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Can i make studio quality tracks with a 600$ bass?
Old 8th August 2014
  #91
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Quote:
Originally Posted by lame pseudonym View Post
I actually like the way that the thinner body on the cheaper Squier resonates....

I'm not sure what to think about this hollowbody thing though. It strikes me as mostly a fashion.
Could be, I seen a lot of younger bands, especially power pop, sporting Hollowbodys...kinda a Merseybeat -British retro thing.

I looking for a bass in the 600-800 buck range for home recording so this threads been beneficial to me. I am in no hurry though.

My only two basses are a Hofner Macca knockoff by Rogue and a Strat copy by rogue...not bad for the money...but I'd like something better, leaning right now to a MIM fender P or jazz.
Old 8th August 2014
  #92
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Wow.. this thread created some really interesting discussions, i am currently on vacation so i wont be able to try out any basses till tuesday, will update as soon as i have tried more basses.
Old 9th August 2014
  #93
Quote:
Originally Posted by donsolo View Post
The problem is most bands aren't capable of playing their parts competently every time. Once you get past the point of editing around mistakes, then editing becomes a much different process, where you're keeping the best of the best, not the least-terrible of the crummy.
Most bands these days rush to record without adequate preparation. They also suffer from the hubris fostered by "indie-than-thou" types and gear pimps that they don't need a real producer so they don't have someone to tell them they're not ready.
Old 9th August 2014
  #94
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The OP is doing what he should be doing, taking the time to properly research
this purchase, rather than buying on impulse.

I think he should try some better basses, if for no other reason than to get his bearings.
Old 9th August 2014
  #95
Quote:
Originally Posted by lame pseudonym View Post
I actually like the way that the thinner body on the cheaper Squier resonates....

I'm not sure what to think about this hollowbody thing though. It strikes me as mostly a fashion.
Well, an awful lot of British Invasion bands used Gibson EB-2 and Epiphone Rivoli (same design) hollowbody basses, so it's not a new thing. Harmony also used to make a hollowbody bass that was quite decent for a cheap instrument in the '60s and Danelectro basses were used bv quite a few studio bassists. The (non-Dan Armstrong) Ampeg basses like the one with the through-body F-holes (made famous by Rick Danko) and the "devil bass" were also hollowbody.
Old 9th August 2014
  #96
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A nice p or j is a great choice.

Also, the MTD basses are astoundingly good for modern stuff and are very affordable.
Old 9th August 2014
  #97
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Quote:
Originally Posted by John Eppstein View Post
Well, an awful lot of British Invasion bands used Gibson EB-2 and Epiphone Rivoli (same design) hollowbody basses, so it's not a new thing..
I think this was mentioned in post #91...first sentence.
Old 9th August 2014
  #98
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Quote:
Originally Posted by John Eppstein View Post
Well, an awful lot of British Invasion bands used Gibson EB-2 and Epiphone Rivoli (same design) hollowbody basses, so it's not a new thing.
Well, yeah. Fashion.
Old 9th August 2014
  #99
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Jack Casady originally played a Guild Starfire with the 'Airplane' and now has his Epiphone signature bass going great guns with decent reviews.
Old 9th August 2014
  #100
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Quote:
Originally Posted by Luke17 View Post
Jack Casady originally played a Guild Starfire with the 'Airplane' and now has his Epiphone signature bass going great guns with decent reviews.
Brian Ray with McCartney also uses a Guild when he's covering Paul's bass parts
when Pauls on piano or guitar.

He's been using an EBO-3 as well.

Through the wrong amp and speakers they can be mud city, but in the right hands they are both cool specialty basses.

I like the bridge assembly of the Epiphone better than the Gretsch, but I haven't cared for the Epiphone necks myself.
Old 9th August 2014
  #101
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Quote:
Originally Posted by lame pseudonym View Post
Well, yeah. Fashion.
Fashion and the fact that Fenders weren't generally available to the general Mop Top musicians across the pond at the time.

George Harrison once mentioned in an interview something to the effect of

'Ah, Fenders, if only we (The Beatles) had Fenders back then....'
Old 9th August 2014
  #102
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Quote:
Originally Posted by Luke17 View Post
Fashion and the fact that Fenders weren't generally available to the general Mop Top musicians across the pond at the time.

