thodrik

When I saw the stuff at first, my first thought was 'gimmicky', but but after I tried the briefcase I was very much impressed. One of my mates is planning to pick one up as he is starting to do teaching and needs an amp to carry about from lesson to lesson.

I have not tried the bigger cabs yet, but something tells me I would still pick a big 12 or 15 inch speaker over them, but that is just me being a traditionalist. If I was (a);doing gigs on the upright, or (; doing some small acoustic type gigs, I would consider the suitcase or briefcase. However, I've not done an upright gig in 5 years and don't see myself ever doing the acoustic thing.

The Bass Buddy is probably most tempting though, for a luxury headphone practice tool, it would be that or the EBS Microbass I think. Just now I've got a cheap Park/Marshall 25 watt thing thats lasted 11 years, and until my finances change, I think it will be around a lot longer than that!

[quote name='Tee' post='556909' date='Jul 31 2009, 10:33 AM']Just ordered from the bass centre for the first time. A pedal that's in stock. I'm wondering how long the process will take. Any ideas?[/quote]

Well. that depends on whether it is actually in stock, or just in stock unitl you get charged for it, after which it is magically no longer have it in stock and you have to wait ages for them to get hold of it!

That only happened to me once at bass centre but a couple of times with other places, so I'm wary of being dicked around now! Generally Bass Centre have been pretty good and delivered within 3 days to me when it is actually in stock, which is pretty good.

Well, I have generally found that the theory has been more helpful than reading, at least in a rock band situation. Having a working knowledge of scales, harmony and melody has been far more helpful in band situations than the ability to read, as most band members I've had either don't know how to read, or don't work with notation when writing.

I picked up the double bass at 15, 4 years after picking up the bass, and it was honestly the best thing that I ever did to improve my abilities and knowledge of the role of bass in music. I already knew how to read since learning the violin at a young age but playing double bass really opened up my eyes, until I ultimately got sick of it. Doing all the grades, but more importantly playing in orchestras really helped my basic understanding of theory, playing abilities and timing; nothing prepares you for open E, 98 bar rest, open E! Being a rock guy though, I was fed of classical music after the first year of studying it at uni and I've not played in an orchestra since.

However, the theory has stuck with me subconsciously and I'm glad I did go through with all the grades etc, as it allows you to look at music from different angle and be aware of more interesting harmonies than the minor 3rds and perfect 5ths. At least the ability to read is there when I need it, though it might need a bit of work after 5 years away from it!

That said you have to know how to play as well! I can't count the amount of guitarists I've met that talk a great game and actually know a lot of theory, but have no feeling, timing and can only play in drop d with one fingered chords.

Being a big Trace fan, I really rate these amps and I would imagine that the problem wouldn't be that serious. That said, I am reluctant to buy something that doesn't work properly, unless it is for dirt cheap. I've seen a fair number or these type of amps amps on the second hand market, so its not exactly a once-in-a-lifetime chance to buy.

Also, why is he advertising it as a 300w head when it clearly isn't? I actually own the GP7SM 300 combo which he is pretty much claiming to be selling. That said, the speaker in mine is 8ohms with an option for an additional speaker, while the speaker in the advertised combo is at 4. Not that much real difference in volume when the combo is used by itself, but still!

As said before, you getting a very good amp if you can sort out the existing problems. It would handle most gigs around Glasgow without much of a problem. I would suggest to try before you buy, and if you buy it, to report back whether this top 40 album is any good!

Yeah I would secretly love the Bass 400+, but the potential costs of revalving pretty much put me off all-valve amps! Until I'm minted and able to replace power-amp valves whenever and carry a back-up amp at all times, I think I'll stick to hybrid amps. Pre-amp tubes are a lot cheaper to replace generally and the amps generally sound 'valvey' enough to do the job. In a gig situation, I don't really think I'm lacking that much in terms of sound to make me think, 'I really need more valves' or the added weight they bring!

Personally as well, in a side by side comparison I thought an Aguilar DB 750 and the Fafner (which only has one valve in it) destroyed an all-tube Ampeg SVT Classic. But that was a new Ampeg, and I don't even want to begin the old Ampeg vs new Ampeg thing...

Some scary stories here guys!

I really want to take a trip down to the Gallery when I next need a bass. Never really heard much of the Bass Cellar, but doesn't really inspire me now!

