Separate names with a comma.
Discussion in 'Basses [BG]' started by raul, Feb 5, 2014.
Just curious. I love my MIM P bass..
What well known players use or record with a MIM P bass?
Probably way more than any would like to admit. Especially when touring under adverse conditions.
Would it matter ..really? It still a P bass and MIM can sound as good as a MIA..who would know?
IMO a p bass will always sound like a p bass. The sonic differences in the squiers MIMs and MIA Ps are very small.
I believe Uriah Duffy is known to play MIM Fenders live almost exclusively. I read an article where he said he prefers to bring them on the road and mods the pickups and hardware to suit his tastes. I'd wager there are probably more studio tracks done on MIM P and J basses than they get credit for as well.
The guy from Bloc Party uses them live.
Oteil Burbridge may play a MIM Fender Road Worn 50s P-bass. Some speculation it could be a custom shop. Looks like a MIM to me.
Esperanza Spalding is playing an MIM fretless here, but who's to say whether it was her preference, strictly gear for the road, or a loaner while her jaco was in the shop. But there it is. http://www.talkbass.com/forum/f8/what-jazz-bass-esperanza-spalding-playing-943145/
Which MIMs, though?
It's all just a question of how much bench time you put in, and even the MIAs require a bunch. If you cherry-pick, then you can find usable basses in the low end for gigging, where gear just gets destroyed. I've known of a lot of guys who did that who did nonstop chicken-wire-bar gigs and didn't want to trash/lose real instruments.
Totally valid idea, makes perfect sense.
But why would anyone use one in the studio?
That doesn't make any sense.
The things that distinguish these cheap instruments even after some bench time on setup and build remediation to make them playable -- like poor pickups and electronics -- are the very things that matter in the studio (but not in the chicken-wire bar ).
Beyond that, a truly good studio bass is an extremely rare thing, even in the high end of the market. I wouldn't expect it out of an MIM Standard.
What if they like how it sounds?
That seems to make plenty of sense.
I used Squier, MIM, MIJ and MIA in the studio and nobody cared or knew the diff.
Many popular recordings have been made on much less than stellar examples of American Fender basses. I'm no MIM apologist, but lets be real here. If you're talking about a top flight LA session house with the cash to fund such a backline, then no, there likely won't be a MIM in sight. But things aren't being tracked like they used to, with many musicians recording their parts from home studios and sending the files out for mastering and mixing. There are tons of songs being done this way now (by "famous" players, on hit recordings). It makes complete sense that these basses would be featured on hit studio tracks when this is considered.
Pray tell, what is a 'real instrument' then?
One that bongolation deems studio-worthy. No less.
So it shall be written. So it shall be done.
Forgive me my ignorance; I am but a mere peasant.
Ben Shepherd- Soundgarden
Ben uses a Fender Classic Series 50's P Bass Lacquer, it's been his favourite bass for the last 3 tours according to his tech
It is stock apart from a Badass ii
There is a really interesting video on YouTube from Guitar Player mag which has interviews with all the guitar techs on the last Soundgarden tour.
The video is around 50 mins long, Ben's tech is about halfway through
Well, according to his modestly filled out profile he has some rather expensive instruments! Go him!
Same here. I'm even guilty of using a $100 Ibanez Soundgear in the studio.
These are all reasonable points, but the question is still why would real musicians on real recordings use substandard entry-level gear? Why would they even be owning it in the first place? It would be odd, to say the least, though musicians certainly do lots of irrational stuff, maybe like some character having a neurotic attachment to his first bass or something.
The amount of scratch in a real commercial recording on a real label would surely extend to budgeting real pro gear.
I mean think about it.
The technical aspects of this question within modern direct-track digital recording are beyond this forum (though I could tell you lots of amusing stories ), but yes you can record with anything and clean it up in the mix more easily than before. I'm just suggesting that it doesn't make any sense in terms of consistency to try to do first-class, money recording on entry-level instruments, and it simply isn't logical to expect real pros to do so.
Lexicographic note: As always, "real" = "money."
I've heard that Nick Oliveri uses them... and the guy from NoMeansNo does.