Unless you just have to have that F on your headstock, look for a Peavey Fury like me. You get the P-bass sound with a thin Peavey neck for anywhere from $100-$300.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Lost the Urge
- Thread starter Dr. Cheese
- Start date
-
- Tags
- urge
Unless you just have to have that F on your headstock, look for a Peavey Fury like me. You get the P-bass sound with a thin Peavey neck for anywhere from $100-$300.
Someone on TB recommended that a TB member buy a John East Marcus Retro preamp
to cop Marcus' signature tone. Another TB member chimed in and said you can't cop a better
Marcus tone with a John East than the Bartolini TCT that is in his bass and still available to the public!
"If it ain't broke don't try to fix it!"
Someone on TB recommended that a TB member buy a John East Marcus Retro preamp
to cop Marcus' signature tone. Another TB member chimed in and said you can't cop a better
Marcus tone with a John East than the Bartolini TCT that is in his bass and still available to the public!
"If it ain't broke don't try to fix it!"
I love a lot of boutique Jazz Basses, but it always cracks me up to hear people recommend things that Marcus Miller does not use to get his tone.
Personally,whenever I get GAS, I know that I am not playing/practicing enough. Because if I go and play my two basses(which as not expensive basses by any means), I usually end up thinking to myself how much better could any of the basses I am Gasing for be?
"We" get that the major factor is his two hands, and the other things
offer minor assistance in defining his signature tone!
That maybe so but I already have more than I need so ........that's my story and I'm sticking to it
At any time over the last 20 years I could have been happy with my basses at the time. First world problem really.
G&L L2500, G&L L2000 , G&L L2000 fretless.
Or the pair of limited edition Ken Smith basses - 1 of 5 and 1 of 19.
Or the Modulus Q5 fretted and fretless pair.
I could have lived with any number of combinations I've had. Always looking for the next thing or a little better feeling neck or whatever.
GAS subsides when you find what you want or run out of disposable income.
G&L L2500, G&L L2000 , G&L L2000 fretless.
Or the pair of limited edition Ken Smith basses - 1 of 5 and 1 of 19.
Or the Modulus Q5 fretted and fretless pair.
I could have lived with any number of combinations I've had. Always looking for the next thing or a little better feeling neck or whatever.
GAS subsides when you find what you want or run out of disposable income.
Interesting how GAS works. We treat it as a running gag, but it has the capability to destroy marriages and bank accounts if not properly dealt with.
Personally, I had to deal with GAS because I was up to four basses (oh, the horror) in a one bedroom apartment with my wife. While it never became a real problem it still lingers. Even now in our 3 bedroom townhouse I don't like the idea of basses floating all over the place.
I have rocked an '89 L-2000 as my one and only bass for a year and four months, but GAS crept in and I have begun a jazz bass build. Just the other night I bought an '74 AVRI Jazz body, natural in ash. $449, and it took me five minutes to pull the trigger. What I didn't
Last edited:
I know exactly how you feel. Just about every bass I have had for the las thirty-nine years has been good to keep. It was always more about me than anything else.
I did go to my favorite music store today to use their nice Peavey rig to record the tone on my Peavey Fury that I love so much.
I also inquired about getting a violin for my youngest daughter/camera person.
I did go to my favorite music store today to use their nice Peavey rig to record the tone on my Peavey Fury that I love so much.
I also inquired about getting a violin for my youngest daughter/camera person.
Great sounding bass, great playing and great camera work!
Great sounding bass, great playing and great camera work!
Thanks, my Fury is really making me rethink flats. If amps and recording equipment had been as good in the Sixties as they are now, I suspect rounds would not have been so big.
That's a good theory and likely to be vehemently argued against in the Amps forum
Still a good theory though!
That's a good theory and likely to be vehemently argued against in the Amps forum
Still a good theory though!
Hey, I love a good set of rounds! It's just flats can be very clear and actually pretty, not just a lost in the mix thud.
Interestingly enough, this was even the case for session legend Anthony Jackson at one point. His six-string "science experiment" was not welcome in one particular studio, and he was told to bring his Fender.
Yes, amps, and more importantly speakers, have improved over the decades, but I never really took to rounds. In fact, during the "flats drought" in the '80s and '90s I went so far as to buy the strings off of a used bass with flats hanging in a shop. I even bought one P bass just for its flats, restrung it with rounds and flipped it quickly. For the last decade or so I've used nylon tapewounds.
BTW, my most recent visit to a music store was yesterday to purchase a couple of Switchcraft 280 plugs to repair a couple of instrument cables with bad right angle plugs.
