crazycloud

On 28/11/2022 at 20:07, BigRedX said:

Also all the best "bass" sounds use the centre pickup either on its own or in conjunction with one of the others.

 

You can get a decent bass sound out of pickups in the typical guitar bridge and neck positions but they need to be single coil (or with coil taps) and be capable of being wired in series when both are on.

Let's just say. I don't agree at all.

Any Ibanez SR or BTB. Very different ergonomics so you'll need to try before you buy. However Ibanez are very consistent dimensionally with modern basses, so play one SR (or BTB) 6 string and another will likely feel the same in terms of body and neck profile.

Tone is impossible to define in words, so I suggest looking at a model that interests you and look for YT clips, if not of the same model, but at least with the same pickups.

FTR, I have 4 SR and 1 BTB 6 string. I like them.

On 25/11/2022 at 01:42, BigRedX said:

Pickup position and type will probably make it more suitable as an A-A baritone guitar than an E-E Bass VI.

Curious as to why you believe that.

I like the colour of the JTDD but not so much the stripes even though they're not a deal breaker. It's missing at least one string for my tastes though.

Re the Steve Harris P, I'm concerned if I had a soccer club logo on it, I'd want to fall over all the time and cry whilst holding a leg.

PS: Current SR collection is an SR256B, SR370e, SR375e, SR706 and SRC6. Plus a BTB.

There are a couple of others on the 'want but don't need list' mainly older or unusual models.

On 17/11/2022 at 00:03, SumOne said:

My setup will be about as cheap as it gets: SR300E + Zoom B1-Four.

I'll be doing the annual local hippie collective night with my new SR375e and B3n next week, probably through my old Peavey Mk VI and 15 cab. I seldom use the amp/head any more as they're so heavy, but the hall is 100m up the road so it's no problem moving them on a furniture trolley.

14 hours ago, JosephMartyn said:

Hi, thanks yeah they're not light!

Mine wasn't particularly light either, but it was a lovely bass and every so often I get a bit of nostalgia for it, but at the time I had maybe 50 basses and the 4s weren't getting played. The young guy who bought it has turned out to be quite a talent from what I'm told so it went to a good home and I'm happy about that.

14 hours ago, JosephMartyn said:

But no the injury was in a high speed accident.

I've had a few of those, both race car and road bike and so far, haven't done any long term damage. My worst MVA injury was getting T boned by a truck at relatively low speed.

14 hours ago, JosephMartyn said:

I was training to be a stuntman many years ago, a journey which then took me on many twists and turns!

No regrets at all, I got to see a lot of the world, meet amazing people and do things that, looking back, seem like another life.

The wife would have said back then I was an amateur stuntman for some of my exploits. It would have been an amazing experience doing stunts, I assume for movies/TV.

14 hours ago, JosephMartyn said:

Feels great to be playing again

Welcome back. I hope you have a lot of fun playing your Musician.

On 27/10/2022 at 18:44, JosephMartyn said:

As I get back into bass after a long injury break...here is my lovely bass, been through a lot!

My recollection of my 924 was it was a bit on the heavy side, so my first thought reading that was I hope it wasn't the cause of your injury.

I sold mine to a nice kid on ebay and he turned out to be in the next suburb.

On 28/10/2022 at 21:19, Misdee said:

It's a shame that Ibanez developed from the manufactured in Japan quality brand they were into what they are now. Basses like they used to make would be expensive nowadays, but it would be a price worth paying for instruments that were still the same level of quality as from their Golden Age.

What a load of utter claptrap.

I've had maybe 50 Ibanez basses, still have an old Blazer, an RB that my brother has, and currently 7 MII SR and BTB basses and I'd put any of them up against an equivalent from the MIJ era. Lots of nostalgia there, just like there is with people thinking all 70s fenders are suddenly good. My BTB is about the modern equivalent of the MCs, and if mine was a 4 and not a 6, I'd still have the BTB.

On 31/10/2022 at 22:50, Ajoten said:

Any accepted wisdom on this?

Are you wanting someone to do the trig for you?

Simplest is F12 is 1/2 the scale so the difference end to end can be guessed knowing the nut and bridge dimensions of a different bass, and comparing them to your SR, especially as Ibanez are nice enough to give F0 and F24 widths.

How as bass feels in the hand to me also depends on the ergonomics of how it hangs on me as much as the raw neck dimensions.

On 08/10/2022 at 03:30, AdrianP said:

I’ve now begun playing with a new band, as a side project, and we’ve been doing a lot more blues than I’m really used to playing.