Have ordered from the Bass Centre before and they do mean well. Just the annoying sales thing where they say something is in stock and ready to ship, you order it, you get charged and you find out the day later that it wasn't actually in stock but is on order. Then you have to wait and wait and they never really get in touch to tell you when it will arrive. I waited almost 4 months for a combo that I was told was in stock when I ordered it.

Ordered a rack case from Bass Direct and got the same thing, but I just asked them to give me money back, which they actually did to their credit.

Luckily living in Glasgow, Guitar Guitar and CC Music are really good shops and the staff are usually very helpful and tend not to bullshit you or treat you like an idiot, unlike a certain other music shop in the city which I visited when I was younger. I recall this conversation:

Me: Can I try that Jazz bass (Standard US model at the time)?

Him: Only if you are serious about buying it.

Me: I travelled all the way from Orkney to buy a quality bass.

Him: Uuuurghh, you sure you are ready for a Fender?

Prick. I spend a whole day travelling in order to buy a quality bass, only to be told I shouldn't have bothered as I probably suck. That gave me a lot of motivation to spend money in that shop. Also, so what if I did suck? I would still have probably bought the thing and the store would have, you know, MADE MONEY!

[quote name='JTUK' post='554496' date='Jul 28 2009, 10:15 PM']I'd be looking 2nd hand 1st and foremost to get rid of any depreciation issues.

Also, I'd want it to be made by a western salaried tech for that money..talking of which, I wouldn't have a Mesa as two many guitarists I've known have had problems and my amp man says they are poorly made inside.
He hates getting them in to repair.. so, lovely sound, but............. IMO

On my radar would be Aguilar pre's and amps, Markbass, Glocks and erm..that will do for now..

It wil be fun getting round to trying therm all[/quote]

I have heard that about Mesa guitar stuff, plus the Rectifier amps are to blame for a lot of the ultra-polished US rock stuff I really hate. But after trying the bass stuff, I was impressed to the point of really wanting it! Maybe I ended up dodging a bullet in the long term, but I would pick the Mesa over a lot of other stuff. The price really does put me off though, even second hand stuff. Around Chrismas before I bought my amp, a second hand BB 750 went on e-bay for well over 1100 quid, which to me seems just plain silly for an amp with no warrenty.

Ah well, its their loss. Keep practising, thinking about how to improve and just look for other bands. Depends on the type of music obviously, but there should be lots of bands in Edinburgh or musicians looking to form new ones. For those that had to grow up in the middle of nowhere, it is actully pretty good.

I've never been sacked by a band, I generally leave when it gets stale or the whole thing slowly and collectively dies on its arse through inactivity. Getting to know by e-mail sucks though, I would prefer a phone call even, then you can ask questions right away.

I play a Vigier Excess II.

Cool bass, for me its some kind of hybrid between a Rick and a Jazz bass.

Nothing really fancy in terms of pre-amp, just a really well made bass. Kind of a marmite bass though, a couple of people have tried it and just not taken to it at all!

Ahhh, £1400 quid for a new head, to be in that position again!

When it comes to the top end stuff, it just depends on what you are looking for.

I had a similar figure and ended up with the EBS Fafner, but the GK rb stuff and Aguilar DB 750 were very tempting, as was the Mesa Big Block 750 which ended up being a bit too high for my price range!

All I can say is that I wasn't tempted by the Ampeg SVT Classic, mainly as a tube went when I was trying it out.

I would love to have an opinion on the Glockenklang stuff, but I can't have an opinion on something I've never tried!

[quote name='steve-soar' post='551976' date='Jul 26 2009, 06:40 PM']Hi Chris, my 90's Jap Jazz is a beaut but I've tried the new American Jazz basses and they are great.
But, I still lust after a 70's Jazz, as I doubt I'll be able to aford a 60's bass.
I think you should get a 70's P bass.[/quote]

I'm in the same position here, I would really like a properly vintage jazz, but the prices of vintage jazz basses are a bit excessive. I would probably rather buy a new quality Jazz style bass than paying more for an old bass is more likely to have issues. You can still get a good deal out a 70s Precision though, at least in comparison to a Jazz bass from the same year!

I've been playing a 1978 Fender P-bass for about 9 years now, and I've never played a J bass that plays as well as it, hence I've never actually owned a J-style bass.

