mario_buoninfante

Yap, makes sense. I remember reading/watching an interview published around the time they released the Spector Timbre bass, and he was mentioning his love for acoustic instruments and the fact that he wanted to spend more time working on that. But I didn't know he already got started with it. Thanks for sharing

I assume he won't be allowed to make basses for the foreseeable future

How's that a problem that a bass sounds too much like itself?

Has Stuart Spector actually retired? Korg did acquire the company, but I think Stuart Spector is still working. I could be wrong though.

Never tried this bass (looks interesting for sure), but after reading all the comments about it feeling "weird" when standing up and about the neck dive issue, I thought I'd share something I did to my Spirit XT-2 bass. I know it's a totally different bass and if there is one thing that's not a problem on it, is the neck dive issue (who knows why, right? ). My issue with it was its position when standing up. it was pushing the neck quite far and that made it tricky to play in the lower register (1st-4th fret range), because the strap button is where usually other basses have neck bolts. So, after reading few things online I (accidentally) came up with this solution, that I appreciate is not the most aesthetically pleasant (I'm defo a "functional" kind of person), but I'm sure somebody could embellish it and make it work for this and other basses too. I suppose it might help with the neck dive issue. The good thing about this solution is that it doesn't require modifying the bass in any way. Here's the thread

That's what happens when I write posts with a bad cold/flu

Ahahah yeah, that's what I meant Ahahah

and I just saw this on another video (https://www.youtube.com/watch?v=kN5fRtIEKIY) of Deidda on YT

Also, since it's Bass Chat after all, here's a really good Italian jazz bassist from Salerno, Dario Deidda. There are few videos on Youtube of him playing with big names (even Marcus Miller at NAMM or something similar). His background is jazz/bebop but he played with various artists also outside the jazz circuit.

Almamegretta an Italian band from Naples. Still active but the line-up has changed over the years. They have been active in the European (and not only) dub circuit. Worked with Massive Attack (3D has Neapolitan roots), Portishead and others. Here's a single from the album Sanacore 1995, produced by Adrian Sherwood. Also live they were ahead of their time, with a lot of real time processing and amazing musicians.

welcome

I wouldn't say this is a solo though. This is a composition. About Jaco being overrated, I have to admit I had that feeling for years, but I now changed my mind. In the last years I actually listened to his work (solo, with Pat Metheny, with Weather Reports, with Joni Mitchell, studio and live) and I have to admit he's incredible! But that is totally subjective though, a lot of people don't and won't like him and that's absolutely OK. The thing that I realised about him though is that to me he's not a bassist in the strict sense of the word. He's a musician that uses bass to express himself. Most of his bass lines are counterpointy more that "proper basslines". A lot of melodic lines (something a sax player would play), tons of 3rd, 7th and 9th. Take "Birdland" by Weather Report for example. This absolutely unique and I like it. That said, there are tracks where I believe this doesn't really work. For example on his "Come on, come over", the main bassline (not the super funky 16th in the chorus that are awesome) to me sounds like a part for brass instruments (that in fact at some point double that). Every time I start listening to that track (that I like), I feel like it's missing the bass. To me there's a void that Jaco's bass doesn't fill, rhythmically, harmonically and in terms of frequencies. Just my 2 cents.

basically what I was trying to say is that, if one knows that they want to have compression, they might as well have it while recording too. but again, that's subjective!

the only thing about applying compression (or any other effect tbh) after the facts (ie post-recording in a DAW) is that one most likely played without getting that "feeling" in real-time, and this would have affected the way one plays. this is the only issue I have with re-amping (both in recording and demo situations). the player had a really clean sound when recording and adapted their playing to that. not trying to say that re-amping is bad though