George Harrison once mentioned in an interview something to the effect of

'Ah, Fenders, if only we (The Beatles) had Fenders back then....'
I'm imagining the sound of "Ticket to Ride" recorded with Fender gear and I'm pretty OK with the the Beatles being deprived of it.
Old 9th August 2014
  #103
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George stated he was not at all happy with his guitar sound (See youtube George Harrison on Fender Guitars)

early on in the Beatles career George heard there was a Fender for sale at a music store, he ran to buy it only to find it was already scoffed up by a guy from Ringos old band Rory and the Hurricanes.
Old 9th August 2014
  #104
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In 1967 my '66 German Hofner 501 was $99.00 400DM New!

A Fender P-Bass or Jazz would have been closer to $400.00 at the same store in Wurzburg.
Old 10th August 2014
  #105
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Quote:
Originally Posted by Luke17 View Post
Fashion and the fact that Fenders weren't generally available to the general Mop Top musicians across the pond at the time.

George Harrison once mentioned in an interview something to the effect of

'Ah, Fenders, if only we (The Beatles) had Fenders back then....'
I mean now, not then....
Old 10th August 2014
  #106
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A long time ago, a friend of mine (T.R.), a mostly Flat Pick Guitar Player was visiting. He picked up a little girls Plastic, Nylon string TOY Guitar and made it sing. It's not what....It's WHO.
Old 10th August 2014
  #107
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Quote:
Originally Posted by mcijh View Post
A long time ago, a friend of mine (T.R.), a mostly Flat Pick Guitar Player was visiting. He picked up a little girls Plastic, Nylon string TOY Guitar and made it sing. It's not what....It's WHO.
A friend came over to try a bunch of my amps and just wailed on my Epi Valve Junior through my 2X12.

The tone was just O.K., his playing flat out humbled me.
Old 11th August 2014
  #108
Quote:
Originally Posted by FFTT View Post
A friend came over to try a bunch of my amps and just wailed on my Epi Valve Junior through my 2X12.

The tone was just O.K., his playing flat out humbled me.
The audience doesn't care. They care about the notes being played.

OK Tone + Exceptional Playing > Great tone + mediocre playing.

We talk about, buy, debate, shop for, and fetishize gear because that's the only thing you can really control in this equation. You can practice your whole life and only get to "merely adequate."

Obviously you have to practice many hours to realize your potential as a musician, but for many, that doesn't amount to much.
Old 11th August 2014
  #109
2 years ago I bought a mexican Jazz bass from guitar mart. I played every bass I saw and really liked one american bass but it was more than I wanted to spend, since for me bass is not my instrument, I found a mexican bass that sounded closest to the american jazz bass plugged it in it sounded good, took it home bought some custom shop 60's pickups and the bass sounds very good recorded.
It's not a Sadowsky but I've been happy with the way it records.
Old 18th February 2015
  #110
Quote:
Originally Posted by FFTT View Post
Absolutely with a good set-up and intonation.

Maybe an $800.00 bass.

I really liked the Gretsch Semi-Hollow Body for the money.
Have not tried the Epiphone Semi Hollow or the Guilds

The industry standard is a passive P-Bass or Jazz Bass, but I'm seeing more and more current artists going to those semi-hollow basses.

I would probably go for long scale over short scale necks just for the improved action, but there's nothing wrong with the short scale versions.
The action is just a bit more loose & rubber bandy on a short scale bass.

If anything, upgrading to TV Jones pickups would be ideal.

You can mic up an amp or go D/I
Play with pick or fingers and try different strings.

Flat Wound or Black Nylon Wrap strings are fantastic for reducing unwanted string noise and finger clack and generally smoothing out the results.

A smooth underlying bass tone can be quite effective supporting both clean and heavily distorted guitar tracks.
Thanx for this, and some orher posts in the bass department you did inpired me to have a go at my bass that I hardly tend to use (I don't considder myself a bass player but I do own one) for recording as I could not get the sound from it that I wanted.

I don't use an amp, I play straight into a nice pre-amp, I love my Joe Meek VCQ3 for this as it has a nice compressor and basic EQ on board.

