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Serial Monogomy

Discussion in 'Basses [BG]' started by rogerbmiller, Sep 2, 2004.

  1. rogerbmiller

    rogerbmiller Gold Supporting Member

    Sep 16, 2003
    Ok, how many of you TB-ers have serial monogomy issues? You know, where you are SOOO in love with one particular bass for a while and then drop it and move on to being SOOO in love with another, and so on.

    I had a thing for EBMM's, then G&L's, then Wishbasses, then Peavey's. Now its old Aria's for me.

    Who else is a serial monogomist and what bass (model or copmany) are you in love with at the moment? ;)
  2. mark beem

    mark beem I'm alive and well. Where am I? Gold Supporting Member

    Jul 20, 2001
    New Hope, Alabama
    Wish basses?????

  3. xyllion

    xyllion Commercial User

    Jan 14, 2003
    San Jose, CA, USA
    Owner, Looperlative Audio Products
    I must have read that wrong. Sure he didn't say Wish basses.
  4. hyperlitem

    hyperlitem Guest

    Jul 25, 2001
    Indianapolis, IN
    your kinda on a downward trend arent you? quick turn around go back up the other way!
  5. rogerbmiller

    rogerbmiller Gold Supporting Member

    Sep 16, 2003
    LOL. Fair enough! Let me explain-- these are simply infatuations, not necessarily representative of my work-horses or other instruments. More like little flings-- collectables if you will. I've got some goodies in the ditty-bag, don't you worry.

    Also, old Aria Pro II's are the shiznitz, so I am not sure if my spiral is completely downward. My SB-1000 is sweet with fifteen e's and I just got an old TSB (Tri Sound) which needs a setup but seems very promosing. Neck-thru, built like tanks, big sound-- tru relics and lots of fun to play. A different subject for a different post altogther. I digress


    PS- I got over Wishbasses real fast but I still have one and I think it sounds great.
  6. jja412

    jja412 Fine gear enthusiast

    Feb 2, 2004
    St. Louis
    I don't know about "SOOO in love with 'em, but I've found myself searching for a Washburn XB-900 on the cheap. My first "real" bass was an XB-400, and the line holds a certain sentimental value for me. (Sniff, Sniff) :bawl:
  7. rogerbmiller

    rogerbmiller Gold Supporting Member

    Sep 16, 2003
    Funny, for those same reasons I am trying to find my first Hondo Fame P-bass copy. Black with maple fingerboard.
  8. Fuzzbass

    Fuzzbass P5 with overdrive Gold Supporting Member

    I'm the first one to say that expensive basses might be fancier, and (probably) more consistent, but aren't necessarily better. That's especially true for tone.
  9. mark beem

    mark beem I'm alive and well. Where am I? Gold Supporting Member

    Jul 20, 2001
    New Hope, Alabama
    Sorry Fuzzbass, I have to respectfully disagree with you there.. IME there are big differences in every aspect (construction, fit, finish, sound, tone, playability) between "expensive" basses and "less expensive" basses.

    Edit: You have to agree with this to some extent, Fuzzbass..
  10. Fuzzbass

    Fuzzbass P5 with overdrive Gold Supporting Member

    That's cool. Besides, we only partly disagree. :) Let's confine this discussion to sound/tone because I mostly agree with you on the other variables. Certainly, inexpensive components on inexpensive basses often do degrade tone or add noise. However I've played some low-budget basses that had incredible tone... and not all of them were upgraded with better electronics.

    Many boutique dollars go to highly figured wood which is very expensive these days... that's just bling bling in that it adds nothing to tone. More relevant is the quality of the wood (regardless of appearance): boutique builders are far more careful with their selection (which also increases cost), so their basses are more consistent. Even so, it isn't a matter of boutique Brand A always sounding better than import Brand B... the bell curves overlap.

