Could be. P/G sure sounds like a Steinberger to me, but I am constantly being surprised by how often I am wrong about that kind of thing.
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.
The Indefensible Position (Geddy Lee Steinberger Content)
- Thread starter Altitude
- Start date
I have always understood it to be:
Moving Pictures/Signals:Ric and j
P/G:Ric and Steiny
PW: Wal (that belonged to the sound engineer)
HYF/Presto:Geddy's Black Mk1
RtB: Geddy's red Mk2
Counterparts onward: strictly jazz
But I may be way off...
I look at it this way, I became a fan during the Signals album, but first heard Fly By Night. Although his Steinberger sound isn't my favorite, the music they made during that time period is unique and all part of the progression of the band through the years. It's all good to me!
I also think that the Steinberger sounds very good in Geddy Lee's hand. Whether it's better than his other basses or not IDK.
But if Geddy said that he doesn't like it, that's the real matter. IMHO The most important thing about basses, no matter how good/bad they are, is whether the player likes to play it or not.
But if Geddy said that he doesn't like it, that's the real matter. IMHO The most important thing about basses, no matter how good/bad they are, is whether the player likes to play it or not.
I mutch prefer his clear and defined Steinberger sound to his distorted cheap sounding Jazz bass
That Streamline is entirely too gorgeous!
I'm a huge fan of the Steinberger and Wal eras. I like the newer material, but the bass sound is a little too harsh sounding to my ears.
I'm a huge fan of the Steinberger and Wal eras. I like the newer material, but the bass sound is a little too harsh sounding to my ears.
- Feb 24, 2004
- 4,103
- 642
- 68
- Disclosures
- Endorsing Artist: Phantom Guitars, Eastwood Guitars
Made the mistake of watching the The Police: Certifiable concert Blu-ray back to back with the Rush R40 Blu-ray. Really highlighted how bad the sound was on the Rush concert recording versus the The Police concert recording which was fantastic. The last time I saw them live (Snakes and Arrows) his live tone left something to be desired.
I think his Steinberger sounded great and really disliked his sound during the Wal phase. It's nice to see that I am not the only one. His recent sound seemed better than the Wal phase but sounded a bit artificial and overcooked.
Between Geddy, Sting and Curt Smith (Tears For fears) I decided in the 80's that I really had to have a L2 or XL2 at some point. Being left handed this was hard but not impossible as a small number are out there but did mean that the chance of running across one to try out was pretty much zero. Thankfully when I finally got one it turned out to be one of those rare times where you are on a quest for something and after you finally get it your expectations are met or exceeded. It has the exact sound I was hoping it would and is incredibly comfortable to play. I am even a fan of the close string spacing. It weighs more than I was expecting but is still quite reasonable and comfortable. It's not that it's a heavy bass, it's jus that it looks like it should be a light bass.
The pivoting "boomerang" that the strap mounts onto was an incredible idea. It bolts to the back of the bass at the balance point so you can adjust the bass to any angle you like and it just sits there - brilliant!
Between Geddy, Sting and Curt Smith (Tears For fears) I decided in the 80's that I really had to have a L2 or XL2 at some point. Being left handed this was hard but not impossible as a small number are out there but did mean that the chance of running across one to try out was pretty much zero. Thankfully when I finally got one it turned out to be one of those rare times where you are on a quest for something and after you finally get it your expectations are met or exceeded. It has the exact sound I was hoping it would and is incredibly comfortable to play. I am even a fan of the close string spacing. It weighs more than I was expecting but is still quite reasonable and comfortable. It's not that it's a heavy bass, it's jus that it looks like it should be a light bass.
The pivoting "boomerang" that the strap mounts onto was an incredible idea. It bolts to the back of the bass at the balance point so you can adjust the bass to any angle you like and it just sits there - brilliant!
I think Geddy got into the Steinberger due to the ergonomics of his stage rig. I read somewhere that at the time he was still using all his big sythesizers, and the small headless Steinberger fit in quite well.
Huge Rush & Geddy fan here. And I'm about to type something that makes tons of sense, and others might have thought, but not admitted or spoken aloud.
So, in his 40+ years with Rush, Geddy's been primarily associated with Precisions ( early on ) , Rickenbackers, Jazz, Steinberger, Wal, then back to Jazz.