There is something special about Fenders, especially older ones, in terms of history and 'vibe'. However, it would have to be one hell of a Fender, new or vintage, to make me want to part with a Sadowsky that I owned already! I have played a couple of the Fender 08/09 Jazz basses and was impressed, but the only thing it has going for it the Sadowsky doesn't would be that instant familiarity,'history, tradition and vibe' that Fender pushes so hard, rather than construction, quality of parts, quality control. But if your really need the classic passive Fender sound, you might as well get a Fender.

If soundman can't cope with anything other than a passive Fender P or J bass, that is fairly sad in this day and age. Also, if they are that hopeless, there is little chance they will be able to tell if a bass is a Fender or a Sadowsky! I'm talking in terms of running your own projects though. If you are doing session work, I would imagine it would be wise to own a Precision and a Jazz, just in case you need 'that' sound if the person who is paying you asks for it. But I'm not a session guy though, so I might be talking balls again.

I've tried the TVX 4x10 before and was very impressed. Peavey gear is generally pretty good and good value for money in the mid-price range in my opinion.

[quote name='wateroftyne' post='547145' date='Jul 21 2009, 11:08 PM']Don't get too excited... I think they're hybrid.

It's early days but they're screaming 'all style, no substance!' at me...[/quote]

Now that I'm looking at the right amps, I'd pretty much endorse this view!

They will probably be okay, but I'm just a bit sick of the 'new but looks really vintage' vibe.

I own a 32'' scale Gibson EB3. In so many ways it is an awful, awful instrument.

It is really heavy.

In addition to being really heavy, it is also neck heavy, which leads to the headstock diving to the floor if you let go of the neck during a gig.

It has the set-neck thing, which for me is always a bit of an issue.

The pickup/tone options of 3 and 4 should be called 'mud' and 'absolute mud'. Also the back pickup is so quiet that you can't really use it with any of the other options without completely changing the EQ and volume on your amp.

The bridge is so badly designed. There is no distance between where the string ball is supposed to grip and the string saddle where the string is supposed to sit. This leads to the thread of the string running over the saddle, causing all manner of intonation problems! You can get round this a bit by using strings without Rotosound type felt thread (Like EB, D'addario etc) but the intonation is still an issue past the 12th fret.

That said I still love the bloody thing, and it sounds pretty much unique. Also, I have pretty small hands and thus love the way I can get around the frets without the extra stretching required on a P-bass.

Also, I tried someone's Musicmaster and thought it was pretty damn cool! Probably wouldn't take it over a Fender Jazz though!

I know its all subjective (and very late/early, blame really bad insomnia!), but here is my personal list of things I don't rate, didn't take to and don't believe are the be all and end-all.

Don't think it was ever-rated, but the S1 switch on Jazz basses, for me, was pointless!

Don't like the Hartke cabs with the aluminium speaker cones, just never liked sounds I got from them. Very cutting and a lot of punch, some people like that, I found it almost to be excessive!

I tried a Wal, which while impressive I didn't think matched the hype that had been attached to it. Though the fact that they recently become so rare as to be almost mythical, probably puts hype at an unrealistic level, so I won't be harsh on it here.

The Jazz bass. Awesome for sure, I just don't like the way people seem to think that its impossible to play anything remotely complicated on anything other than some derivative of the J-bass.

Likewise, would I get killed if I said 8x10s in general? Albeit a good one is awesome, I just have never agreed that they are holy grail to rock bass. Don't like the way Ampeg almost consider it impossible to rock out without the 8x10!

The following items are everywhere in Glasgow and while I do think are a bit over-rated, but really I am just sick of the sight of them!

Ashdown Evo II 500 and Ampeg Svt 450. Decent amps but not great, but just about everybody is using them.

Boss ODB3 and Big Muff Pii for distorted bass. Everybody has distorted bass now.

Gibson Grabber/Ripper basses. So many guys in 'hardcore'-type bands playing these with afore-mentioned pedals. I tried them, and could understand why they didn't sell originally.

Also, zero frets. They probably are a good idea, I'm just annoyed that my strings ended up eating a hole into the one on my Vigier after 5 years, leading me to have to send the bass away to get a new fret put in. I probably have found the reason for my insomnia though...

