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Do You Play a Fender Because It's Expected?

#41
I'd have to say I don't play them because others expect it. I play them because I play 1960s soul and other roots styles that were created with Fender basses. I play them because I like a classic style and because I like the ergonomics and balance of them. I like the simplicity of the controls and the ease of dialing in great sounds.
I started on Hofner copies, short-scale Gibsons and an Electra Phoenix Bass. It took me awhile after I bought my first Fender to really start playing it very much. But once I got used to the long scale and wider fretboard, I was hooked. I also have an Alembic, Ric, Gibson, Hofner and EBMM Stingray, but I think I'll always favor Fenders and my Fender-style Lakland Duck Dunn.
 
#42
I've done auditions where they've wanted me in as long as next time I brought a Fender. When I mention that I really hate playing Fenders and don't own any, they tell me that I won't fit in with the look the band is going for. Then I ask about the playing and sound and always get a very positive response. Then there's the but. But we need the image to be right. Ok then, good luck to you...

I've also never had an engineer tell me to play a Fender, or, as an engineer, asked a bass player to use one. Beyond that, I have never heard of saving an EQ curve based on a particular type of instrument. There's too many variables not to EQ every track to sound it's best.
 
#43
Long time ago in a galaxy as far away as Nashville at the Grande Ole Oprey among those Fender playing guitarists, bassists have been seen playing boutique multi string basses. So I figure the expectation is gone. I get hired for me. If its supposed to sound a certain way you'll get it. Of course I'll bring one if asked but gee that "supposed to" "is so five minutes ago".
 
#44
TigerInATrance said:
I've done auditions where they've wanted me in as long as next time I brought a Fender. When I mention that I really hate playing Fenders and don't own any, they tell me that I won't fit in with the look the band is going for. Then I ask about the playing and sound and always get a very positive response. Then there's the but. But we need the image to be right. Ok then, good luck to you...
Click to expand...

I have to say that this is the most honest and too the point response this thread has had.

So it's not about the sound at all - it's about the image. Try selling a Thin Lizzy cover band playing PRS.
 
#45
Image IS very important, at least for me. I don't play basses I think are ugly (and I do find many common basses ugly, specially in natural finishes). As for a band, I too think, depending on the style, it can be important too to use certain type of instruments in a visual matter.
 
#46
Mikio said:
Image IS very important, at least for me. I don't play basses I think are ugly (and I do find many common basses ugly, specially in natural finishes). As for a band, I too think, depending on the style, it can be important too to use certain type of instruments in a visual matter.
Click to expand...

Agreed. But also basses along with guitars can be too pretty for the target market (Thin Lizzy + PRS = NO).
 
#48
I don't play a Fender and I haven't had anyone tell me they expected a Fender. I have had people ask what kind of bass I play and I say,

"Its a Carvin SB5001."
(blank stare)
"Are you familiar with a Fender Jazz bass?"
"Yes"
"That's basically what it is."
"Oh, ok."

I have had a couple of people tell me they didn't want me playing 5 string basses as that's usually for "those Jazz guys." That's about the point where I bow out.
 
#49
I've had several, and there have also been many years w/no Fender. A few were nice, some were.....MEH! Currently playing one and digging it, but as to your question, maybe to a small degree only. I don't make a living as a musician, but if I did, I'd probably always have one just cuz. For a bar band guy....I'll buy what fits me/the needs I have for a bass, and don't really give a rat's azz about the decal on the headstock.
 
#51
I have 5 bass's. Only 1 is a p bass. Usually my last choice as i prefer my epi's with active emg's. Was a hired gun for a female solo artist singer/songwriter recording her second album. Ran direct with one of my epiphone thunderbirds with the active p/j pick up configuration. Super quiet, excellent tone, growls where needed, pop where needed, smooth as glass where needed. I absolutely loved the sound of this bass and got a big thumbs up from the drummer on the tone. She had seen me play my p at rehearsals before.....she didn't like the looks of my tbirds at the few gigs we had prior. Long story short, she rejected the tbird and requested the p bass. ?????
 
#52
Misterwogan said:
Engineers keep a stock of EQ curves for Fenders and can't be bothered starting from scratch when something else turns up.
Click to expand...

Where did you come by this information? I've been a recording engineer for 35 years and have yet to keep a "stock EQ Curve" for anything. Every session is different when you're dealing with musicians...different strings, different picking styles, genres, aggressiveness with the instrument, etc. But 9 times out of 10 I can DI a bass, no matter which brand, and drop it right into a mix with very little EQ other than what's dialed in with the tone control on the bass. To my knowledge there's no "stock" setting for anything, other than the 'go to' mic I use for vocals and even then there is some tweaking to be done.
 
