thodrik

I like the look of it and 300watts should be plenty to carry most gigs. I'm guessing it goes for around $750-$1000 which will magically become somewhere just under £1000. It should be significantly less expensive other MESA gear to justify being an entry level product. This might just mean that the price of other Mesa gear will go up accordingly to make this the case! Seriously though, I wouldn't trade my Walkabout in for anything now, though if this amp had been available last year I would have been very tempted. Not the most inspiring of blurbs though as others have mentioned!

I've got one of the old GP7 SM300 combos, with a 15 inch speaker. I used it for 8 years without any amp problems at all. Though when other bassists used it they would often say the following things. 1.'Your amp is broke' = The mute switch is engaged 2. 'There isn't much headroom, its clipping all over the place'= I've got both the gain and master volume set at nine, set the amp for passive and play a Stingray 3. 'The graphic EQ doesn't change anything'= It rarely does when ALL of the EQ switches are set for a 12db boost. 4. 'Its sounds sterile and quiet'=I crank the treble and the cut all frequencies below 500Hz, but still expect the sound of an Ampeg 8x10 paired with a vintage SVT amp to be achievable through a ten year old solid state combo with one speaker. Some people just think that the only sound you can get out of a trace amp is the mid scoop pre-set, which once engaged really does colour your sound. I quite like it but I do think it can destroy the personality of certain basses, as it just never agreed with my Vigier Excess, though it sounded great with my Precision. However I still think you can get a good tone out of most basses using the Graphic EQ without the pre-sets. I've tried lots of other Trace amps and feel they are unfairly cast as only being able to 'do' one sound. Clueless bassists that don't how to work a graphic eq can get some horrible sounds though. However, I do think that in the last 15 years hybrid tube-solid state amps have kind of taken up the market where the solid state Trace Elliot stuff used to be.

I have a distinct urge to say 'horrible bassist, horrible looking bass' but that would be cruel and untrue. The bass isn't that ugly. The bass just looks a tad radical looking for what he is going to be doing with it, but that is about it. He is a multi-millionaire and if he wants to play that bass then more power to him. If somebody wants to pay more than 3 grand just so they can play the same bass as the guy from U2, I would be a bit worried, but can't say I would care that much. I would doubt Warwick are thinking they will sell that many off the guys name and people looking up to his technical skills on the fretboard. Its more the case that Warwick can say 'Adam Clayton could choose to play any bass in world, and he chooses to play Warwick basses'. Regardless of playing ability, having the bassist in one of the biggest bands in the world uses 'Type X' of a bass does mean something. I seriously don't have a problem with it at all, it will probably be a great bass, albeit expensive. In a few years he will probably be playing something else, and he will probably keep using loads of different basses in the studio anyway.

Interersting question. I'm the same, I mix and match stuff the whole time. I write left-handed, throw things right-handed, play tennis right handed, play golf right-handed and box out of the orthodox stance. I do all of these things badly. Despite this, I can only play the bass right-handed. Playing left-handed just makes no sense to me whatsoever! Maybe if I kept at it I would get better at it but the fact is when I picked up the bass it only made sense right-handed. Maybe it made sense play right-handed because the left hand is busier. I'm glad I did learn left-handed though, the choice of left-handed basses is pretty poor and you have to pay more for the same basic instrument! I do admire people like Scott Reeder though, who can get a right-handed bass, turn it upside down and play really well without even re-stringing the thing! I don't think you would gain that much from practising both ways. You have to have two basses or restring it every time you change hands. Also, I would think with muscle memory it would be easier to get your hands being able to perform one role rather than two. Unless you want to be bass version of Michael Angelo Batio, I don't really see the point to be honest!

I voted cool but I would consider it to be 'Cool' rather than cool: as in it looks different but I suspect it wouldn't be much to play and I personally wouldn't want to own one. The cutaway looks a tad severe, but to each their own!

I'm going to put a word in for guitar guitar in Glasgow. Always friendly and always let me try stuff out, even if I was only there to buy strings and accessories. I think this was on the basis that they knew that I would eventually find something and buy it. After trying out an Overwater. a Warwick Thumb, a Rickenbacker, 2 Sandbergs and on one occassion a Wal Mk I (was a close call!) over a two year period I eventually bought a Sadowsky Metro. They must be relieved! I'd also put in a word for CC Music, who now stock Markbass stuff, as well as Ampeg, Eden and Trace Elliot amps and have some cool second hand stuff. Bass selection is really good but a bit limited compared to the bass amps on offer (Fender and Sandberg, with the odd second hand of something else). I must say that my experience in Denmark Street this summer was pretty underwhelming in terms of choice and customer service. I'm sure some retailers hear a Scottish accent and assume that this means that it is pointless of showing them any expensive gear, as 'Scottish people don't like spending money'!. I did get to the Gallery but it was just to buy an EBS Valvedrive, which you can't seem to find in many places unless you order it. I didn't really have the time to really consider anything else! Seemed really good for choice though and customer service was good after they realised I wasn't there to waste their time.

