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Pros and 'Unusual' Basses.

#21
In the Jazz set, or modern improvised music, you see very little Fender or any of the other common brands. To be fair, no G&L either. I am thinking about Gary Willis, Matt Garison, Tom Kenedy, Victor Wooten, Hadrien Faroud, Jimmy Haslip, Jimmy Johnson, Anthony Jackson, and that kind of player. Come to think of it that's a pretty Fodera-heavy lineup, with Willis as an exception on a high end Ibanez.
 
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#22
Ric Markmann was in the bass chair with Heart for a few years (2006-2009) and plays almost exclusively L2Ks. Tom Hamilton uses ASATs which is virtually the same as an L2K. Those 2 examples came to mind and are VERY high profile, but I have wondered the same thing about seeing more G&L products at a national level.
 
#23
Grog. Die So Fluid.
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#24
The L2k has a lot to do with my meager bass collection (3 total), I can get it to sound like just about anything, even a serviceable Rick tone, with a bit of twiddling. I've never been able to justify buying a big stable of basses, though god knows I've lusted after many. I saw Aerosmith a couple years ago, nosebleed seats, but you can't miss the G&L headstock.
 
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#27
bstringkyle said:
It seems that most pros these days are using either Fender P-basses, jazzes, or Musician Stingrays. Which is kinda strange lol
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Same reason why many pros use Boss pedals... easy to get a Fender/EBMM on the road if yours are lost/stolen. Good luck finding a Fodera, MTD, Spector, etc. a couple hours before a gig in Rosebud Montana or Sioux Lookout Ontario.

Also, Fender and Ernie Ball are two of the most lucrative companies to play for. I guess Warwick is up there as well.
 
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#29
Clef_de_fa said:
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.
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I think you hit the nail on the head, here. The type of instrument really does depend on genre specifics. In a lot of cases, yes, Fender will always rule, but in other styles, if you come to an audition with a Fender, you'll be shown the door.

Truth be told, I can only think of one bassist in extreme metal who plays anything related to Leo Fender, and that's King Ov Hell, who plays a classic StingRay. I'm sure there are others, but they're very few and far in between. And one thing I've noticed, a lot of metal guys are very lax on what kind of gear you have. It just needs to work and sit well in the mix. Most passive instruments just wouldn't cut it to begin with, and well...as far as active Fender's, I have no idea. I think basses with dual humbuckers are popular just because they tend to be more powerful pickups. Whatever the reasoning that's been lost to time, I just know what I look for in a bass. Just for a disclaimer, I love my Jazz bass...but I know full well it wouldn't work out all that well in a live setting. In the studio? Sure! Plenty that can be tweaked to bring it forward. Playing live though...active electronics just help...a lot.

Dave W said:
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.
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Johnny's a long-time Spector user/endorser...but he's also a self-admitting gear slut.
 
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#30
If I'm a pro, what I spend on gear affects my overall income, it's an operating expense. You give me a steep discount or free gear, I'll play whatever you put in my hands. It means I make more money in the end. Unless there is just something that a certain instrument provides and no other can, then you just take the cost hit.
 
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#32
Speaking to the "Pros and G&L" aspect of the conversation, I can say I saw more people in the 90s playing them than now, for sure. But I did see Tom Hamilton on Paladia playing a sparkly ASAT more recently.
The bassist from Silverchair used an L2K in the mid 90s.

And I recall a "Bass Player" article many years back that highlighted some of the biggest session pros. Each and every one of them had a G&L in the arsenal, if I'm not mistaken.

My guess would be, deeper pocket endorsers probably got their mitts on guys who used G&L and handed them something else. Musicman comes to mind...
 
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#33
I think most players think it's important to have gear that can be replaced at a moment's notice. I have heard stories of Marcus Miller going to a Guitar Center and getting one of his basses because such and such happened and he needed something immediately. Who knows if it is true, but it is definitely plausible. If they're playing Fender and Hartke because they can get them in any city at a moment's notice if needed. G&L is one of my favorite companies, but they take a bit to make them and there aren't many dealers around.
 
#36
bstringkyle said:
Yeah you have a good point there. I never looked at it like that. Finding a Fodera or an MTD would pretty much be impossible. especially on the road.
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IMHO the above statement is the real issue why you see a preponderance of mass produce instruments on the road. I live in a major mid-western metro area, with a good music scene. Haven't seen a Fodera or Sadowsky in any local store, EVER! MTDs used to be scarce, now they don't existent in local stores. G&L and EBMM are available in very limited supply. Gibson, Rics and Warwick by mail order only. Fender/Squier and Ibanez on every corner. Retailers stock what sells quickly, sales volume equal profits, visibility (what potential buyers see being used by the pros) leads to more demand which leads to more profit etc. Yup it's a real Catch 22.
Do some research on the design philosophy of Fender, you'll find they were designed with the input of local working and touring musicians at reasonable cost, function, durability and ease of repair (unlike the high priced functional art of Gibson instruments of the time). Those needs haven't changed since the first Fender products hit the market in the late 40's.
A good example, an acquaintance went on a middle east USO tour a couple years ago. Left his custom Laklands at home and purchased a MIA P bass specifically to use on the tour for four main reasons: durability, ease of repair, relative low cost, and easy to dial in a usable sound in any environment. Since returning I haven't seen him use anything but Fenders at his gigs.
 
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#37
HolmeBass said:
In the Jazz set, or modern improvised music, you see very little Fender or any of the other common brands. To be fair, no G&L either. I am thinking about Gary Willis, Matt Garison, Tom Kenedy, Victor Wooten, Hadrien Faroud, Jimmy Haslip, Jimmy Johnson, Anthony Jackson, and that kind of player. Come to think of it that's a pretty Fodera-heavy lineup, with Willis as an exception on a high end Ibanez.
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Add Michael Manring,Adam Nitti,Mark Egan to the list and you just listed my prime musical motivators.

Now we have to admit.Most if not all of these guys started on a Fender.
The question is;If Fender is THE bass,why do THEY move on to other basses?
 
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#38
As a pro (meaning I play for a significant amount of my income) I play fender because I'll only buy what I can play first and they were the only instruments at the time I was looking at that felt right and sounded good to my ears. Oh, and that I could afford.

If you're looking at visible players, Marc from the roots plays fodera, sadowsky, and fender on the tonight show. The snl bassist has a modern soapbar bass. Nathan East has his custom beast. Many players have customized fenders (myself included to a degree)

Acts with a retro vibe tend to favor fenders in the bass role. And some artists simply play what they know and they started with fenders.

As others have said, it's the art, not the tools.
 
#39
Leo got it right
The p and J are perfect designs
Most other solidbody basses owe
Homage to them. The only real advancment has been active electronics and he started that with musicman. Why are so many high end customs just jazz or p copies.
(Lakelanf,sadowzky,lull eycj
With shaged up headstocks
Its alot like Harley Davidson
You can buy a high end clone or
Buy into the history and heritage
Of the company.
 

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