4 Strings

http://www.youtube.com/watch?v=lj9a625k_jk Probably seen it before, and, ok, so its Strats but the same processes apply to basses. 8 bodies being routed at a time, is it 12 necks? Fascinating. There's a better one I've seen making Rickies. Can someone tell me how having these machines operated in Mexico or up the coast in the US changes the guitar to one being twice the price - apart from labour costs? (There is another but the guy from Fender in it explains that the wood with which they make the bodies changes the tone more than the pickups, didn't want to bring that argument to the table...!)

[quote name='4000' timestamp='1323779569' post='1466853'] Most of the boutiques I've had have had necks that move a lot (some an awful lot), and most of them have had ebony boards. [/quote] Heh, you can't blame the ebony fingerboards as that's what a lot of boutiques basses have, doesn't mean they will contribute to movement. Most had strings too. Ebony is the hardest, most dense wood known to man and even sinks in water. Its not going to move more than another wood, especially as a thin laminate.

Alex is pretty busy at the moment! Just an update before I plunge for anything at all; I've swapped the Midget for a Midget T. Didn't think I wanted the highs but wondered that I might. Very glad I did (although the little stack now DOES cost what I paid for the car!) as those 'flattering' sounds are now readily available at the tweak of a knob. Just read that back! Still playing though.

The necks shouldn't move on any bass, the incident with the Jaydee in the basement studio is isolated in my experience (which made it all the more surprising) and apart from a tweak whenever I get a guitar I have rarely had to revisit any truss rod. This doesn't excuse the poor design of some Fenders requiring the neck to be removed to make the adjustment, what a pain, especially for incremental adjustment! There's no excuse for this apart - from a slight increase in return to their shareholders. However, its worth noting that miniscule movements will alter the action on your bass and, regardless of wood movement, the truss rod is steel (or ally in some Rickies) and so will expand and contract with temperature.

I've found that there's a charge for pulling it apart, finding the problem and stating the cost of fixing it, ie once you let the menders have it you're pretty committed already. I also think it would be worth taking it back and letting them know its not solved so they try again (if that step hasn't already been taken).

Most likely taking the grille off, as advised above, will solve it. All rattling in any cab I've had has been the grille, especially the metal ones.

[quote name='Lfalex v1.1' timestamp='1323435008' post='1463318'] Welcome. Conversely, I have a good collection, but simply don't have the time or inclination to even touch them at the moment. Life's funny like that. [/quote] Share? My lad came home from Uni yesterday, he was recording n the afternoon, arrived in the evening and exchanged pleasantries for an hour before, as if he was desperate for the loo, he 'had' to go and play his bass and disappeared for an hour. Oh, and welcome aboard, btw, although you'll probably need a a lock on your wallet or find a nightshift!

What's the advantage over A?

[quote name='sk8' timestamp='1323334720' post='1462037'] Its not small as in Genz or MB small but its very light, looks cool and goes down to 2 ohms Got a few gigs under my belt with mine and its very good [/quote] Could you stick up a pic? How much was it (if you don;t mind me asking)?

That sounds great. Would love to see/hear that.

Do let us know how the Matamp works out both of you. I'm really interested. (How much are they quoting you for it?)

Hi, thanks all, with the Terror, Minimatamp, Purplae Chili and the big LB there's certainly a theme unfolding! Certainly the MiAmp was the sort of thing about which I was thinking but its all good. Any others?

> the car radio and other electronics argument. Does the boot get damp? Why would condensation appear? Its less likely to appear in the boot as there are no musty breathed musos in there, or at least there shouldn't be (unless it helps the drummer to stop speeding up). Just the security issue for me.

I'm thinking of a new amp and looking for something powerful 500W+, want it to be small and British. Genz UK would be good. Who have I got? Orange Terror - great but, I think, too dirty sounding for me and a bit big. Ashdown MiBass - ideal, looking to see how they fare What else is there? Interested to see Matamp playing with a Class D power amp, but I still don't think that's going to be small. Are there any others?

Just to say the Compact can be lifted with literally one finger. When I was showing off my cabs on Saturday (while making the point they cost only£100 less than my car and that was because there was £100 off the Compact!) we were playing around and I could lift both with one finger using both hands with ease. My lad plays bass and couldn't believe the weight, asking if they were shop dummies made from foam. There may be lighter around but I've not seen them and wouldn't know where to go to try.

Not cheap, no, but cool as anything! I've never been brave enough to spend that much - £1300 on a preEB MM was the nearest by a long chalk. Now there's a tone unbeaten by any guitar I've played. There is definitely something about Ricks though, thought that since I was a teenager even though none of my heroes use one. Always amazes me the design is from the fifties. Ok, hijack over.

[quote name='visog' timestamp='1323112662' post='1459493'] [color=#2A2A2A][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=5][font=arial,helvetica,sans-serif]Another view to sling on the pile... points about how well you play independent of bass value duly noted.[/font][/size][/size][/font][/color] [color=#2A2A2A][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=3]...£500 to £1,000 – Should have a good range of usable tones, good playability. Semi-professional grade. Should be highly adjustable to most playing styles. Good standard of fit and finish. consistency (still check – some Fenders in this range come with almost unusable set-ups out of the box, badly cut nut slots, etc)[/size][/size][/font][/color] [/quote] Isn't this where standard US Fenders are? They are still the mainstay of professionals, are they bargains then? Probably not. In this band I would definitely want a 'professional' standard instrument. The range of good tones might also be a red-herring as some instruments are bought for just that tone (eg Precision and even Ricky from the next band). Also some are just plain expensive due to their name (ricky again!) I suppose its impossible to satisfy all with such a list, good effort though!