    It's important to mention setup. When you get a Lull or Conklin (etc), you know it'll play great (the better setup adding yet again to cost). Most low budget basses are sold from stores that don't bother with maintenance, and the factory probably does a poor setup from the get-go. Crappy playability and intonation can hinder proper technique which results in good tone. But Nick Gann's SX is just one example of how cool a low budget bass can be (tone included) when given proper care and TLC. I've witnessed a local bassist absolutely nail the Tool tone... with a Ken Smith Burner. At a local get-together, Dancehallclasher's Rumblefish impressed as many folks as the uber-fancy boutiques. I could go on.

    It is important to compare apples to apples. F'r instance, if you prefer the tone of neck-thru basses, isn't fair to compare one to a bolt-on (most imports being bolt-on). Same goes for passive/active. But I've played a number of great sounding imports and thought "wow, this bass would be a real peach with upgraded electronics" (passive or active). I've also played some high-dollar basses that left my ears completely unimpressed.

    I'm aware of plenty of bassists who have switched back to Fender from Lull or Sadowsky. I agree with you: those boutique clones *are* better in terms of fit and finish, but when it comes to tone, all bets are off. As discussed in another thread: modern Fender clones typically have active preamps, stiffening bars in the neck, etc... but while these "improvements" might increase stability and fidelity, and reduce dead spots, they also change tone. Some players prefer vintage Fenders, "warts and all", because "wart removal" does have tonal side effects.

    I own some high-dollar boutiques, and I wouldn't own them if I didn't like their tones. But the reason I pay more is not for tone... I can also find excellent tone at lower price ranges (my Fender RB5). I spend more for the "everything else", e.g. better fit and finish, bling bling wood, customized features I can't get on a production model.
  11. Walbassman


    Nov 27, 2002
    Nashville, TN

    I know that bass.it is a great bass....I am stuck on my Ricks. STILL.....
  12. mark beem

    mark beem I'm alive and well. Where am I? Gold Supporting Member

    Jul 20, 2001
    New Hope, Alabama
    I agree with that 100%.. I too have played many inexpensive basses** that sounded good for what they were... Peavey Fury, Music Man SUB, MIM Fenders (I would say the Schecter Cali Custom but it had upgraded EMGs etc..). However, I have yet to find/hear one that I would choose over a Roscoe, MTD, Sadowsky, Conklin because it sounded better.... What Joshua says is true as well, perhaps we'd better set some prices here.

    But fundamentally, tone is a matter of personal taste... What may sound good to me might sound like crap to you.

    **For the record I have never had the opportunity to play a Reverend which from everything I've read on them are tone monsters.. Of course there's an exception to every rule.
  13. I confess. On my quest to find something more modern than my ol' Pbass I did go through a period of "serial collection" after trying many individual instruments. It started with Rickenbacker (2), Kubicki (3), Chapman Stick (2), Steinberger (2), then Status (2), Tobias (2) and Warwick (5). Many of the finer examples are still in my care. In the end, Wal basses turned out to be exactly what I was searching for. For me they are tailored pefection, but that will certainly not be true for everyone.
  14. rogerbmiller

    rogerbmiller Gold Supporting Member

    Sep 16, 2003
    Yes you do! I'm still loving this bass, thanks a millie. Still trying to find as many of his long lost relatives as possible. So far I've found an old TSB. Always looking for more SB's, so if you hear anything...
  15. rogerbmiller

    rogerbmiller Gold Supporting Member

    Sep 16, 2003
    Good points. Taking your arguments further, we could even chop up the definition of "tone". For example, there are specific aspets of tone (depth, warmth, woodiness, punch, mwah-- you know, general timbre). Then there is absolute tone-- i.e. the sum of those parts. Then there is the versatility issue. E.g. an old PJ Fodera gives you more variety than an EBMM Stingray. Both are great basses though so the tone factor becomes a matter of preference or what you need. No one is better--- they are just different and one cost 4 times what the other does.

    For these reasons as well as others touched upon in this thread, I choose basses solely based on feel. It is the one constant that you cannot manipulate with electronics and amplification, you cannot argue about it perceptually, and it transcends the issue of price (sort of). I own basses that I still have not even amplified yet. I just played them, loved their feel, and knew they were right for me. This is also part of the reason I dig older Peavey's and Aria's so much. They just feel great.