#53
Biggbass said:
Where did you come by this information? I've been a recording engineer for 35 years and have yet to keep a "stock EQ Curve" for anything. Every session is different when you're dealing with musicians...different strings, different picking styles, genres, aggressiveness with the instrument, etc. But 9 times out of 10 I can DI a bass, no matter which brand, and drop it right into a mix with very little EQ other than what's dialed in with the tone control on the bass. To my knowledge there's no "stock" setting for anything, other than the 'go to' mic I use for vocals and even then there is some tweaking to be done.
Click to expand...

Roll of at 40hz, boost at 200hz, scoop at 500hz, boost at 1.2khz and shelf reduction at 2.5khz. Sound familiar?

It's what the dance music business has been doing since the 1980s.
 
#54
Misterwogan said:
Roll of at 40hz, boost at 200hz, scoop at 500hz, boost at 1.2khz and shelf reduction at 2.5khz. Sound familiar?

It's what the dance music business has been doing since the 1980s.
Click to expand...
Blech!

:D

I use Fenders because I like Fenders. Nobody's looking for me to do sessions and I can play whatever I want in my band, and have seriously challenged their acceptance level at times. But I always come back to Fenders because they always work for anything I want to do 100% of the time.
 
#55
Back in the day I was crazy busy doing sessions. A guitar buddy of mine talked me into a 1970's Fender P bass " because it sounded better for recording". At the time I had a Rick 4001 (Blue!) and some others which I loved. The Fender did sound good but I thought my other basses sounded just as good on that 2 inch, 24 track tape (digital was not as popular yet!). I never was a big fan of the bigger feeling neck of the P bass or Fenders in general. Especially boring old sunburst. To me, the Fender shape as well as sunburst color was the last thing I wanted to see in my hands.
Today I own 7 Fender Jazzes, 4 sunburst. And if you ask me there is nothing better than a sunburst Fender J or P in looks AND its classic or modern sound on recordings.

Fenders just sound right to my ears now but so do other brands with/without active electronics that are out there.

Nowadays I will always have 2 basses at a session and one will be a Fender.

-Roots
 
#56
Before I bought my Jazz 5 all I had was a Warwick Thumb bolt on 5'er and some starter Ibanez 4 string. Warwicks have a unique sound, and it's a sound that I love, but I bought the Jazz bass because it's a "what you see is what you get, standard bass tone" kinda bass for those times when I want my sound to be a little more "manageable". Plus I won't kill my back with a heavy bass with terrible neck dive (warwick)
 
#57
rootsnfifths said:
Back in the day I was crazy busy doing sessions. A guitar buddy of mine talked me into a 1970's Fender P bass " because it sounded better for recording". At the time I had a Rick 4001 (Blue!) and some others which I loved. The Fender did sound good but I thought my other basses sounded just as good on that 2 inch, 24 track tape (digital was not as popular yet!). I never was a big fan of the bigger feeling neck of the P bass or Fenders in general. Especially boring old sunburst. To me, the Fender shape as well as sunburst color was the last thing I wanted to see in my hands.
Today I own 7 Fender Jazzes, 4 sunburst. And if you ask me there is nothing better than a sunburst Fender J or P in looks AND its classic or modern sound on recordings.

Fenders just sound right to my ears now but so do other brands with/without active electronics that are out there.

Nowadays I will always have 2 basses at a session and one will be a Fender.

-Roots
Click to expand...

This appears to sound like a parable for "Never Say Never" - or "Thou Shalt Give Thyself to Leo Eventually"
 
#60
MrPierre said:
I play an Ibanez Precision copy. I would probably own a fender if I had enough money to spend on one.

But

If I ever turn up into a studio and the engineers is too lazy to even bother using something else than a preset on the EQ because"he can't bothered to do is job", I will gadly recommend to fire is lazy ass and get a real engineer.

If the producer want "the fender sound" I won't argue and play one. But not because a guy can't be bothered to do his job.
Click to expand...

For a studio musician, time is of the essence. The engineer is being paid to get a track down as quickly as possible, and telling a bass player to bring a standard bass is a courtesy that he doesn't have to extend. It has nothing to do with lazy, it has to do with time. One of the first pieces of advice a pro gives to a young session player is to always bring a couple of Fender basses to a session in case you're asked to use it, one with flats, one with rounds, etc.

I know you're speaking hypothetically, and we're just throwing things around, but if a session player decides to give the engineer crap, there are a thousand guys who will show up with the right gear, and he's going to work with those guys instead. It's less time for them to bring in someone else than to set up the board for that Wal bass on that orange juice commercial track.

All of this information I'm relaying is based on a commercial music education over 20 years ago. A smart session player will always have a Fender bass with him, but it's probably not as necessary as it may have been back in the day.
 

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