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crazycloud
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Everything posted by crazycloud
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Based on the 70s Fenders I've owned and as a player's instrument, the Cort. Based on $ value the 72, but it would also depend on what it was insured for. I'd rather have my player and the insurance settlement for the 72. The only instrument I'd grab has sentimental value and can't be replaced for that reason.
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Less than ideal, in what way? I'd put good money on most people, bassists included not being able to tell one bass from another in a mix, and often solo; see RIB13's recent video on P basses, and a large number of others I could post as well. Not to mention my own personal experience with this. Pickups are not rocket science and because they're inexpensive, doesn't mean they necessarily sound bad. Bass setup is not dependent on the quality a.k.a. price/name of an instrument and it's the muso's responsibility that the instrument you choose for that job is correctly set up. An SX P with a new PU if you think it needs it, and some time with a luthier doing a set up and fret dress and level, if needed, is still going to be cheaper than an MIA Fender, sound the same and work just as well. As for inspiring confidence, I've found that is more often reflected in attitude to the job, say turning up early and spending the time doing a run through to make sure it's perfect, and being enthusiastic and willing to help.
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I'd rather someone complimented me on how I played than what I played. I've never found a promoter that could really tell what an instrument was, let alone tell the difference between say a red SX P and a Fender MIA P. As for 'less to worry about', in what way? I've never had a part on an inexpensive bass fail live (eg a tuner), and if they can't tell any difference, what's to worry about? Doesn't stop rare and expensive artworks or historical artifacts being stolen, nor someone with a substance abuse problem stealing it and selling it for a few $, and in most places getting it back isn't always easy.
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We are in complete agreement.
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Thanks. I'm a bit remote to try most and will have to suck it and see. I will. Thanks for the tips.
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I was typing in reply to another post, but sure, I just don't see any benefit in them. If you had your van stolen with your bass and you needed another, what does the more expensive one really offer in terms of performance and tone that many other inexpensive replacements would? Construction, fit and finish and parts in inexpensive basses are very good today, not like 40ya. Sure, play what you like. I've played my (now sold) Alembic in a sketchy bar, but I'd prefer not to have the risk of an irreplaceable instrument being stolen or damaged. Few if any punters are going to tell the difference between it and an SX P, if I'd set the Alembic up for a classic tone.
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Anyone is free to do as they please, I merely offered my perspective. Inexpensive instruments are generally so good these days that I see little value in the more expensive versions, and I've had a ton of basses and guitars, very modest in cost to very expensive and have played them all live so have a pretty good perspective on performance to price. If I liked FSOs I doubt I would spend the coin to get a US P bass as it offers nothing to me that an SX/HB etc gives. Even if you change out the PU, tuners and bridge because there's something wrong with them, there'd still be a massive price differential paid for a tiny performance one. If say a Fender badge on the headstock means so much to you that you pay the premium for that, it's your money. I'm sure Laura Lee will be substantially better in performance and tone with an MIA.
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I'm at a loss why anyone would play live these days with an expensive instrument when an inexpensive modern bass will do the job just as well, (full time) pro or not.
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Which is what if I may? Would it be better to pay for the ES120 or the ES110 on runout? Good to hear. Thanks guys. I know the sounds I want in my head, but dunno how to get them. I'm good with technology and will work it out once I have the gear in hand, I'm just not sure what to buy. Synth controllers don't seem difficult to find secondhand. Time to do more research in this regard I think, but what you're saying makes sense. Suggestions in this regard will also be gratefully received.
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I bought a cheap 61 key Alpha KB to help learn theory and am looking for something better in feel and tone as I get better at it. A nice action similar to a real piano would be nice as I'm sure a nice acoustic piano will turn up locally sooner or later. The two I'm looking at are the Yamaha P125 and the Kawai ES110 which is being run out, or the newer, basically identical ES120. I'd like MIDI so I can use it as a synth for my own projects with my music PC using Arturia and maybe some of the open source synth plug ins. I'd prefer new, unless I can score a great deal S/H for something recent. Any more keyboard savvy users like to off their tuppence worth?
