage thats all you really need, as most venues have decent pa suppport and/or soundmen usually want to keep stage volume down to levels they are comfortable with. If you have a car or something though I'd go with what the others have said and get a half decent 4x10 and a good amp that sends a good signal to the desk. Good luck!

Its always the one I don't have. At the moment Jazz/Musicman or P/MM configuration. Or MM/MM!

Phew, thats a relief. After reading the title of this thread I was afraid that someone had just seen me play a gig.

I think that it has all been said, but change the strings for some brighter roundwounds and take the foam out. Maybe take a bit of time out with your amp and work out how to dial in a tone you like. It takes longer for to dial in 'my sound' on a passive than an active. If that doesn't work maybe try a preamp, like the VT bass, or the Aguilar Tone Hammer. If you still don't like the tone then you can pretty much say that you don't like Fender Precisions. Nothing wrong with that though, just keep looking for a bass that excites you. I hope this doesn't turn into a P-bass bashing thread, as I've already had Sadowskys of basses criticised in the thread below. All I need now is someone to start a 'Vigiers are overrated' thread and I will officially not own any good basses!

I do like those videos of incredibly complex live set ups. I saw the Justin Chancellor one, where the Wal bass sound is processed through lots of different processors, pre-amps effects and 'clean' and 'dirty' rigs. I admire the effort and both players have the money to try whatever set up they want, so more power to them. I prefer the Matt Pike one, its funnier and despite him being a guitarist, I at least have a vague idea of how the rig works! Not sure he was that sober when doing it though. [url="http://www.youtube.com/watch?v=Zvuuhr4fcz0"]http://www.youtube.com/watch?v=Zvuuhr4fcz0[/url]

[quote name='EBS_freak' post='965089' date='Sep 22 2010, 10:45 PM']Sei or Status?! It's Shuker basses! Get it right!! And isn't Hartke with Barefaced flavour of the month?[/quote] My bad, I've not been on much this summer!

[quote name='Toasted' post='965059' date='Sep 22 2010, 10:14 PM']This thread is hilarious. A bunch of people who don't own Sadowsky basses telling those who do and gig them regularly that they're poor sounding basses. Basschat gold for all the wrong reasons.[/quote] I thought this too. I had felt that there was a little bit of dislike of Sadowsky basses on this forum before, but it has really come out here. Its strange that no other expensive basses of a similar style (Mike Lull, Nordstrand, Alleva, Celinder) get slagged in the same way. Sometimes I get the impression here that if you don't play Sei or Status basses through a barefaced cab with a Markbass head you don't know anything. No offence intended to any of those makers here, I am sure they are all fantastic and the amount of people that recommend them here is impressive and speaks for the quality. I just think that you should be free to like other stuff without being talked down to. Its good that not everybody likes Sadowskys though, otherwise demand for them would go up and so would the prices!