msb said:
This. I love my ponies.
Honestly, I seem to be able to get more different tones out of my P-basses than I ever could out of the active monsters I used to play. More USABLE tones, anyway.
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"Bells and whistles" vs. "one trick pony"
- Thread starter Dark Horse
- Start date
This. I love my ponies.
Honestly, I seem to be able to get more different tones out of my P-basses than I ever could out of the active monsters I used to play. More USABLE tones, anyway.
I have a broad palette of tone available through pedals (mostly eq and pre-amp types). If I need something 'P' sounding, I'll grab the P. J, the same.
I can get lots of different sounds from two basses and my toes!
When I record (home digital one-man-band thing), I have an array of guitars and basses at hand to get certain sounds. P, J, ABG, PJ fretless for bass, Strat, Tele, Dreadnaught acoustic, concert acoustic, and LP/PRS style twin humbucker for guitar. I find that the sound I hear in my head is from one of those sources. I grab the right tool for the job.
I can get lots of different sounds from two basses and my toes!
When I record (home digital one-man-band thing), I have an array of guitars and basses at hand to get certain sounds. P, J, ABG, PJ fretless for bass, Strat, Tele, Dreadnaught acoustic, concert acoustic, and LP/PRS style twin humbucker for guitar. I find that the sound I hear in my head is from one of those sources. I grab the right tool for the job.
I perfer passive basses but I rather play a 4003 , t bird, jazz or Pj over just a P-I really like the sound of a dual pickup bass.
all i ever really want or need in a bass is 2 band eq 2 pickups
a wide and flat neck and that it balences well
but then again with something like a fender p bass its damn near impossible to get a bad tone from it
a wide and flat neck and that it balences well
but then again with something like a fender p bass its damn near impossible to get a bad tone from it
Jack of all trades, Master of none!
Get the right tool for the job
Different job, different tool
Fender P Man
Sorry, I have started talking in clichés
Get the right tool for the job
Different job, different tool
Fender P Man
Sorry, I have started talking in clichés
One trick pony for me.
For one thing, I don't like having a bunch of knobs and switches, because I'm kind of a klutz. The fewer things I can bump into and accidentally change my sound, the better.
The other thing is, I just don't use a big variety of sounds. I have a jazz with flats for a vintage "thud", an active humbucker-equipped bass with rounds for a modern clean sound, and a fretless. That's it - three basses, three sounds. I use no effects and almost always have flat EQ settings on both the instrument and the amp.
No disrespect to guys who use lots of different tones, this is just what works for me.
For one thing, I don't like having a bunch of knobs and switches, because I'm kind of a klutz. The fewer things I can bump into and accidentally change my sound, the better.
The other thing is, I just don't use a big variety of sounds. I have a jazz with flats for a vintage "thud", an active humbucker-equipped bass with rounds for a modern clean sound, and a fretless. That's it - three basses, three sounds. I use no effects and almost always have flat EQ settings on both the instrument and the amp.
No disrespect to guys who use lots of different tones, this is just what works for me.
I will take bells and whistles and use them well. Although I don't think the bass is the one trick pony, it's more of the bassist. P basses can do more than one trick, I think. Not to say any of you guys who like the "one trick pony" basses are one trick ponies yourselves! That somehow came out kind of rude.
There is definitely an appeal to making the sound yours, both with options and without.
There is definitely an appeal to making the sound yours, both with options and without.
What's interesting to me is that many basses that have a lot of EQ options are not necessarily more versatile than simple setups. In my opinion a Jazz fits in more places than say a Ken Smith does.
That's not a not on Smiths because I think they're fantastic basses but for slap, hard rock/metal, reggae/dub or MoTown tones I'd personally choose the Jazz. The Smith has more onboard EQ options but I think it also has a more distinctive voice and carves out a more specialized niche.
Is the question whether you'd prefer a more versatile bass or one with a more signature tone? Or is it do you prefer a bass with simple controls (volume tone on a P) or tons of EQ options?
That's not a not on Smiths because I think they're fantastic basses but for slap, hard rock/metal, reggae/dub or MoTown tones I'd personally choose the Jazz. The Smith has more onboard EQ options but I think it also has a more distinctive voice and carves out a more specialized niche.
Is the question whether you'd prefer a more versatile bass or one with a more signature tone? Or is it do you prefer a bass with simple controls (volume tone on a P) or tons of EQ options?
