Pros and 'Unusual' Basses.

[alexlocurto]

It is a truth universally acknowledged that G&L L2000s are wonderful instruments. (If you don't agree, just roll with it for now!) But! I know no big-name pros who use them. And when I thought of it, I realized that there are lots of excellent instruments that pros don't generally use. Why is that? If pros are a cross-section of bassists, are we all really that commited to Fender? Why don't you see some of the L2000s, the MTD Saratogas, and the MM Big Als of the world on stage or in the studio?

 

[az_bassist]

Coming from me, I'm a Fender guy. It's a personal preference but I think for many musicians it's hard to beat a quality Fender product. But you are right, there are a lot of other great instruments out there that don't seem to be played as much by pros. Which is strange...

 

[alexlocurto]

Oh, don't get me wrong. I love Fender. Sometimes I still pick up my P bass and say "Wow. This is great!" But SO MANY FENDERS. What gives?

 

[SethD]

Martyn LeNoble played a G&L in Porno for Pyros. Pretty high profile gig at the time. Thundercat played an MTD, not sure if it was a Saratoga.

 

[BazzTard]

For me to buy something other than an MIA Fender it would have to be substantially different. I don't see the point of paying more for the same stolen design. I mean those high end Fender clones. If they were so good,why not go out on a limb and design their own bass?
I repect Ibanez for going for a different look and finish,they make some really nice basses that I would buy in an instant. I'm thinking of an Ibby 5er actually...hmmm

 

[superdick2112]

I realized that there are lots of excellent instruments that pros don't generally use. Why is that?

Good question.
Even though I sold my 4004Cii, I am a big fan of the Rickenbacker 4004 series basses.
Their fat-sounding humbuckers, sleek necks & ergonomic bodies (more than the 4003s, anyhow) add up to one fantastic bass, yet I've never seen one in the hands of a big-time player.
Many of these great basses we are talking about are produced in much smaller numbers than their more popular competitors - that could be a factor.
You never know - the next great high-profile bassist to play one of these lesser known gems on TV could kick-start sales & popularity of a "sleeper bass".

 

[blindrabbit]

It is a truth universally accepted that G&L L2000s are wonderful instruments. (If you don't agree, just roll with it for now!) But! I know no big-name pros who use them. And when I thought of it, I realized that there are lots of excellent instruments that pros don't generally use. Why is that? If pros are a cross-section of bassists, are we all really that commited to Fender? Why don't you see some of the L2000s, the MTD Saratogas, and the MM Big Als of the world on stage or in the studio?

Because most people are, unfortunately, conforming sheep.

 

[alexlocurto]

Because most people are, unfortunately, conforming sheep.

Perhaps that's true... But do you think the sheep is always the bassist? I've heard studio horror stories on here where sound guys are telling bassists "Fender or walk," essentially.

 

[jim777]

Folks look for a unique voice, plain and simple. If you can't do that with chops, or the music doesn't allow for that (much more likely, unfortunately) sometimes an odd bass is all you can do to stand out (if standing out is something you want to do). I HATE to beat a dead horse but the music matters more than what you make it with.

ALSO, a lot of pros are simply good enough to sound good on anything they play, and they play whatever is the model made by the company that pays them the most (or pays the most of the ones they would play - we're not guitarists here LOL)

 

[chris_b]

I read that Victor Wooten wanted to use Bergantino but Jim couldn't support him when touring outside the US, so VW went with a company that could provide that level of support.

If you are a pro player your slant on playing changes. You have to have a basic standard of gear but you should have figured out by then that you are the main source of your sound not the gear, so what and how you play, plus the performance, becomes the most important factors. The small nuances of this gear vs that gear are irrelevant on most big stages where the sound is controlled by FOH, fold back and recording engineers.

On a tour with hire gear and others throwing your instruments around you have to go for consistency and rugged and easily replaceable gear.

These days I don't use Fender or Ampeg but when I was on arena tours I did. I needed to forget about the gear. Honestly, playing in front of 30,000 people I had so many other priorities I had to know the sound was going to be good and the same every night.

 

[Watchootognbout]

Perhaps that's true... But do you think the sheep is always the bassist? I've heard studio horror stories on here where sound guys are telling bassists "Fender or walk," essentially.