Generally, I've become fairly sure of myself when trying out basses in shops. I don't have that scared to death feeling that I would make an arse of myself that I used to get. I probably still make an arse of myself but I just don't care anymore!

I always try it out acoustically first, to see if there any annoying rings etc,
Check tone, volume pots for any crackling sounds,
Check to see the neck isn't warped or anything is a bit 'off'
Tune the bass,

Then I just play basic pentatonic stuff checking for dead spots, intonation, and 'buzzing fret'
A few scales to see if the neck is something I can work with,
I try and ignore action height issues, as I could sort that myself, but it can get annoying when it is set really really high.
Then I just jam, fingerstyle, slap, some chord stuff, maybe some tapping.

During said jam, I ask myself 'could I live with this as my only bass?' If the answer is no, then its not for me, unless I had lots of money and could afford some 'trophy' basses, which I don't!

I don't think I ever play any songs, I'm not doing a bloody audition, the bass is!

If you've only been playing for a year I wouldn't worry that much about it. It will probably take you a while to get the technique down and even longer to make it sound musical. I didn't slap much at all for the first 5 years of playing, as despite being a huge Flea fan I was never that interested in slap bass and never wanted to become one of those 'Flea clones' that go into music shops, pick up a Stingray and start slapping profusely!

I started to pick up slap and pop stuff eventually though when I was about 17-18 and have been working on it for the last 4+ years. It started off as a bedroom jam exercise when uni was driving me insane, but I have started to fit some stuff into gigs. I know there is something to be said for becoming familiar with different techniques early on, but I found it a lot easier to fit slap bass into my own sound once I had a general grasp of the instrument in terms of timing, harmony and basic technique, as well as experience of playing with drummers that can't keep a beat!

Just keep at it and your technique and thumbing accuracy will improve. Teachers and watching videos will undoubtedly help, but it really depends on you putting the work in, unless you just happen to be awesome and it comes easily to you!

My philosophy is really that if you can afford it and it makes you happy, then go for it. Yeah, I know I would get away with playing a cheap Squier bass, and it would get the job done. Hell, if you're adding a bunch of overdrive effects and a chorus etc, most people (who are not dedicated bass-listeners!) wouldn't be a able to tell the sound it makes from a Alembic etc. Would the player notice the difference? Of course they would.

However, for me, if you are just plugging a bass into an amp, there is a big difference between a MIM Fender Jazz and a Nordy. Yeah, a top player will probably still play circles round you with his MIM Fender, but for me he would sound even better through the Nordy. Subjective, I know, but that is my view

I think there should be distinction though between boutique basses and really well made (and albeit more expensvie) basses. I don't think that everything that isn't a Fender, Gibson, Musicman, Rickenbacker etc should be classed as boutique. For me, if you are too frightened to gig with your bass for fear that something might happen to it, you have probably got a boutique bass. I play a Vigier Excess, which I would not at all consider a boutique bass, but rather a really well-made bass that sounds better to my ears than my P-bass and is far less likely to suffer from any build quality issues or fall apart! It has not been sitting in a cupboard, rather it has been used constantly over a three year period and it has never once let me down. Much as I love my Fender, I can't say the same thing about it!

Would I spend 4 plus grand on a Fodera or Alembic that is designed exactly to my specifications? Probably not, until I at least have a well earning job (at which point I will probably no longer be a musician!) But I would, be prepared to spend a bit more than the MIM or even the MIA Fender. If one of the main Guitar builders provides everything you are looking for from a bass then that is great, but if you want something a bit different, you have to be willing to pay for it.

If all the basses make you happy, then you don't have too many. I would love to have a huge collection but budget prevents me. I'm also pretty picky when it comes to buying. I've been playing the same P-bass for about 7-8 years, and only buy another new bass if I thinks it feels and plays better than said P-bass. I'm never gonna sell the thing and what is the point of buying another bass that wouldn't replace it for day to day gigging, rehearsing recording etc. To date I have bought 2 basses in 5 years, and one of those was a Squier just in case the P-bass went wrong on the road. However, if I had more money, I would be buying a lot more instruments!

I know there is something to be said for taking one or two basses and committing yourself to them, but if you have the money to buy a lot of cool basses and they make you happy, then go for it and don't let anyone else try to bring you down!

