40hz

Keep the MM as it has true sentimental value and you'll always miss it, and keep the 73 jazz as it's only going up in value, especially in the condition you describe.

I was looking at the pricelist only a few weeks ago (Kingbass Artist tickling my pickle) and that's gone up from 2700 to 3300.

Rules that out for me.

I've said before on other posts, but I'm wondering where these price rises are taking the industry, given wage stagnation, and most brands raising their prices year on year, will there come a point where 'most' people just won't be able to afford brand new basses that aren't built in the far East (although some of those prices are already crazy, look at some Sterling by Musicman models and Warwick Rockbass as an example).

To re-iterate, this isn't riding on Status, they're phenomenal instruments, more, where it's all heading as an industry.

12 minutes ago, Greg Edwards69 said:

I'm not sure it is that easy to identify, myself.  The "thump" you mention and noticeable "attack" potentially occupy different parts of the frequency spectrum, and different parts of the note envelope. It could also be a psycho-acoustic phenomenon.

Your studio bass compressor has an attack control, it would be worth experimenting with that to dial in where the initial bite of the note is before the compressor clamps down on it. Although I understand it has a limited range of control. It might be worth considering a different type of compressor.

http://www.ovnilab.com/articles/punchy.shtml

http://www.ovnilab.com/reviews/vicegrip.shtml

 

EQ wise, I think an hpf would be really beneficial. It will allow you to juice up the lows and low mid without getting woolly, mushy and muddy, and tighten everything up. It might also allow you push the cab a bit harder without getting flabby.

 

Also, have you considered a device lie the BackBeat to simulate the feeling of moving air to get that hit in the back you desire?  This could be the psycho-acoustic trick needed to fill out the feeling of punch you may feel is missing from your cabs. 

 

FWIW I always think of Duff's tone on Appetite for Destruction as a great example of punchy bass.  Low end wallop and cutting top end bite and glassy sizzle. Maybe try an hpf to tighten up your low end and get it punchier combined with a low mid boost, slight and narrow mid cut and high mid and treble boost to bring out the attack even more.

HPF is a seriously good shout. Thanks for the advice!

7 minutes ago, la bam said:

This may sound daft or obvious too, but ... the fact the cabs were vertical really made a difference, and I could feel the punch in my chest and back depending on which way i was facing. Thinking about it though, that's because they were at chest level. Theres no point expecting a punch in the chest, when the cabs are at calf level. You'll get a punch in the calf then...

Haha! I always have my cabs on a stand! 

I've reported them too. Unfortunately, as I found out recently when locked out of my account, there aren't actually any humans that work at Facebook. The entire thing is automated and AI based.

4 minutes ago, Downunderwonder said:

Ya can't be calling it thump AND punch either.

Well, I have. Sorry it doesn't reconcile with your version of it.

1 hour ago, Dan Dare said:

 

M Pulse 360 or 600? If the larger one, I would expect it to have plenty of wallop. I wouldn't expect the TC to, though. It's claimed to give 550w into 4 ohms (and TC are known for being optimistic with their quoted power ratings), which is not great. You need plenty of headroom for weight of sound.

 

You mention that you might need more cabs. As others suggest, 4x10 or equivalent would be the minimum (and you say you liked two 2x10s, so that's a good starting point).

 

What are you using? Really, the only way is to visit a well stocked shop and try stuff. As Paul says above, we can only recommend our favourites. I'm a PJB user, but I don't know if they would suit you. They can be very punchy, but you need a lot of them and plenty of amplifier power because they are so inefficient. That can work out a bit expensive.

It's the M-Pulse 600. It sounds absolutely huge and the semi parametric EQ it has, is incredibly useful. I'm a big fan of them. The TC isn't far behind (the BH550 series doesn't have the same goosed ratings the RH series has due to the compression, it's a true 550w).

I'm currently running an Epifani UL210, which is wonderfully warm, with a clear midrange (it displays this on both bass heads), so I really dig that tonality a lot, unfortunately getting anything Epifani in the UK is impossible now (aside from 2nd hand obviously).

Band wise, it's soul-pop, funk for the covers and Talking Heads-esque indie for my originals.

I am very happy with my sound in general and don't want for 'loudness', and I'm sure the punch I get, is respectable to most. I just wondered if there was anything beyond it, as it's my most desired tonal goal I suppose. Sounds like more speakers is the way forward.