Just a little update, I took the advice about putting plenty of Watts in and approached the Motown gig on saturday rather clumsily on the volume. I started with just the Midget, then swapped around with the Compact, and both together, roughly half an hour each combination. In the car on the way home, sharing with the sound guy and drummer, I asked if I was too loud. They agreed I was and the drummer, completely seriously, stated that, at times he knew he was hitting the drums as he could feel it but couldn't hear them due to the bass. Does that mean I won? In all seriousness the volume setting was around 9-10 O'Clock when normally its at 12 and even the little Midget was perfectly loud enough for a large restaurant/dance venue with around 150 people. With both running I had to turn down on the guitar. Depth was fine with the Compact, a little wanting on the Midget but, with the mind of pushing loads into the drivers, I tweaked up the 'Low Pass' on the amp and its sounded fine. Not a huge, warm sound but absolutely fine. The Compact gave a warm enough sound but then also to be considered was the stacking meaning the Compact was on the floor with the Midget on top and so this was always likely. I think I should have the Midget T, certainly not for the Motown but 'just in case' as someone said and, having heard me play, suggested by Alex. Another £100 though. I hope to put together a review (to add to those already there) but I'll resolve this 'T' issue first.

The ebay man, email [email protected] He'll make whatever you want from nice thick leather for a very reasonable price. I have several from him, only buy from him now and all are magnificent and will last a lifetime.

[quote name='Marvin' timestamp='1321121776' post='1435634'] I was hoping not to say as it makes me feel quite sad It was BBC Radio Devon. I've actually started listening to the station quite a lot on a saturday morning as they like to promote a lot of local bands and musicians. [/quote] Nowt wrong with local radio, good for you for finding it and listening to it.

[quote name='risingson' timestamp='1323095287' post='1459165'] This probably sounds a bit silly and very obvious, but the main difference between a beginner wanting to play a well and a pro playing well is experience and a lot of invested time. Putting on a pair of football boots isn't suddenly going to make you the next Messi or even the next Peter Crouch. I've been playing for 10 years now and I can honestly say that the thing that made me a better bass player, apart from practice, was gigging and recording experience because all of a sudden, everything you've practiced has to get pulled sharply into focus. There was a guy when I was younger who I used to be in total awe of. To me he was the best bass player I'd ever seen, I used to try and get to talk to him after gigs about his favourite bass players so I could study them and get as good as he was. I didn't see him for a while, but when I did next see him performing a few years later, his skills were comparatively no better than my own. In fact, I was considerably better, not least of all because by this stage I had out-practiced him and had a number of years playing live under my belt which really booted me into gear. This all sounds a lot like I'm blowing my own trumpet , but I don't think that too fine a point can be put on hard work and experience. As obvious as it sounds, it really is the key in becoming a better bass player. You just have to want it and work for it. [/quote] Absolutely, there's no short cut. This has happened to me, except the other way round! A young lad used to come round asking me to show him bits on the bass, his band has now headlined and Ronnie Scotts and he is streets ahead of me. He practiced. (He also has way more basses than me, but I think that's another story!).

[quote name='thumperbob 2002' timestamp='1323071847' post='1458791'] I have been playing for 35 yrs- since I was 14 and the best bit of advice I can give is dont concentrate on fast runs etc but concentrate on your timing or "groove" Keep it simple- the runs and "flashiness" will come. I have found that only musicians notice these things- the normal audience will not- but they will instinctively know if you can groove. Oh- and find a good drummer- this will make you sound much better than you are- Always worked for me!! If you are looking for a line to impress if played correctly- try Good Times by chic- seen loads of bands do this but hardly any with the correct groove.... [/quote] +1 to all of this. Whenever I'm looking for musicians keeping in time, the groove etc all are important, never how fast their bass drum pedal or fingering technique. I must admit, I always thought I was great when I started bass, I could play lead guitar after all. But the better I've got over the 30 and more years I've been playing the less good I've realised I really am! I now try to balance self criticism with self belief.

[quote name='51m0n' timestamp='1323089617' post='1459047'] Ok, just had a good listen to that, nice sounding bass. Of course its running through some tubes in there (I'd bet on it) and driving them good and hard, which means its compressing nicely, and adding a load of harmonic overtones, and a good bit of overdrive, and the tape isnt exactly being tickled with signal either, which is doing even more compression, and adding a bunch more harmonics. [/quote] Didn't suggest it wasn't processed, just an example of what sounds like the unamplified sound of a set of flat strings. Difficult to sound good with a sound like that. I would imagine it was straight into the desk, same as Jamerson's huge catalogue, may be wrong but its not the point. Thanks for the Daptone link, great that they're doing it. Don't the Neil Cowley trio record somewhere with similar equipment (I thought its name had 'Ark' in it)?

[quote name='silddx' timestamp='1323089246' post='1459041'] Crikey! I really could not disagree more with that! A crap musician / player will sound crap whatever their sound is. [/quote] Absolutely agreed! (- although I did say 'easier' - even I can impress under the right conditions and there are levels of 'crap' musicianship which some think is acceptable, even great, but I think are, well, crap.)

[quote name='razze06' timestamp='1323088103' post='1459027'] I am beginning to understand now that your point is not so much about the "natural sound of an un-amplified electric bass guitar", rather more about the fact that the overall approach to bass sound is moving (has moved) away from simple amplification and processing. If that is so, fair enough. [/quote] Thanks, with the add-on that the sound is now more flattering and also we have become so used to this that we now no longer actually like the original sound. Tighten-Up is a great track but I've spent my life trying to avoid that bass sound. I've been thinking again about that since (through this great forum) I've been introduced to flats strings and been adjusting my sound for a Motown band. With that understood(!) the next part of my argument relates again to the flattery and just as its easier to sound good with an overdriven lead guitar sound its also easier to sound good with the 'processed' - for want of a better word - bass sound. (Again the area of mastering is similar)