By "Unusual"you mean "non-Fender"

That's usually some lazy sound engineer.
Looks up.Sees a Fender bass.
Says "Ah...a P-Bass!"
Presses a few buttons(or whatever)Interlocks his fingers behind his neck.Yawns."My work is done!"

 

[alexlocurto]

By "Unusual"you mean "non-Fender

Not necessarily. Stingrays get a bunch of play, so do Rickenbackers. Fender is just the best example of ordinary basses.

 

[Smooth_bass88]

It is a truth universally acknowledged that G&L L2000s are wonderful instruments. (If you don't agree, just roll with it for now!) But! I know no big-name pros who use them. And when I thought of it, I realized that there are lots of excellent instruments that pros don't generally use. Why is that? If pros are a cross-section of bassists, are we all really that commited to Fender? Why don't you see some of the L2000s, the MTD Saratogas, and the MM Big Als of the world on stage or in the studio?

You have a point here. It's kinda funny because a G&L is almost more "Fender" than Fender, since the company was founded by Leo Fender. Take an instrument like the G&L JB, which is essentially a Jazz Bass. No one anywhere would have a problem if you showed up to a gig or TV performance, or session with this bass.

 

[Gilmourisgod]

Having owned my 83' L2K for 32 years, I consider it one of the finest production basses ever made, but most buyers did not know that Leo Fender designed it specifically to address what he saw as flaws in his original designs. My bass has never needed anything beyond the most minor maintenance, and sounds amazing, huge range of useable tones. I think it comes down to marketing. Fender and Gibson names are nearly synonomous with "Guitar", like "Kleenex" is with tissue. A lot of high profile players use what they are paid to endorse, Stu Hamm being a blatant example. He seems to have a new epiphany every few years when he "discovers" his new dream instrument.

 

[TonyP-]

For me to buy something other than an MIA Fender it would have to be substantially different. I don't see the point of paying more for the same stolen design. I mean those high end Fender clones. If they were so good,why not go out on a limb and design their own bass?
I repect Ibanez for going for a different look and finish,they make some really nice basses that I would buy in an instant. I'm thinking of an Ibby 5er actually...hmmm

I can speak on this to light degree.

Simple
It's an improvement to a working design with more attention to detail.

If these improved basses were not so good you would not see every bass player in late night TV playing one.
Hope this helps.

 

[Clef_de_fa]

I think that is up to what you listen to ... In the genre I like I see some Yamaha, some Warwick, Custom Shop instruments, Pedulla, Zon not really Fender.

You'll see more Fender in mainstream music. If you go outside you see a lot of different stuff and I think it is because bass player and sound engeneer and whatnot don't make any pressure to use a standart or whatever.

But now that a lot of band do everything themselves, you'll see more band with either their unique tone or they will go the Fender route and sound like everything is popular.

 

[bmc]

After 40 years of gigging, I got myself a teacher. He's a well known name in Germany and is endorsed by Musicman and Markbass. Musicman gives him a new bass of his choice every year. In total, he has 40 basses. You name it, he has it. But...his go to the gig or recording session basses are always Musicman.

 

[M.R. Ogle]

I read that Victor Wooten wanted to use Bergantino but Jim couldn't support him when touring outside the US, so VW went with a company that could provide that level of support.

If you are a pro player your slant on playing changes. You have to have a basic standard of gear but you should have figured out by then that you are the main source of your sound not the gear, so what and how you play, plus the performance, becomes the most important factors. The small nuances of this gear vs that gear are irrelevant on most big stages where the sound is controlled by FOH, fold back and recording engineers.

On a tour with hire gear and others throwing your instruments around you have to go for consistency and rugged and easily replaceable gear.

These days I don't use Fender or Ampeg but when I was on arena tours I did. I needed to forget about the gear. Honestly, playing in front of 30,000 people I had so many other priorities I had to know the sound was going to be good and the same every night.

I think this is the answer.

 

[JimmyThunder]

If pros are a cross-section of bassists,

There's the major fault in your logic right there. Visible, full-time pro musicians in no way represent a cross-section of what a typical bass player experiences or thinks. You might as well ask why if PC outsells Mac by such a huge margin, why almost all pro graphic designers use Macs when you can get the same software for PC.

 

[Dave W]

I thought Johnny April used an L2K with Staind for a while, back when they were pretty hot. But I can't find a single picture of him playing one.