Bassnut62

Wow, the michael Henderson - sh*t a great player. Some of his own material as a band leader and singer is great too. Check out Goin' Places.....

Ok there must be some admirers of twin-neck instruments out there. I'm starting to play a bit of guitar as well as bass. My band is a trio with keys and the keys player has some bass pedals, which could free me to play little bits of guitar ocassionaly.

So what does anyone know about twin-necks?
What are the pitfalls?
Any particular makes and models to GAS hard for or to avoid at all costs?

Just to give a pointer on my tastes, I'm into classic Fender-ish tones and styles.
Thanks for any advice.
And if you know of any going for sale at a good price, please let me know.

That's truly scrumptious! If only I had that much cash lying around and needed another bass.

Hi
Have you got any plasma well aged ashtray screws that would suit a 63P?

Tech 21 Boost DLA is an excellent analogue-simulator delay and is buffered by-pass
you might want to think about getting the Tap Tempo model though.
tap tempo on time based FX is a big plus IMO
I also have Boss Reverb Delay v3 and don't rate in nearly as well as the T21 DLA

Have a bump on me.....
Can't believe noone's snapped this baby up.
Wake up BC, this amp is the dogs bollix.
If you want all valve point to point georgeous amp wizardry at great value price, this is your chance.
These amps are legendary.

[quote name='TomTFS' post='1096653' date='Jan 20 2011, 06:52 PM']Here's an excellent rack, you can see it just peeking through a bit. I wish it was mine.


[/quote]

At last! Thought this was gonna be a good thread from title...

[quote name='UL4120' post='1095635' date='Jan 19 2011, 08:37 PM']Can anyone please help me find an impartial fair and reasonable valuation of my Vox gear.[/quote]

Wow 2x18. Have you been making earthquakes?

Lots of good points and I totally agree that there are diamonds and dogs in every era. IME the late 70s have a far higher proportion of dogs than any other. I have owned and tried quite a lot from that era too, but happy to be corrected. I guess it does come down to economics of both collectors and players. Anyway I am glad to hear there is some genuine appreciation of this era from players.

It seems to me like all of a sudden peops are prepared to pay big money for late 70s P Basses.
Not so long ago there was broad consensus that late 70s Fenders were dreadful second rate instruments to play and sounded pretty poor too.

So what changed?
How come people are paying good money for them now?

Someone is offering their classic 77 MM Ray for a 70s P in the For Sale right now.
That seems like an amazing deal and I wish the seller good luck although IMO he won't need any luck as BCers should beall over that deal.

So am I missing something?

Just interested to know why you would want a 70s P over this sweet looking and no doubt great sounding classic Ray?

If it's just to go fretless, you could always track down a fretless MM Ray neck....

I have one of these and I think it has that TA business on it. Don't know what it is but I do know that these are cracking amps. It's my back up amp and I think the TA bit is to do with the dual preamp. One is valve and one solid state this means you can get classic warm phat tones or more edgy modern brittle tones or a blend. Also v good eq and compressor on these amps. Fan is a bit noisy but you won't notice it when playing. All round versatile and excellent value for money.

Yup, used the inspiration of buying a Sandberg California as motivation and reward for giving up that stinking weed.
It worked but now I have to give up GAS Adiction.
Anyone know how?

Ps. Seem to have unintentionally hyjacked thread. Sorry. Can create new one if required.

[quote name='sshorepunk' post='1091167' date='Jan 16 2011, 10:45 AM']Played a jm4 yesterday! Wow! Now I have GAS again!
Great playability and good sounds !
I looked for the mm sound off of the bridge p/up, it is in that kind of territory I guess, but a long way off. But it didnt need to sound like a ray, sounded great as it was!
Nice neck too!
I got bad GAS for a solid colour jm4

Tony[/quote]

I know the feeling - I tried mine just cos i was in a shop and GAS was so bad I had to give in in the end.
got mine with one of those Arts Council interest free loans - gave up smoking and used money to pay £100pm off on ACE loan
went for a solid colour too
win, win
good luck if you need a cure for the GAS; but you may have to accept your situation and enjoy!