And since none of us are getting any younger, and number of viable years for income is diminishing, economic viability has to be a consideration.
Fender, being the biggest fish in a relatively small pond, makes the most sense. They've had a Geddy Lee signature Jazz for years already, at a reasonable price point, then upped the ante with custom shop and USA versions. Win for Fender, win for the esteemed Mr. Weinrib.
You think Rickenbacker, Wal, and / or Gibson-Steinberger / NS Design could offer Geddy what he needed---in the studio, on tour, or his bank account---let alone meet the demands, at the requisite price point(s) for themselves for a marquee rostered endorser?
I don't blame Geddy in the least. It's a numbers game, and looking out for one's best interest, economically as well as in the interest of history, reputation, and the fullness of time, the Jazz is a logical, easy choice.
Go ahead, call me every name but a child of God...search your feelings, Luke...you know it to be true.
Plus, when you get down to it, Steinbergers are essentially composite headless dual split coil precision basses. The pickups look like humbuckers on the outside, but are split Ps behind the scenes.
So, in his 40+ years with Rush, Geddy's been primarily associated with Precisions ( early on ) , Rickenbackers, Jazz, Steinberger, Wal, then back to Jazz.
And since none of us are getting any younger, and number of viable years for income is diminishing, economic viability has to be a consideration.
Fender, being the biggest fish in a relatively small pond, makes the most sense. They've had a Geddy Lee signature Jazz for years already, at a reasonable price point, then upped the ante with custom shop and USA versions. Win for Fender, win for the esteemed Mr. Weinrib.
You think Rickenbacker, Wal, and / or Gibson-Steinberger / NS Design could offer Geddy what he needed---in the studio, on tour, or his bank account---let alone meet the demands, at the requisite price point(s) for themselves for a marquee rostered endorser?
I don't blame Geddy in the least. It's a numbers game, and looking out for one's best interest, economically as well as in the interest of history, reputation, and the fullness of time, the Jazz is a logical, easy choice.
Go ahead, call me every name but a child of God...search your feelings, Luke...you know it to be true.
Plus, when you get down to it, Steinbergers are essentially composite headless dual split coil precision basses. The pickups look like humbuckers on the outside, but are split Ps behind the scenes.
Last edited:
I read your post twice and I still don't think I get it. Are you saying that Ged went back to using his Jazz primarily so Fender could sell more Geddy Lee signature basses and he could collect that sweet endorsement loot for years to come long after the music has ended? And look like a Cool Fender Guy for posterity?
Not directly or intentionally...maybe happenstance. The fact that he brought out a heap of his collection for the farewell R40 tour says he loves his gear for all kinds of reasons.
Endorsement deals are a two way street. If someone drives a dump truck full of cash to your door, but it feels / plays / sounds like arse, it doesn't matter.
But if there's a connection, historical, etc., and the money works, why wouldn't you?
You could argue that, prior to Counterparts, there was a bigger association with Geddy and Rickenbacker. But that company is, how shall we say? "Challenging"? Like some types of sushi.
In a similar manner, Alex gravitated back to Gibson...Neil went with and stuck with DW.
I'm not judging any of them, so don't misconstrue my meaning. There are FAR worse endorsement deals out there, and not just the music industry.
Honestly, we should all have such problems. Hell, I'd probably sell my soul for a deal with Daisy guitars. Unlike those crazy Canucks with far more integrity than me.
Endorsement deals are a two way street. If someone drives a dump truck full of cash to your door, but it feels / plays / sounds like arse, it doesn't matter.
But if there's a connection, historical, etc., and the money works, why wouldn't you?
You could argue that, prior to Counterparts, there was a bigger association with Geddy and Rickenbacker. But that company is, how shall we say? "Challenging"? Like some types of sushi.
In a similar manner, Alex gravitated back to Gibson...Neil went with and stuck with DW.
I'm not judging any of them, so don't misconstrue my meaning. There are FAR worse endorsement deals out there, and not just the music industry.
Honestly, we should all have such problems. Hell, I'd probably sell my soul for a deal with Daisy guitars. Unlike those crazy Canucks with far more integrity than me.
Last edited:
IMO, that era is disliked by fans, because there were more synth based songs.
