Prime_BASS

What made me choose the paradriver over the bass driver was the mid controls. The way the mid works on the bass driver isn't for me. I finally got chance to use it with my rig with some real volume, I love all the bass sample settings, the active simulator is wierd. Again to get the OD I liked, I started with the SVT sample setting, backed off the treble, upped the bass and lowered the mid frequency to get a warmer sound, then set gain to jaw shaking. Have a gig coming up this Sunday so I will see what the sound guy has to say, and how it works with my OTB in a live situation. I would have probably benifited from the proggramable version that way I could have had a clean channel and a dirt channel.

I realise there is a few threads about these, but I wanted to share my experience. I just took delivery of mine today but as the missus' was round so I have to pretend like I'm not a bass geek. I got chance to play with it just now though my orange ad140, it's my only form of low level practice, also it can do clean as a wistle. It also meant I could compare the tone I wanted (the OD of my orange with my bass) with the tone I could get from the little black box. I used the standard SVT bass setting, lowered the mid shift to give it some warmth and backed off the treble, uped the bass and boom, I practically nailed the orange's overdrive tone. If I could blind test myself I'm sure I wouldn't be able to hear the difference, and I know my oranges tone like the back of my hand. I must say I didn't have a great deal of faith in this pedal/di. However the proof will be in the pudding when I get to let rip with my bass rig. I hope it delivers on what I'm looking for. Tube grit, not farty mud.

White, or White pearloid.

Looks like I should try the road worn? Things like super jazzes don't really interest me, I just want a great sounding passive jazz. Maybe it's me being a snob but the sadowskys and laklands don't seem to tickle me very much as a fender does. Also the money I would eventually end up with I could get a used ric. Although I'll be faced with the dilema of it fitting in with my band, a jazz seems perfect I know a ric would be different, but better? And like look demon in blue or black. I'm also wondering on how much of an investment bass this purchase would be.

[quote name='RuiJRocha' post='875694' date='Jun 23 2010, 06:26 PM']To achieve a good sound !!!! Cheers RR[/quote] good sound is rather subjective. It might help us for you to mention things like the kind of tone you have, the tone you aspire to have, tones you like, music you play and how much money you have to spend. For me I'm quite partial to fenders vintage 60s sound so I use either vinatge fender j pups or the custom shop variety depending on how littlemoney I have. However they do tend to lack a little fatness, but make up for it in smooth midrange.

Well since the 32" inch jazz fell through I have another £400 to add to my budget. Certainly £1200 puts me in EBMM territory.

Ok maybe not 100% I fooled you it's really a jazz kinda sound, but similar. And yes I have considered it but my jaguar bass full fills my jaguar needs for now.

[quote name='Musicman20' post='872490' date='Jun 20 2010, 11:16 AM']Definitely the new American Series Jazz. The upgrades far out weigh the other options in that price bracket...eg you won't need to upgrade any of it. Standard colours are around £830 including the best hardcase I've ever owned.[/quote] new as in 2010? I'm not too keen on the 70's kinda sound, myself so other than the highway one I was looking at the '62 RI and the 60s jazz. I'm going to try some in my local music shop, it'll be interesting to see how the pickups compare to the fender CS ones I have in my DIY Jazz. I'm sure I'm gassing for an EBMM ray, and could get one used for 800, or a bit more, buttgeonly ones that tickle me are the pre EB ones and the newer classic series ( classics purely on design ) although that big al bass seems interesting aswell.

Although (if all goes well) I'll be getting 32" scale mij fender jazz, that has some 60s influence but not a reissue????? Anyway as Ive got a new contract for work coming up soon, and I'm taking time off my current job (payed holidays whoop!!) so I'll be in the monies. I'll be looking to either start a new project bass or buy another jazz bass, and looking through fenders catalogue the honey blonde coloured highway one bass cuaght my eye. I'll end doing upgrades to it anyway and as it comes with a badass 2 bridge as standard that's one thing I don't have to buy. I'm just wondering what you guys think about it? One thing that puts me off is no maple finger board option. If anyone could suggest a vintage-esque guitar (not necerssarily a fender) in the price range of between £600 and £800, I would be greatful

[quote name='Musicman20' post='872340' date='Jun 20 2010, 12:58 AM']My experience was that the modern SVTs sound dull, and are far too heavy. The AD200b does it for me.[/quote] +1 I will get one those, one day. My vote goes towards the ad200b. As a comparison (to my orange ad140, the guitar version of the bass amp) the terror bass does lack the same warmth as a real tube output stage. And it's overdrive sound isn't as gritty as I'd like, it doesn't react to the input volume to as well as an all tube amp. However the tube pre gives enough warmth for me and a great transparant amplification of the bass. You can hear the tonal differences between basses and the way they are played. It also take pedals very well.