I've always been interested in the PJB stuff, the C8 looks great. I live 20 mins from Bass Direct, I guess I should just go and demo a load of stuff soon! Just looking for opinions and experiences people have had with cabs and brands, beforehand.

Just now, Dan Dare said:

Cabs are the final link in the chain and can only produce what goes into them. The instrument - together with string gauge/type and playing style -  and amplification largely determine how much punch you get. I've heard bass players that had plenty of punch using pretty well all the cab brands you mention. What instrument and amp' are you using? 

Modulus Flea Bass + Mesa Boogie M-Pulse / TC BH550. 

2 minutes ago, fretmeister said:

 

 

I'm going to be that guy...

 

If the bass is in the PA - is it actually important?

Completely agree, but I probably do about 30% of my gigs going through the PA. Total overkill in most small to medium(ish) venues.

Unlike other words used to describe tonal aspects, I actually think punch is a fairly easy one to identify, myself. 🤷‍♂️

It's the actual 'thump' and strong sensation of air/volume moved with each note. A noticeable attack to each plucked (or slapped) note. That hit in the back you get, standing in front of a cab.

2 minutes ago, Lozz196 said:

I’ve always found that the most punchy set ups are those with a lot of 10s. I’m aware that speaker size doesn’t count before the comments come, it’s just that I’ve not been fortunate enough to play through eight 12s or eight 15s, so by way of experience eight 10s have been punchiest. That said an Ashdown 2x15 was pretty decent too.

I suspect multiple drivers might be the answer. Just trying to see if there is a way round having to go 6x10 and beyond!  I love the idea of a giant cab, but the sheer weight of most of them rules them out, more or less.

13 minutes ago, fretmeister said:

With that variety of cabs I'm amazed you haven't found it.

 

Does the amp you are using have enough headroom?

Are you over compressing the signal?

I agree! Maybe I'm chasing something unrealistic.

The heads I use are a 600w Mesa Boogie M-Pulse and a 550w TC BH550. Neither want for headroom or volume, and will both comfortably go louder than I've ever needed.

Compression-wise, I use a Seymour Duncan Studio Bass. I don't crank it in normal playing - usually around 50% as a subtle addition. This is one thing that seems to add some 'thump'.

I've tried to do a search on this, but I can't seem to find anything specific to this question.

What would, in your experience, you say were the punchiest cab type/brand/size? 

I'll be changing up cabs soon, and aside from weight, the thing that matters most to me, isn't deep bass, hi-fi sizzle, or necessarily loudness, it's the ability for the speakers to really 'thump' and project notes with really noticeable force.

In the past 19 years, I've owned all sorts of different cabs, but the closest I got to the sound in my head was a pair of 2x10 TC K-Series cabs, stacked vertically (but I still wanted more). Cabs I've used include Vanderkley, Gallien-Krueger, Trace, Ashdown, Markbass and Warwick.

I'm thinking the answer might just be more speakers?

Any suggestions or info that could help direct me? 

33 minutes ago, EdLib-3 said:

As I mentioned previously, One Hot Minute is an album I've grown to appreciate more and more over the years. I dig the Dave Navarro era, anyone else a fan of the more rocking Navarro Chili Peppers? Also that album to me, is Kiedis's songwriting as its best. The lyrics are really memorable and coherent.

My fave Chili Peppers album. Dark, heavy, seething with menace and lots of heavy psychedelic guitar. It's absolutely nothing like anything they've ever done before or since (aside from Aeroplane, which I can't stand). I love it - it comes from a dark place and shows it. 

10 hours ago, Steve Browning said:

Very nice indeed. I have a SUB that I have considered doing the same. Where did you get the tuners?

My tech guy got them direct from Ernie Ball themselves. I'd definitely recommend doing the same with your SUB! There is something about the tonality of a Stingray/USA SUB that lends itself amazingly to fretless. The graphite neck just amplifies it 10x.

I know people will inevitably counter this with an opposite experience, but for me, the only time I ever experienced fret wear, was using Rotosounds.

5 minutes ago, Misdee said:

The thing about Fodera basses is they are meticulously crafted to the highest possible standard. From that perspective, in my opinion they are worth the asking price.  In terms of craftsmanship and quality they are up there with the best that money can buy. If they are your cup of tea then whatever level your playing is at, buying one could be a very canny lifetime investment. But in other ways they don't seem that special to me.

