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Essential Bass Arsenal

#41
As much versatility for my studio is the path I've chosen in recent years. I don't gig much anymore and when I do it it's all about my Stingray5+backup (usually the Schecter). I wanted to have as diverse an arsenal as possible, mostly ont he cheap. So as of today I have a short scale, my Ray 5ers (one with flats), a semihollow, fretless PJ, Jazz, P, and a "modern" sounding bass (yet great multi purpose backup/"impersonator"). I always keep a variety of string sets around, including a couple used sets to have the worn out tones when needed.

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I don't specifically need it, but I'd really like a nice (yet cheap) Jazz 5er, a Sire V3 or similar. But that's just GAS, I do more than OK with my 4 string Jazz (4th I've owned, cheapest of them all, yet best sounding), I string it BEAD no problem whenever needed.
 
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#43
A G&L L2000 can cover it all for me. I have mine with K-Mod so I can go single coil and get an approximate jazz tone, an approximate p tone, and of course more. Though the bridge pickup in parallel is a little lacking, you can push it in the treble boost mode and then dial back some treble and/or bring in more bass. It's that versatility that makes this bass cover most of my needs jamming at home, with the band, recording or live... It doesn't do everything of course, but for me it's a Swiss army knife. That said, the bass tone on any recording I'm still absolutely in love with is Paul d'Amour's Rick on Tool's Undertow, and can't get that from an L2000, so I would need a Rick, and Sylvia Massy! :woot:
 
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#44
I just recently completed my bass stable, after years of scrimping and squirreling:
1) G. Gould GGi-5
2) G. Gould GGi-6 fretless
3) Yamaha YBS-62 barimatone saxomophone
4) Nektar LX49+ keyboard
In truth, when I was just running the 5 string, I never was wanting for anything when it came to gigging or recording, but I wanted to expand the sonic possibilities all the same to keep things interesting.
 
#46
I don’t believe any particular basses are essential. But pictures are…
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#49
DRay521 said:
So I’m thinking primarily about studio work, but the same idea could be applied to live settings.

What basses do you feel are essential to have in your arsenal to achieve just about any sound? I realize there are some basses that are extremely unique, and have their own distinct sound that’s difficult to replicate, but if it’s potential to get close to with another bass, it’s out. For instance, my list would be:

Precision (includes round and flats)
Jazz
Stingray
5-string
Modern Active/Boutique
Hollowbody
Fretless

And for an added bonus, which basses are you missing from YOUR arsenal? Personally, I need a Stingray, fretless, and a hollowbody to check all the boxes. I’d also like to grab a Rickenbacker at some point, because that’s one of those distinct sounds I have in my head that’s tough to replicate, but you can get close enough that it doesn’t make the list.

So, what say you?
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I do a lot of sessions and play in many different groups that play original blues rock, metal, folk, classic and modern R&B, a couple tribute acts and covers from 60s through today. The vast majority of the time I play a passive J-style, usually one of my Laklands or Fenders. I use a couple Precisions sometimes too, but what really has been important lately is having a couple basses tuned down a half step. Several artists I work with prefer this tuning so I leave at least two basses (P bass and Lakland) tuned this way. It's just easier. One of the guys I work with who happens to be the singer of a famous group, tunes down a full step. With him I play a standard tuned five string (for now). I rarely use an active bass. I don't really feel a StingRay is an essential bass to own; a P bass and a hollowbody are far more necessary. Also, having at least one bass with flatwounds is important. Very rarely do people want fretless although it's cool to have one.
 
#52
We humans just love to categorize the world, don’t we? o_O

This entire thread is based upon a flawed premise; the assumption that all X basses sound alike. The truth is that basses built in the P style can sound vastly different from one example to the next. Basses built in the J style can sound vastly different from one example to the next. Having built a stable of basses for myself, I can attest to their individuality, even between two basses built from the same actual slabs of wood.

It might be more useful to talk about the characteristics we (think we) need. Maybe something with a strong low mid emphasis, and something with a mild midrange deemphasis, and something with a broad low frequency presence and a muted attack, and something with a very dynamic attack and an aggressive upper mid presence, and ….

Nah.

This is TalkBass, where every thread becomes an opportunity to post glamour shots!

:cool:

Also, what’s up with lumping all possible fretless basses into one category?? As if all fretlesses sound alike?? Really??
 
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#53
DRay521 said:
So, what say you?
Click to expand...
DRay521 said:
this is really just a “for fun” thread
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i used to do tons of studio work and believe it or not, i used two axes (all i had): a fretless, and a fretted. ;)

however, these days i have a bunch of 'em: a couple of P-basses, a J, and a bunch of PJs. i have enough to cover a session....but i'd probably just take a PJ.

ctmullins said:
what’s up with lumping all possible fretless basses into one category?? As if all fretlesses sound alike?? Really??
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:laugh: yeah, what's up with that?! :spit:
ctmullins said:
This is TalkBass, where every thread becomes an opportunity to post glamour shots!
Click to expand...
:laugh: get ready --- here it comes......

the 'stable' copy.png


i no longer keep a fretted ax around. if i needed frets for a session these days, i'd borrow one.
 
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#59
KidAmnesia said:
IMO you can get by with almost any bass. A PJ or HH fretted fiver will cover most of the possible situations; a fretless would fill most of the rare situations the other one can't cover.
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I agree. I use a PJ Yamaha BB3000 for most classic rock gigs, and get any sound I need from it. Modern country or pop gets a 5-string with an active/passive switch. And the other 10% of my gigs are on upright.

There might be some "producers" that listen with their eyes and want the bass you use to look the part tho.
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This is kinda where the original thought came from. Can I get my sound on any bass? Absolutely. But the first time I walked into a pro studio with an active bass, the engineer gave me an eyeroll before I played a note. With a passive jazz, I got a thank you, and with a P/flats, it was nearly a drooling. Besides that, I’ve had artists that knew their stuff and requested a particular bass, or specifically requested upright or fretless or 5er. I’m not a collector, but I like knowing if an informed artist knows what they want, I can provide it. (But honestly, I’m still gonna just sound like me…)
 
#60
My personal statement would be: 1 - Jazz, 1- Precision and Knowledge to use the right technique for ANY recording.
(Oh and of course a double bass would be nice)
 

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