I did a gig/radio session thing in Wales, was given a 1001rb-II head and a 4x10 rbh cab to use (the distance was a bit far to get my own stuff, we only had the car). I was very impressed.

I wouldn't trade my Precision for anything. Yeah, it is a simple design, with arguable flaws within that design (access to upper frets!). However, I really think that it can be used for pretty much any kind of music. Tone comes from your brain and your fingers, if you feel comfortable playing a Fender Precision then I don't think you really lacking anything else. Also in terms of playability I have never played a jazz bass that could play as fast as my Precision. I just think the idea that a Precision is only good for plodding around in the background is a bit of a myth.

Can't say I was overly impressed. Its not that it was bad, it just seemed a bit Queens of the Stonage-lite. Really, why not just call it Queens of the Stoneage since it is based around a revolving door of musicians? That said I support most of Josh Homme's musical decisions/directions and I always prefer Dave Grohl behind a kit than behind a mic. Will probably give the album a shot at least before I form a concrete opinion.

I'm still pretty much a sucker for Trace Elliot stuff. Not really sold on the new combos compared to the old stuff though. They just look a bit plastic if nothing else. That said I am impressed by the cabs, which are pretty lightweight (for TE standards!) and very functional.

I started reading way before I started playing bass. Being able to read music notation and and have knowledge of theory is a great thing to have. It certainly allows you to be a more versatile musician, but not necessarily a better bassist in terms of feel, which comes from practice or natural talent. I do think that prior knowledge of the genre of music is needed before you can sightread effectively. So obviously a top funk player, would be able to read a funk piece and know how to make it 'groove' because he will have a great knowledge of that genre and how to play it. That said, I have never learned electric bass guitar through notation, theory or instructional videos. If I wanted to do that I might as well have stayed playing double bass in orchestras. Bass guitar for me is release from all that. I can pick it and play the way I want to play. Obviously knowledge of theory has affected the way I play and write, but its not something I make a conscious effort in doing.

For me the stock answer is going to be Fender jazz or Precision bass. They have been industry standards for ages and many boutique makers still use the basic designs. They can do metal, funk, jazz straight ahead rock without much issue. Will it be able to sound like a warwick though? Probably not. I personally think it comes down to whether the player is capable of playing different styles rather than the bass. Also looks can play more of an issue than an actual sound. You never tend to see guys in garage rock bands playing 6 string Fodera type basses. On balance my post doesn't really say anything, other than the Fender is suited to many different types of music because people see it being used for different types of music! Sorry about that. [edit] I did mean 'Fender' not Fenfer!

Ordered from them at the start of the year, had a few issues of things taking longer to arrive than I was originally told, but everything was sorted out and arrived eventually. They mean well and I would order from them again. At least they told me when there were delays, unlike some businesses...

3 rigs for me. Nothing really fancy or technical. EBS Fafner through Trace elliot 1518 and 1028H Cabs. Gigs when we have a van. Mesa Boogie Walkabout Scout. Gigs when sharing a car/getting to and from gig in a taxi An old Trace Elliot GP7SM 300 combo. When I have to supply a bassamp for all the bands playing a gig and I'm not familiar with the other bassists there (or I know that they are clueless!). For some reason I just don't trust other bass players when it comes to tube pre-amps so the Mesa is out of the question. Also, I bankrupted myself to get the Mesa, why should someone else get to enjoy it for free? Also, the Trace is a good combo, so I'm not exactly being unkind to them!

[quote name='Sibob' post='645856' date='Nov 4 2009, 11:42 PM']I'll let you know when I get hold of both the Squiers due to me lol Looking forward to it nomnomnom Si[/quote] Cool, I await the results with baited breath!