 

My own personal reservation about them is that most (not all,I hasten to add) of them that I have played or heard others play have a fairly generic exotic wood boutique bass sound. There is.nothing really unique about the tone . The only bass players I have heard get a good tone out of a Fodera are Anthony Jackson and Lincoln Goines. And maybe Richard Bona. But they all got a great tone out of a Fender.

 

Alembic basses have a distinct signature sound, as do Wal basses. It's no coincidence that both those brands rely on their own proprietary pickups and electronics. Fodera by comparison lack a distinct sonic identity, for my taste anyway. To me, lots of basses sound like a Fodera. I much prefer the sound of many far less expensive basses. 

 

Completely agree. This is my problem with a lot of boutique instruments.  I'm considering one myself soon, so have been really looking into the signature tones they give. I like a bass with an identity, sound-wise, and many boutique instruments/brands are very neutral and fairly bland sounding.

20 minutes ago, Kev said:

I mean to be fair to them, you've just described this release with that 😂

That's fair enough (I watched more of the first video, you're quite right). However, the Darkglass  produced video is all overdriven bass, aggressive music styles and even an obligatory Dingwall! 

I've always liked the Darkglass aesthetic, but I'm kinda waiting on them releasing something that doesn't cater to a modern 'metally' (for want of a batter phrase) audience. Maybe I'm just being an idiot and they know their audience and are maximising it, but I'd love to try their take on a clean, more neutral amp that doesn't focus/cater towards heavier styles, as they clearly know their stuff and make high quality gear.

5 minutes ago, SteveK said:

Your photos look less different from the original shape than the photos on the Warwick site. That newer bottom horn, though, looks as if someone has taken a sanding block to the front😟

You're right - edited.

Just nabbed some example images from Google, I'm crap at attaching images via mobile, but I'll try!

Granted, ones a 4 and one's a 5 banger, but you can see the difference.

First one is a 1991 - curvier, sleekier and much more attractive.

Second is a 2018 - Much flatter and squarer looking. Not a fan.

I wonder if Warwick would consider shaping a Stage 2 the old way, as a custom option?

1 minute ago, Mokl said:

I can't be arsed to read through all this,  but I've had a Fodera Monarch for about 14 years now.  When I bought it (used) it was the most I'd put into a bass, flipped a Sei and a Modulus plus added some cash in to get it.  I guess it owes me about 3 grand, but I reckon it's saved me a fortune as it's the bass that pretty much killed gas for me,  and I had a serious churn of high end basses before getting it. Nothing else I've played feels as good,  or frankly does such a great range of tones in a band context.

 

I've no idea whether I'm good enough for it,  and for all the times I've taken it out to gig (dozens and dozens), only one person ever has spoken to me about it cos they clocked what it was.  

 

Could I afford it now,  no! And especially not for what they command these days.  I'm not sure why they get so much stick for what they cost really, value is so subjective, and there are more than a couple high end makers charging close to Fodera money for what are in essence Fender variants. 

 

As I said in a thread a few month's ago, if you're offended that Foderas seem expensive, have you seen the price of bassoons?!!

In fairness I think Fodera was used as an example for expensive basses by the OP, not targeting them specifically or solely.

Hello all!

I've been looking at perhaps purchasing a Stage 2 in the not too distant future and out of interest, had a look at the Warwick website at the pricing for a new one and options for customisation (as they appear once in a blue moon 2nd hand - usually a good sign).

Having had 2 x Streamer LX's (04 + 09) and 1991 Stage One, the body shape on the newer Streamers is nothing like the ones I've had before. If anything it looks more like my Rockbass Streamer. With really defined 'flat edges' on the top of the bass and a different shaped lower horn. It looks less curvaceous and IMO, much less attractive. Am I imagining this? And why did Warwick do this?

Thanks in advance!

3 minutes ago, Lozz196 said:

I find the first bass sounds slightly brighter. Given that I’d say that was the Squier, but this based upon my own basses where the Squiers have been toppier than their US cousins.

I second this. Usually the cheaper Fenders have a brighter sound.

The first one is brighter by a gnats b*llock. Otherwise they sound identical to me.