[quote name='Jigster' post='1091117' date='Jan 16 2011, 09:36 AM']Bassnut I was thinking the same thing re the amp situ - I also have a Bassman amp and I haven't played the JM through it yet, I'm sure that will make all the difference[/quote]

I reckon you will have a big smile on your face roughly 1 second after you place your first note on the Sandie thru the Bassman.

Ps. Can't believe that Bassman head in the amps for sale section hasn't sold already.

+ 1 re most of what's been said already.
I have a 79 ray, an early p and a g&l asat and I bought the sandberg jm4 to complete my leo fender focussed tonal palat. To my ears the jm4 does a great modern update of a jazz on steroids as well as a pretty good cop of classic j tones if you run it passive which I do most of time. I can imagine that it could sound a bit sterile thru a tranny amp. I run mine thru an old Bassman valve amp which warms it up lovely. Jm4 is a very versatile bass. It can cop a tone that is in MM territory but definitely not an MM.
Great modern bass IMO and so well crafted. It is probably the nicest bass to play that i own although the G&L runs it very close.

Bumpalicious bad ass bass amp dis.
Whoever gets this will be a very happy bunny forever.
Great value for money too.

P to the M incoming

Ps. I'm glad so few people realise how good g&l are. There arent enough USA g&l around in UK for all of us.

Love rays, love g&l - like a dog with two bones.
Agree that g&l is more fender than the mm.
A big factor that you might want to consider is that the L2000 or asat sound great in active or passive. The ray is only active.
Everything else has already been said I reckon

Fair point about tweeters - they can be harsh, especially with dirt and some filters.
I reckon they only add a bit with octaves, synths and some modulation, but they have to be used very sparingly and the tweeters definitely need to be controlled via a crossover to avoid compromising the lows and mids.
If you have a guitarist in the band there is probably no point either, as those highs will probably be lost in the mix.

I bet you're all right about those recording techniques. I am only really commenting re live situations.

Some great observations coming through. I fell for recommending,well, sharing that my rig works well, but I do use 15s for cabs. Have been using an ancient 4-tweeter Randall bright box to bring out top end too. There, shared I mean got that off my chest!

Point is bright box is a lot cheaper and lighter than an additional guitar amp.

Catalinbread SFT is very nice for mild hair to full grit n growl, it's very valve amp like in charactr of controls too, which i like alot

Late 70s Bassman 135 all valve Fender is what I use mostly. Hybrid valve/ss Hartke 3500 works well too. Both are relatively cheap for what you get.

to the OP - great choice of bass. I have an 89 Asat Bass, which has all the same electronics but in a telecaster body with more like a jazz neck.
My tonal roots are deep in P and 'Ray territory and have one of each of those too; but my go to bass is almost invariably the G&L these days.
It seems like we all agree that these G&Ls (L2000 & Asat Bass) don't quite nail the P, J or Ray tones.; but i reckon they cover all that territory well enough to make this a first choice super-versatile bass full of Leo Fender DNA.
If you leave it in passive mode and either in or out of phase (not sure which, but whichever is the thinner sound from the middle switch), it can do quite sweet tones that do P or J tones very well indeed. You might need to drive the amp up a bit more to get that classic tone right though. I reckon a valve amp helps warm it all up nicely too.
I reckon it can do Ray tones pretty well too, not exactly the same; but certainly in those tonal areas well enought to do the job - just put in active mode with full treble boost, select bridge pup and put phases whichever way you prefer with your amp.

Purists would know the sound you got wasn't a J, P or Ray; but if they've got good ideas they should recognise the great and distinctive tones produced.
Someone said focus on exploring the G&L tones - i have to agree, once you've got the hang of all the options and tuned into the amazing-but-different tones, you may even find yourself thinking...how can I get that great G&L tone out of my P, J or Ray!