I think compressors as pedals/fx (aka something you put between your bass and amp/PA/whatever) are no different from any other effect. one might need/like them, one might not. in terms of what a compressor actually does, I think there a few things that can be added to everything else already mentioned on this thread. it does affect the volume/amplitude of the signal sent to its input but, being a non-linear processor, it introduces distortion of some sort (not to be thought as a fuzz sound!). distortion per se (via pedal, clipping, etc.) adds harmonics to the sound. in order to change the amplitude of the injected signal, a compressor needs to "analyse" the input signal, and that's usually done with an "envelope filter" (particular low pass filter). this to get a signal that's unipolar, a bit smoother and easier to work with than the original signal at the input. then this analysed signal goes through a comparator where is checked against a threshold (usually not hard threshold, but a series of thresholds - ie hysteresis). so, if the analysed signal (and not the actual input) crosses that threshold the compressor reduces the actual input in amplitude in accord with its settings (attack, release, ratio, lookahead, etc.). from this, it's clear that also the way a compressor analyses the signal affects the results. the comparator too (hard threshold, a soft-knee one, etc.). and last but not the least, att/rel and other parameters massively affect the final results too. one last thing, one might not want/like a compressor on their pedalboard, but somewhere between their fingers and the listener's ear there is going to be some compression, this due to pickups and the way they transduce, the amp, other pedals/fx in the chain, the mixing/mastering process, the headphones or speakers on the listener side, etc.. Just keep in mind a turntable generally has a signal-to-noise ratio of 50-60 dB, one's bass most likely has 20-30-40 dB more of dynamic range. so in order to be put on vinyl it'll get compressed somehow. compression happens regardless one having a compressor pedal/fx or not. that said, I totally understand those who don't want to use one. like with everything else, it's matter of tastes. but I think it's important to understand that compression happens anyway.

If I'm not mistaking, most of the Spectors (almost all Euros, with the Dug Wimbish signature being the exception I believe) are >40mm. and G&L L1000/L2000/LB100 Tribute and Fullerton made have either 1 5/8" (41.275 mm) or 1 3/4" (44.45 mm) necks. The G&L Kiloton series have 1.5" (38.1 mm) necks and the Spector Legend/Pulse/Ethos series have 1.57" (39.878 mm) necks though.

you also have G&L and Spector

just saw @Sonic_Groove already shed some light on that, sorry

yap, the Massive Attack one contains the sample from Stratus by Billy Cobham

drums and keyboard riff too! it's basically a sample from the original track, that is awesome too

thanks for sharing. it all makes sense. about the bass setup, I partly agree and partly disagree. I wouldn't care too much if the action is a bit off, since it's a subjective thing ("off" means too high for some but too low for others). But intonation is a different matter though. it's not about tastes. something it's either in tune or not. BTW on mine the action was OK, just a little bit of buzz on the E string (solved now), and the intonation wasn't miles off, but it was off though. and that is more important to me.

@40hz thanks for sharing your experience, sad to hear though. I have to say, that despite all the things I reported here, the bass sounds and feels really good. but again, as @Ralf1e was saying, this shows the lack of quality control more than anything else. things should be consistent within an acceptable tolerance. (without trying to blame guitarguitar) at the same time, I'm surprised that at the shop nobody noticed these things though. I believe they should check the goods and report issues like these.

Not a Euro or US made, but I own a Spector Legend Classic 4 that has Bartolini PJ by default and I think it sounds really good. It's mellower than the classic Spector EMG sound, but has common traits for sure. It's as if it's a bit more vintage (despite being and sounding like an active bass). Getting back to the main topic (Are Spector Bass Great Basses?), I'd like to add my 2 cents based on my experience with a Korean made. While I do appreciate I never played a Euro or US made one, I can say that the Legend Classic punches way above its weight. It is really well made, I didn't find a single defect on it, the finishing is great and it just sounds great. It was new at Bass Direct for less than 500£ and it definitely sounds like a way more expensive bass. The only thing, it took me a while to get used to the Tone Pump Jr (mainly because pots aren't centre notched), but not because I didn't like it, instead simply because it is different from any other pre I ever played with (also I mainly had passive basses in my life). It does boost your lows and highs quite a lot (12/16 dB I think). Here's also a video with a Euro fitted with Bart pups

That makes sense. In fact, GK have the most highs I've ever seen on a bass amp! Even on their DI out. But again, it's clearly not for all the use cases

For a clean and scooped sound, I'd definitely check out some of the GK amps. They are (can be) really bright and clean, while preserving a solid low end and sound good with distortions too. Defo a different sound from Ashdown (rounder/mellower) and Ampeg (more pronounced low-mids). They all have their own sound, and they're all good if that's what you're looking for. Just my 2 cents.