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Danelectro Owners Club
- Thread starter portaflexer
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I've never tried Dunlaps. I like D'addario ECB81S for a brighter sound, La Bella 760FSS for a yummy fuller sound. I tried Rotosound 77s, and I didn't really like them.
Experimenting with different flats can get expensive really quickly, but I do prefer the feel of them, and in most contexts I prefer the sound. I do keep one of my basses in rounds for the punk band, but the guitarist in that band is stranded in Florida by COVID, so that one mostly stays in the case these days.
Seeing live music, the worst-sounding basses I've heard have all been Gibsons, but not all Gibsons I've heard have sounded bad. I've never played one, so I don't know how to diagnose why.
Most bands have a Fender of some sort, or a Fender knockoff. We know what they sound like, and they're certainly safe and nice-sounding usually.
And then there are the small minority of bands that have some other bass. Most have sounded as good as any Fender, from the audience.
I'm not totally sure how my basses sound from the audience, but I've gotten specific compliments on the sound of my Jerry Jones Longhorn with round wounds, DI'ed to the PA.
There are so many variables that go into what the audience hears: the sound of the pickups, the strings, tone settings on the bass and amp, what the amp is (if there is an amp), whether the amp is mic'ed or DI'ed or both, and whether the bass is a poopy-sounding Gibson.
Most bands have a Fender of some sort, or a Fender knockoff. We know what they sound like, and they're certainly safe and nice-sounding usually.
And then there are the small minority of bands that have some other bass. Most have sounded as good as any Fender, from the audience.
I'm not totally sure how my basses sound from the audience, but I've gotten specific compliments on the sound of my Jerry Jones Longhorn with round wounds, DI'ed to the PA.
There are so many variables that go into what the audience hears: the sound of the pickups, the strings, tone settings on the bass and amp, what the amp is (if there is an amp), whether the amp is mic'ed or DI'ed or both, and whether the bass is a poopy-sounding Gibson.
From the 23 years of gigging I’ve done and played everything from Fenders to Alembic, to Danelectro (90s DC RI) to Pedullas..
one thing I’ve learned that works live and in the studio is having a bass that has a good even tone... meaning not a ton of lows, or mids, or highs.
It’s always easier to add specific frequencies rather than subtract them.
While I really like how the Gibson sounds by itself or at rehearsal.. it just doesn’t seem to sit well live.
(Plus I plan on touring again in the next couple years and really want a vintage sounding bass that has a bolt on neck, and isn’t prone to headstock breakage)
Not meaning to dis you, it's just that this quote brought a smile to my face.
One of the first things I learned in electronics class is you can never add something that doesn't exist - it's basic physics - all you can do is remove something that does.
In practical terms when you turn the amp's bass control up, what you are doing electronically is removing treble frequencies. I know it seems counter-intuitive but can be an important distinction especially when trying to decide what your starting point should be.
In most cases it doesn't matter, it just made me smile.
Well, I think you slightly misunderstand. Bass knobs on amps DO add bass.
Depends...
Like a wood sculpture vs a clay sculpture...
If it's a woody tone you're after, then it's all cutting.
However, if you want a muddy tone, then it's all additive.
Merry Danelectromas
Like a wood sculpture vs a clay sculpture...
If it's a woody tone you're after, then it's all cutting.
However, if you want a muddy tone, then it's all additive.
Merry Danelectromas
I recall some years ago sitting through a many-bands show using the same SVT rig and PA setup one after the other and trying to figure out which bass of the many types sounded best / clearest from my central spot in the audience. Fender, Gibson, Kubicki, Music Man (no Danos) ...and the winner? ...a Yamaha. I realize all the variables that make this absolutely non-scientific and subjective, but it does show you how you can be surprised sometimes by what you hear out front. I did buy my first Yamaha not too much later
.To keep this on topic, I have had great clarity recording with my ‘63 Silvertone. It’s why we chose it for the track.
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It came in!! First thing I did was put Labella flats on and played if for an hour or so straight.
Then I compared it to the Gibson (which has the same strings). Boy does this Dano make the Gibson sound dead and lifeless!
I’ve also decided to keep the stock controls as Jim was right about the tonal options you can get from them. (Thanks Jim!)
Then I compared it to the Gibson (which has the same strings). Boy does this Dano make the Gibson sound dead and lifeless!
I’ve also decided to keep the stock controls as Jim was right about the tonal options you can get from them. (Thanks Jim!)
Thinking about switching the bridge to a vintage style unit.. does anyone know if these swap out without issue?
I have the OEM bridge on my old Dano Silvertone 1444 and it has a slot recess cut into the body under the string slots on the bridge so the ball ends fit. I'm also not sure the screw holes will line up exactly with modern RIs.
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Usually it fits without any fuss. Sometimes the back screw doesn't line up with the hole exactly. There's been a little bit of variation over the years in the location of that screw hole. But it's only, like, ⅛-¼" difference, I think.
So I’ve done the first band rehearsal with the new DC short scale.
It seems if I really dig in (the bass is strung with Lebella DTF) that I can over drive the pickups.
Does this sound about right for lipstick pickups?
at first I thought it was the speaker but I turned down the amp low and tested it again and got the same results.
It seems if I really dig in (the bass is strung with Lebella DTF) that I can over drive the pickups.
Does this sound about right for lipstick pickups?
at first I thought it was the speaker but I turned down the amp low and tested it again and got the same results.
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Depends on the magnets. Evets released lipsticks with vintage correct alnico, then they switched to ceramic and are now apparently back to alnico. Ceramics are harsher and get dirty like you're describing. Alnicos remain glassy and clean.
Looks like '98-'01, made in Korea. Some colors were only made in certain years within that range. Someone else may know.
They've been in production again the past few years (also in Korea, I think), but I think not with those tuning keys or black binding tape (and not in that color? unless that's cream, but it looks more tan in the picture).
Serial numbers of modern Danelectros have no meaning, as far as anyone knows. They've usually been on a sticker on the back of the headstock.
They've been in production again the past few years (also in Korea, I think), but I think not with those tuning keys or black binding tape (and not in that color? unless that's cream, but it looks more tan in the picture).
Serial numbers of modern Danelectros have no meaning, as far as anyone knows. They've usually been on a sticker on the back of the headstock.
- Jun 30, 2010
- 49,603
- 222,065
- Disclosures
- musician/artist/owner - Gildaxe
'68 Coral Deluxe Bass - very Dano and very awesome sounding