I've played classic rock, traditional R&B and blues for ages, and have never owned a P, nor felt the need for one. I played with a Steinberger for years and now with a 6 and either cover all the territory those genres require.

I see no need for anything beyond what you already have.

On 08/10/2022 at 05:56, paul_c2 said:

Not only do you not need a Precision, you don't need either the Yamaha/Jazz

 

 

 

 

Thanks for posting that again, I needed to be reminded.

I'm a long time subscriber to FWW and have been scouring sites looking at other basses, as I'm coming into some money, when in reality I have all I need. A long scale 6 and my SRC6 cover everything I need and I have those. I have a PRS SE, a cheap but good superStrat and nice 6 and 12 acoustics so am covered on that front too.

On 08/10/2022 at 19:23, MrSpace said:

I find myself drawn to basses without pickguards. Not sure why, I just prefer the look. Anyone else feel the same?

Yes, I hate PGs (and control plates) and none of my main players have them.

On 08/10/2022 at 19:23, MrSpace said:

What's the disadvantage with a lack of pickguard?

None. I don't see an advantage to one unless you're super agressive with a pick, which is certainly not me.

Just responded yes to the questionnaire.

On 01/10/2022 at 22:52, mcnach said:

Anyway, the real reason I wrote this post was to confirm that an inline volume control for the headphones comes in very very handy.

Good idea, thanks.

My SRC6s work fine as either Bass VIs either tuned E-E or A-A.

I might pony up for this P90 equipped HB.

Not really. My first bass was an Ibanez and apart from the years when I played my Steinberger all the time (still had the Ibby) I've been an Ibanez player for 40y. My main basses are all Ibanezes now as the Steinie has been retired as it's too valuable to me to be used outside the house.

5 hours ago, skidder652003 said:

but which one would you grab in a house fire?

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.

8 hours ago, Doddy said:

No point playing amazingly if your instrument sounds less than ideal.

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. 

8 hours ago, Doddy said:

I'm not talking about promoters. I'm talking people band leaders and/or artists who hire you for a gig, or producers who book you for a session. If you turn up with a quality instrument, it puts peoples minds at ease that there won't be any issues with things like excess noise or intonation.  You don't want to be the one who is holding up a rehearsal/soundcheck/gig/session or whatever because the soundman or producer is hearing buzzing from your bass.

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.

6 hours ago, Doddy said:

I'd also rather someone say 'that bass sounds great' than 'that bass sounds great for the price'

I'd rather someone complimented me on how I played than what I played.

6 hours ago, Doddy said:

The only other person whose opinion might matter is the person who is hiring you, and they will be far more relaxed if you turn up with something decent because it's one less thing to worry about.

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?

11 hours ago, BigRedX said:

and TBH the main basses I use are so distinctive that if that was to happen, the thief would never be able to do anything with them other than admire them in the safety of their room.

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.

4 minutes ago, Maude said:

I'm at both ends of the spectrum, by that I mean I see no reason to not gig an expensive bass, but at the same time I see no reason not to gig a budget bass.

We are in complete agreement.

On 09/09/2022 at 00:16, Quatschmacher said:

From what I read, there was undesirable key wobble on the ES110. With all these things, get yourself somewhere where you can try them all out and see what is acceptable and works for you.

Thanks. I'm a bit remote to try most and will have to suck it and see.

On 09/09/2022 at 00:16, Quatschmacher said:

For controllers, check out stuff by Arturia (Keylab), Novation, Native Instruments, Studiologic, etc and see what speaks to you in terms of feel and features.

I will. 

Thanks for the tips.

Just now, Maude said:

But it sounds, plays and looks right for the band so why wouldn't I play it? 

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.

3 hours ago, neepheid said:

 

Because the basses are nice?

Because the bass player likes them?

Because they can?

Because it matches their outfit?

Because your definition of "expensive" might not be the same as theirs?

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.

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.

49 minutes ago, Quatschmacher said:

The ES120 corrects a complaint that users of the ES110 had.

Which is what if I may? Would it be better to pay for the ES120 or the ES110 on runout?

56 minutes ago, Quatschmacher said:

The Kawai actions are very good.

Good to hear.

57 minutes ago, Quatschmacher said:

None of the models you mentioned have pitch and mod wheels as they are aimed more at piano rather than synth/controller functionality. There are other devices you could add to get that functionality but weighted piano keyboards aren’t always the best solution for playing synth parts. 

30 minutes ago, Woodinblack said:

Point is, for me, a piano is a piano and a synth / controller is a synth controller, and although I would run a piano sound from the synth, I wouldn't really run a synth from the piano

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.