[quote name='Sibob' post='645781' date='Nov 4 2009, 10:17 PM']Surely this is just an issue with your perception of the Squier brand? If an instrument is built to a good enough standard and sounds great, then surely it deserves it's price to be based upon those qualities rather than the name on the headstock. Si[/quote] Ah yes, the old 'if it plays well then it doesn't matter what is on the headstock' argument. Lots of cheap basses play and sound perfectly fine, it is down to player most of the time to make something sound good,unless the instrument is just rubbish! The fact that this is a 'signature' bass means that the argument that the bass should be priced solely on build quality, quality control and so on doesn't really apply. Would the same bass, minus the Biffy association be sold at the same price? I very much doubt that! I'm not putting down the Squier brand or looking down on the brand. I own one of the Affinity jazz basses and it plays great. Its just that as Squiers are marketed as the budget end of Fender, there comes a price point where they might as well stick a Fender logo on it rather than a Squier one. The Johnston bass is only a little bit cheaper than a standard mexican jazz, so why would I spend 400 quid on a squier when I could just as easily get one that will play and sound pretty much the same for less than 200? I'm not sure if the Johnston basses are different enough from the other Squiers, paint colour and Biffy sig aside, for me to consider paying the extra money. Are Squier Johnston's going to be on such a different level compared to other Squiers, in terms of build quality, electronics and set up to justify the extra price? I'm not a massive fan of the band, so I don't really want it for the reason of band association etc. I have absolutely no doubts that the basses will be cool and play well, if people are willing to pay that price for it, good for them.

[quote name='Tait' post='645749' date='Nov 4 2009, 09:47 PM']i've said for a while now the next signature bass squier need to bring out is a mark hoppus one. think about it. blink 182's target audience is teenagers. how many teenagers have £500 spare to spend on a bass? is there a similar, cheaper bass out? nope. you either have a precision or a jazz. and you dont get many squiers in those bright colours either. squier missed a perfect opportunity as well, they could have brought one out just for blink getting back together, or for the start of their new tour. the next best time will be when the new album comes out, i'm just hoping someone at fender thinks of this by then![/quote] I'm pretty sure that there has been a Mark Hoppus bass out. I think it was a Fender Mexican(Japan maybe?) thing with the body of a jazz bass and the neck of a precision. Wasn't that much more expensive than what is being charged for the Johnston bass in this thread. Unless I imagined it having ever existed!

I think that the bass looks pretty cool and no doubt there will be a lot of teenagers in around Glasgow that would really want one! I think the bass has a cool look with the matching headstock. So at least it doesn't look like another Squier. Price just now is about 400 odd quid from where I've looked, which I consider a bit much for a Squier. However, if it plays well and people like it then it will be a good bit of business for Fender/Squier/Biffy.

[quote name='MoonBassAlpha' post='645507' date='Nov 4 2009, 05:39 PM']"That whole Jools thing was a like a mass meeting of the middle of the road millionaires club." I very much doubt Stornoway are millionaires. I've supported them in Oxford and the music was pleasant enough, but couldn't quite see what the fuss was all about.[/quote] I think it was pretty obvious that my comment was not really focusing on Stornoway! Yeah, I could have worded it better. They are probably not millionaires, no. They just got a guest pass to the club for one night.

Yeah Sting is releasing an album inspired by winter and nothing says 'winter' like a big beard. He looks like some kind of metrosexual lumberjack. But he's okay... That whole Jools thing was a like a mass meeting of the middle of the road millionaires club.

If you are using a combo on its own there shouldn't be a big difference volume wise. I've got one of the older GP7SM 300 combos with the 15 inch speaker, which is even more of a lump than the new 715x. I'm pretty sure that 715 has a compressor too. Also yeah I think they have recently been discontinued. They are still in shops everywhere though, I've seen two already this week!

Probably a bit too obvious and not exciting but I personally think Jeff Ament is due a signature bass. That said he tends to change basses a lot so that makes the whole thing pointless. I would personally love a Geezer Butler signature model, since he is with Lakland I'm surprised its not been done already. Some Squier level Nick Oliveri thing would be fun as well

The Walkabout head kicks ass! Since the walkabout is 300 watts into 4ohms, if you were going to just use the one cab I would get a four ohm cab. Any number of quality 4x10s are about for under 600 quid, both new and used. Eden Nemesis stuff is pretty good. Also have you thought about a 2x12? I'm sure Eden XLT and EBS Proline 2x12s go for around 600 quid new. They would handle the lows. I wouldn't discount the Trace 1015H either. I'm pretty sure its the equivalent of putting the 1518c and the 1028h in one box. Really you just have to go out and try a few things to see what you are exactly looking for and what works for you. Best of luck!

For me its going to have to be a MIA Fender Jazz bass. I've been playing bass for 12 years now and have never owned any type of jazz bass. I've wanted one for ages but lack of funds have prevented me. I blame tuition fees!

Hey there, I've played through an older version of that cab a bunch of times without any issues. I thought it was a very functional piece of kit that managed to cut through two marshall 4x12 guitar cabs on either side of the stage. A cool thing to have if you are going to just use one cab and don't really fancy a 4x10. It puts out a nice bottom end. I'm a fan of the new Trace stuff as well and play through a 1028H and a 1518 cab for most gigs. Nothing really fancy about them, but they more than do the job and I'm happy with them. Are you looking at a new one, or is it second hand?