My bass is a Yamaha BBn4 (original mkI) bought for 600,- new, passive two single coils (Jazz or P ? ... I would not know)
I got myself a set of flatwounds and did my first setup using this guide;

http://www.jerzydrozdbasses.com/akcn...ide_ver100.pdf

I treated myself to some fresh pots(as the old ones were starting to crackle) and an orange drop cap. Also cleaned up the factory wiring job.

Now with the setup completed to my best skills and the flatwound strings I am totaly blown away by the sound of my cheap old bass, wow this is amazing ! I get so much more low end from it and a rich tone and the controls now really have a great pallet of sounds comming from them, from clean and bright to dark and growling in the low mids.

It sounds like a bass on a record.

So I would say, yes you absolutely can make a very decent recording with a "budget" bass, but you should not hire me as your bass player heh
Old 18th February 2015
  #111
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Yup, going to flats or nylon wraps will give you big results with a small investment.
Old 18th February 2015
  #112
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Getting the action right on my basses changed everything for me. On a bass, I think you need it as low as possible, without fret buzz. I don't think you can get a bass action low enough really, if you want to play anything mildly fast or technical.
Old 18th February 2015
  #113
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Everyone I ever worked with wanted a solid, driving, foundational bass line.
Not one of them was interested in speed or how many notes I could play in 8 bars.

IF... you played up-neck notes, the timing had to be perfect or the bottom dropped out and all you heard was mids, not bass.

Taste, Timing & Tone will get you much further than speed when it comes to bass.
Old 18th February 2015
  #114
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I guess I will agree to disagree. Two different approaches.
Old 18th February 2015
  #115
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Quote:
Originally Posted by FFTT View Post
Everyone I ever worked with wanted a solid, driving, foundational bass line.
Not one of them was interested in speed or how many notes I could play in 8 bars.

IF... you played up-neck notes, the timing had to be perfect or the bottom dropped out and all you heard was mids, not bass.

Taste, Timing & Tone will get you much further than speed when it comes to bass.
I'm with ya........

Kaye, Jamerson and Babbit agree !!
Old 18th February 2015
  #116
Quote:
Originally Posted by monkeyxx View Post
Getting the action right on my basses changed everything for me. On a bass, I think you need it as low as possible, without fret buzz. I don't think you can get a bass action low enough really, if you want to play anything mildly fast or technical.
Sure you can. Guys do it on bass viol every day. Check out some Charlie Mingus if you want fast and technical.

Somebody who isn't really a bass player, OTOH, might have some problems.

FWIW it's pretty much impossible to play slap/pop style funk bass if the action's too low, it just doesn't work. Ditto for rockabilly slap.
Old 18th February 2015
  #117
Quote:
Originally Posted by monkeyxx View Post
I guess I will agree to disagree. Two different approaches.
The new bass player in my band is a fairly amazing guitar player. The biggest pain in the ass about breaking him in is getting him not to play too goddam many notes - it totally screws up the bass line and ruins the feel of the song.

Very few bass players can play fast and still hold a good bass line. The ones who can are nearly all (or possibly all) bass players who started on viol and have a jazz background.
Old 18th February 2015
  #118
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I have no idea what you are talking about.
Old 19th February 2015
  #119
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Quote:
Originally Posted by DirkP View Post
If you can get any japanese made JV-Squier from the early 80's for <= 600,-. Go for it. These are incredible instruments with a lot of charme.

Dirk
right on, or any copy of the golden age of japanese instruments (1977-1982) by brands like Greco, Tokai, Ibanez - amazing value, better than many Fender / Gibson instruments from that time, and still relatively affordable (the Jazz and P-Bass copies I mean, some Tokai and Greco Les Paul copies from that time now go for 2000,- as well).
a good store for this is this one for example:
Der kleine Gitarrenladen-B
they have a Greco J-Bass for € 690,- ... much for bang for the buck than buying a new instrument for this money imho
Old 19th February 2015
  #120
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I stopped trying to prove I was capable decades ago.

It all came down to the right notes at the right time, always supporting
the vocals and providing a foundation for the other instruments to build on.

Then once I began writing my own material, I structured the bass parts around
the lead vocal. Even if you can't sing a lick, try speaking the lyrics in time while
structuring your bass parts.


Strumming rhythm on a guitar is much easier than trying to play bass in the pocket while singing lead.
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