[quote name='bubinga5' post='528182' date='Jun 29 2009, 10:04 PM']Surely it doesnt matter what instrument a person chooses to play on..As long as the music is good...The instrument is just a tool....

What does having an 'Original' bass guitar' have to do with writing "original' music...I dont see any link in that at all....I dont mean this to sound like a criticism but there is such a thing as thinking about your instrument too much

Its a means to an end...Ok i have a few basses but there all to cover my needs as a bass player in different projects..some i play more than others..

The most original musicians could play Squire Jazz (great instrument) and be original...A non original musician could play a Carl Thompson and still be erm...non original..Its the way your mind thinks, not who makes your instrument...[/quote]

+1 on that. Having a great bass doen't make you a great bass player. I always think that the best bass for anybody is one that you can feel comfortable playing and seen to be playing. I would guess that the fascination of 'NYC Fender clones' would be the knowledge of having a well-made bass without the worry of making an artistic statement due to how your bass looks. Also, you wouldn't have to deal with constant 'what type of bass is that?' questions, as most will just think its a Fender anyway!

Well I'm pretty happy with the three good basses I've got, but I've still never owned a jazz bass-style instrument. I would like any/all of the following to make up for it:

A nice playing 60s/70s Fender jazz bass, don't care about the colour so long as its not white, bright blue or mint green!

A Fender custom Jazz.

Another Fender Precision to balance things out

One of each of Sadowsky NYC,Nordy,Alleva Coppola or Mike Lull Jazz-style bass. One maple neck, one rosewood, a five string and four string fretless with ebony neck. Don't really care who makes what! Fender clones I know, but great basses (or at least they bloody well should be for the price!)

A Fodera Monarch bass and/or Emperor, can't be too greedy!

Vigier Arpege 4 string. I don't care about the new 'cheap' bolt on neck, they just look awesome and I betting they sound the same

Rickenbacker 4003. Black.

Until a couple of months ago I would have put a Wal four string at the top of my list, but recently had the chance to play and possibly buy one. The kind of chunky neck didn't take to me. Great sounding bass though.

I know there are other great bass companies like F Bass, Alembic, Spector, Pedulla, that I would consider also, but the list would become endless!

I used to be a 'the heavier the gauge the better' kind of guy. However, in the last year, I've been generally using 45-100 on my Vigier sets which have made it a lot easier to do a lot of the bass gymnastic type stuff and have been a lot kinder to my fingers (though the switch from Rotosound to D'addario nickles also helped ). I don't think my tone has suffered either, and I've been tuning the E string down to D and even B. Of course, the B sounds pretty flabby compared to a tight 5 string B, but that was what I was going for. Obviously if I was tuning any lower, tuning down all four strings or needing a tighter sound, I would need to use a heavier gauge.

That said, when I tried putting lighter strings on my P-bass for playing in standard tuning, it just didn't sound as cool as when I had thicker strings. I do think it depends on the bass. Personally I think P-basses need to sound as big and chunky as possible, even if it makes playing complicated stuff a bit more difficult! So its now 50-110. I would go heavier still, but I don't have a band playing low down-tuned riffs and I would have to do some work on my bass to fit them, which isn't worth the effort.

I would love to have a jazz bass and string it with really light strings, something like 30-90 and a 4 string P-Bass tuned to about A with silly heavy strings, but budget problems, in addition to not having bands where said basses would be needed, means its a no-go just now.

Nothing wrong with using light strings, its just down to what you want to sound like and what you want to do.

Since I generally play alt rock-type music, I generally practice techniques that I never get to use at gigs, rehearsals etc, just to keep the instrument fresh and exciting. Generally been working on thumb technique, tapping and chord progressions just now.

Every now and then I'll do a few scales, arpeggios and modes, but I get fed up of them fairly quickly as it just reminds me of when I was having a miserable time playing double bass in orchestras and chamber groups! Its good to have the knowledge in the back of your head though that is for sure.

When I can't be bothered with any technique or theory, I tune down to about B, turn on a couple of overdrive pedals and just make some noise! Does it improve my technique? No, possibly even the reverse. But it is when I have the most fun!

I've done some traditional Celtic-type inspired vocal stuff and instrumental wierdness. Was a short phase though! I rediscovered Kyuss!

I own five but it feels wrong giving a Westfield equal numerical value as a Fender! Anyway, 1566 it is.