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I looked at some of the headless parts from Nova and it looks like I can make 14mm work with bass bridges. I'll then just need to make a (headless) headpiece which I can easily do myself on a simple mill. I have a strong preference for headless instruments anyway. Most likely. -
Machinist mate and a CNC coming soon. Thanks. Added to the database. I use the SRC6 for it now, finger picked, not strummed and up the dusty end of the neck.
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Thanks very much for that. I have conventional 6s and an SRC6 (avatar) and am looking for something in the middle ground to finger pick and do chordal work in some applications. I have some neck blanks made up that are large enough and am waiting on some time to build one. I've got a benchmark to try out now as I have about zero chance of playing a genuine one in the interim.
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Could a Hooky 6 owner please tell me the bridge spacing? I know the nut us 2"/51mm so only 3mm narrower than my full scale 6s but don't 'appear' as wide as the full scales I have which are 16.5mm at the bridge.
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Other stuff and then some rain got in the way, but I did take a couple of pics, and accidentally deleted the front view on stand without the plastic control legend. There are no marks, just reflections and tricks of the light. The body looks like a one piece maple as outdoors in the light I really can't see a join. The blue looks like a subtle burst on the edge, but as you adjust the angle and look directly on, it's not. For a modestly priced instrument, Ibanez have done a wonderful job on this bass, mine at least. It plays wonderfully like all SRs do and sounds great. I've no idea why some people knock the pickups and I think they'll stay stock. I have lots of others to compare them with including my own.
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Are you sure about this? My S2000 appears to be a solid monocoque and I doubt there is any timber inside it as it is the most resonant bass I have ever held, more so than some of my acoustic guitars. I doubt it would do this with a solid wood core, and the vibrational level is pretty uniform on it everywhere. Interesting, thanks, that's given me something to discuss with a new neighbour who has experience with CF boats.
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I thought that was a Bass VI.
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I used to have an RS824 and it's one of the few basses I regret selling. I never had an SR at the same time so it's interesting to see the size difference between them from your pic.
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I picked up a new SR375 SPB and it's awesome. Pics tomorrow when I have some time and can get it out in the sunlight as it's way prettier in the flesh, but not at all flashy. This is SR #6 in the current collection.
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Good review. I'd like one, but in a 5 or 6, but they seldom make it to the Antipodes.
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I lusted so hard after these when I first saw them released in the NY. Now, I'm not so sure, but I'd like to try one. I have tried other EHBs and my current and only bass GAS is the 1006MS. Enjoy your bass.
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I enjoyed the video and many of the things you brought up are correct, in terms of them being a myth. The 'P bass uber alles' thing gives me a dose of the ***ts, along with the 'Leo is God' thing. I own a ton of basses, and not one of them is a P, and I have never, ever been denied a job because I didn't have one or use one.
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This sad to see, but all the best in the future for Rob and Dawn. I'm glad I didn't sell my S2000 a while back now.
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I'm not a slapper either, but when I need to, I use the 4 as my hands aren't as big as MM's and LH thumb damping the B won't work for me.
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No it's not, especially if you start with a 5 and learn correctly. Don't get stuck using something like the pickup as a thumbrest and simply float it to damp. As for slapping with narrower spacing, I have no issues with it. Both of these things might be an issue with a 4 player, but not someone starting with a 5. OP: start with a 5, it's far more versatile as there's less shifting involved. And get an Ibanez SR 5 string. The higher numbers get better finishes and someother options like better pickups, but they're all solid. I look like using my SR206 for a gig in a week or so, even though it's the bottom of the line (price, not quality wise) and I have other much more expensive options. The real sweet spot are the SR rand with the Power span pickups, like the 305, 375 and 405, but any SR will be good.