[quote name='munkonthehill' post='871581' date='Jun 19 2010, 10:46 AM']I feel the best use of the active circuit is for when using my distortion pedal. Rather than trying to dial in a more trebly sound for a song before clicking in my distortion for a solo or something,,,all I do is whack the bass into active mode with the treble nice and boosted already. I know a EQ pedal would do the same thing,,,but why go to the expense of one of those when I already spent a few hundred quid on a bass that can do the same thing...... It goes to show how versatile these fender jags are and also important for people top learn the features of their basses and when you use them properly for your own function they really become an asset.[/quote] indeed; for a while I used the boss BD-2 as a low gain drive and presetiing the active circuit to bass boost put pack those lows lost. It's much easyier flicking a switch and engaging a pedal, than have to engage two (one being an eq). If I did look to get one of these squiers I'd add a series switch, change the pups to something more vintage voiced, badass the bridge, also change the guard to black and add some more chrome (covers, plates. Whatever really)

It's more squier precision special, than anything else.... Just the body shape determines it's name. Squier used to do a precision 5 string, but it had jazz pickups, so it was no more precision than my watch was rolex. Bashing aside. Judging from the rest of the VM series it should be good. As for the fender jag bass. I know the active circuit is abit on the miserable side, but used as a bass/treble boost it's pretty useful. I can pull some awesome 2band EQ stingray tones with the circuit and the lead pickup solo'd. Still it's an amazing bass passive, it sounds so deep and full. for the money I don't think there is a better bass fender does with the same features, for the same money, plus mine came beautifully set up (apparantly N.K setup the action) It would be unfair to compare the squier jag to the fender version.

[quote name='Dubs' post='870552' date='Jun 18 2010, 10:09 AM']Looks like a couple of SVT-VR heads in that pic?[/quote] indeed, my bad god knows where I hot the 450 from. I would just like to add that his sound is pretty killer when he was using a stingray. Did anyone hear/see the radio 5 live show for Christmas? Anyone know why it sounded so (IMO) bad? Burping, farting, nasal; are but a few words I would describe it as.

They are the 450h things, the cabs are his old battered things from when he was touring with Rage during the ninties. Indeed he switched to lakland, and they all seem to be the Joe Osborn signature.

I'm sure I can't play double bass. I tried once, and as a guitar player first and bass second. The upright techique feels wrong to me. I'm sure a few more of us would admit we can't play double bass although it's basically the same. I do hate it when a guitarist picks up my bass and everyone listening can tell it sounds crap, fret buzz, clankedybclankmof the strings being plucked to hard. It's almost like they are hurting it. I also feel the same about guitarists who use Drop D tuning. I'm aware that some player do it for the low D, however my bands drummer wrote a song in drop D because he can't play in standard.

I have the jack cassady signature bass, it does put me off a bit but the intrument itself is excellent, so I can handle the "jack cassady" signature on the headstock. At the end of the day what ever it says on the headstock if it sounds great and play great then that's all there is to it. And remember, apparantly "tone" is in the fingers.

Go back to the begining and learn yourself the basics. I always try learning songs in as many keys as possible to to help broaden my music "library" if you want. Although I'm surprised that you get stuck if you've played keyboard for that many years. It may help to think of the bass/guitar as a keyboard, I tried playing some piano pieces from nobou uematsu, note for note and in the same sort of pitches, and I ended up all over the fretboard.

Indeed there may be quiet spells (winter?) when not much in way of gigs is happening and the guys looking to hire you still want to meet up occassionally to keep things tight. Also it might be the negative nature of the word "not" if I was looking, i'd have moved on as soon as I saw "not interested in weekly practices" regardless what the next few lines said. I'd either leave that part out and divulge it if you get contacted or word it with a more positive attitude, " prefer topractice during a healthy gig shedule" maybe I dunno?

[quote name='Musicman20' post='864021' date='Jun 11 2010, 09:03 AM']I think its a slightly easier and tame version of what TC used to make the Staccato (and probably the RH450 baked in tone) so yep Im thinking you can pretty much nail the Staccato 51 with an RH450. I think there are a fair few players like yourself who would like this software to be made a product to either be shipped with the amp and/or an accessory you can buy with the cable/etc so you can realy open up a flat tone you want. I would definitely like to see it hit the market! I can see why certain players will prefer the Staccato voicing, and there are some chaps talking on Talkbass about which they prefer. I must admit I quite liked them both, but I went with the run of the mill RH450. I agree on how well they have done. A few years back, no one would have expected this, and all of a sudden, the TC amps are getting as much coverage as some of the really big players in the market. I think they're involvement with the players has worked wonders as it shows they are willing to listen to what we want. They are also really friendly and helpful with emails which is a big help. I admit, the 3 x TC cabinets is a strange one, but as per Mark above, its because TC are confident about their cabinet ratings. It states in the manual quite clearly that the RH450/Staccato can power 3 x TC cabinets with no problems, and it even gives you examples of how to stack them. I have yet to try this but Im definitely going to at some point.[/quote] sorry for the qoute guys. I'm sure I've seen pictures on the huge ass talkbass thread with the either the RH450 or the classic450 powering 3 cabs. I'm intrigued as to what kind of things you can set. I realise it has the tubetone voicing thingy, however would it be possible to change the whole voicing of the head from "vintage tubetone" to hi fi? I know some people would like a hifi head with the amount of tweakable possibilties (I'm not one though) things like this would be truelly useful, as then you would have an amp for everyone. Also, I don't know if it's been mentioned before, but could you have one of these tweaked tones be stored on the head and be able to switch between one preset to another using the memory bank things? As in I could change from my super glassy high to my low reggae slighty double bass tone setting on the fly?

There is even a phone number.

[quote name='dlloyd' post='863780' date='Jun 10 2010, 10:14 PM']No, probably a bank manager. It's their custom shop basically... Exotic AAAAA grade woods, posh inlays, etc. People buy them because they're expensive.[/quote] if it is some bank managers, technically we all own it with our taxes Gordon brown used to pay them there over payed salaries and bonuses for making everyones lives that little bit more expensive. How exactly do we divide this up in to 62 million pieces?