Why choose?... Anyone for door number three? HA!!!
I've got a mad love affair going on right now with both of my basses. One is a passive parts Jazz and the other is an active custom P/J with EMGs plus a b-t preamp (two bells, one whistle?). Cozy players for me and either one can hold down the entire night with my cover band. I can do groovy passive schmoove-ness or oh-my-gawd aggressive active tones just fine.
I do like the idea about how there are only one-trick players (nod to our pal mongo2). After all, none of our basses do much until someone picks 'em up, plugs 'em in, and heads to funkytown.
I will admit that my biggest disappointments have come with a couple of bells and whistles basses I've had over the years. More isn't necessarily more, but a one-trick option usually goes home with a player like myself because that straight ahead fit and sound are A-OK.
Bells 'n whistles instruments can fan the flames of expectation, but I think that they need to be of significantly higher quality to truly deliver. Unfortunately, that higher quality typically comes with a price tag that can be a whole lot tougher to afford. I once tried out a second hand Kinal at a shop that felt like it was cut and constructed just to fit me. It was loaded up with a pile of electronics that seemed to sound dynamite, no matter what I did with them, but I wasn't ready to give up things like eating just so I could give it a home.
I'm deliriously happy with my "one of each" stable of instruments, probably because they're NOT like each other in terms of the sound they make.
I've got a mad love affair going on right now with both of my basses. One is a passive parts Jazz and the other is an active custom P/J with EMGs plus a b-t preamp (two bells, one whistle?). Cozy players for me and either one can hold down the entire night with my cover band. I can do groovy passive schmoove-ness or oh-my-gawd aggressive active tones just fine.
I do like the idea about how there are only one-trick players (nod to our pal mongo2). After all, none of our basses do much until someone picks 'em up, plugs 'em in, and heads to funkytown.
I will admit that my biggest disappointments have come with a couple of bells and whistles basses I've had over the years. More isn't necessarily more, but a one-trick option usually goes home with a player like myself because that straight ahead fit and sound are A-OK.
Bells 'n whistles instruments can fan the flames of expectation, but I think that they need to be of significantly higher quality to truly deliver. Unfortunately, that higher quality typically comes with a price tag that can be a whole lot tougher to afford. I once tried out a second hand Kinal at a shop that felt like it was cut and constructed just to fit me. It was loaded up with a pile of electronics that seemed to sound dynamite, no matter what I did with them, but I wasn't ready to give up things like eating just so I could give it a home.
I'm deliriously happy with my "one of each" stable of instruments, probably because they're NOT like each other in terms of the sound they make.
Bells and wistles. One trick pony is way to limited and doesnt let you much form your own voice. Of course single pup basses canjbe versatile if for example equipted with 3band eq and sweepable mids onboard. But thats not a one trick pony.
I've really become set in my ways in terms of what sound I like so one trick pony will do it for me. I like variations on that sound but when I play a bass I want some version of what I've got going on in my head. I think a precision or jazz bass is perfect. Straight forward, easy to dial in and sensitive to you as a player. The rest of the equation is your hands, strings , amp , ect.
I've owned a lot of bells and whistles basses and generally leave them flat and get most of my tonal variation out of moving my hand or adjusting between neck or bridge pickup.
That being said I have to , somewhat sheepishly, admit that my favorite bass is my G&L L-2500 which has lots of switches. I love the inherent tone of the bass and no matter how much you tweak it the sound is straight G&L.
I've owned a lot of bells and whistles basses and generally leave them flat and get most of my tonal variation out of moving my hand or adjusting between neck or bridge pickup.
That being said I have to , somewhat sheepishly, admit that my favorite bass is my G&L L-2500 which has lots of switches. I love the inherent tone of the bass and no matter how much you tweak it the sound is straight G&L.
- Jul 3, 2004
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- Disclosures
- Endorsing Artist: Ernie Ball MusicMan Guitars
Bells and Whistles in the Bedroom.
One Trick Pony on the stage, and studio, cuz that's what really works, that really good one trick.
One Trick Pony on the stage, and studio, cuz that's what really works, that really good one trick.
I'll have to vote "one Trick Pony."
Being the part of the rig that I actually touch,the bass itself all about the feel. I'll use outboard stuff to get
"versatility."
Being the part of the rig that I actually touch,the bass itself all about the feel. I'll use outboard stuff to get
"versatility."
