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Post by jcoutu1 on Aug 16, 2017 8:15:09 GMT -6
Really well done. The standouts for me were the 62J, 69Tele, and 64Bird.
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Post by Ward on Aug 19, 2017 9:38:48 GMT -6
MY THOUGHTS:
1. The '64 Thunderbird is a BEAST!
2. Stingray! Favorite bass I own
3. 69 Tele-bass/ Precision
4. 53 Precision
5. '62 Fender Bass VI
6. 72 Rickenbacker 4003 - needs flat wounds or ground wounds.
7. '62 Fender Jazz Bass
8. '60 Fender Jazz Bass
9. '65 Precision
10. 71 Jazz Bass
11. Gibson RIpper
12. Fender Bass V (the low B string helped a lot!)
13. Gibson EB3
14. '63 Hofner 500
15. 73 Telecaster Bass
16. Danelectro Longhorn
17. 54 Gibson EB1
I see what you mean about the '69 Tele bass (reissue of the 53 Precision bass)
The 60 J Bass sounds delicious but wouldn't work outside anything clean or sparse, IMHO.
The Gibson Ripper was blech, and as for the EB1, meh. And now I remember why I sold my mid 60s Gibson EB3!!
EDIT:
No change of heart. Just to explain... my choices are made based on what I think each one would work like in a mix.
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Post by jcoutu1 on Aug 19, 2017 9:44:54 GMT -6
Ward, I bet that longhorn is amazing twice in a lifetime.
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Post by Ward on Aug 19, 2017 13:20:22 GMT -6
Ward, I bet that longhorn is amazing twice in a lifetime. It could be useful for tic-tac bass, I allow... |
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Post by Bender on Aug 19, 2017 13:49:01 GMT -6
72 Rickenbacker,Thunderbird,76 singray, and 60 Jazz were my favorites. HATED the longhorn, ripper, and Gibson eb3. Everything sounded more lively with the pick but that's to be expected. Wonder how fresh some of those strings were some sounded more lively than others.
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Post by yotonic on Aug 20, 2017 19:35:57 GMT -6
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Post by jeremygillespie on Aug 21, 2017 7:30:50 GMT -6
I got a Longhorn bass for $100 about 15 years ago.
I've used it exactly twice. It was great those 2 times!
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Post by wiz on Aug 21, 2017 16:26:23 GMT -6
Oh how I love the sound of Old Man. Move that snare to the centre of the mix and its perfect. No zingy microphone sounds, virtually no Ess's .. fantastic arrangement .... dynamic just killer cheers Wiz |
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Post by yotonic on Aug 23, 2017 15:58:06 GMT -6
Yeah "Old Man" to me is everything that is great about songwriting and production. Nashville studio players recording a talented songwriter with an aesthetic that is timeless. I've chased that sound, the instruments, the Quad Eight gear etc.
This week I finally got my hands on a 1976 Neumann U87i in mint condition from the old Stardust Recording Studio used on Sly Stone and others. It is "that sound". Nothing zingy, a beautiful "almost" honky mid range, just soulful Americana sounding, super vibey. I'm stoked. I've owned three vintage 87s over the years all different sounding and none "the one". This is it. Pry it out of my dead hands. LOL
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Post by jcoutu1 on Aug 23, 2017 17:05:59 GMT -6
Love, love, love Harvest. Great memories listening to that album in high school while cruising around in my junky 81 Chevy Malibu Classic.
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Post by Ward on Aug 26, 2017 14:01:54 GMT -6
'Old Man' is about as good as Neil Young ever was, and coincidentally, about as good as it gets too!
The arrangement and performances are genius.
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Post by Ward on Aug 26, 2017 14:03:51 GMT -6
72 Rickenbacker,Thunderbird,76 singray, and 60 Jazz were my favorites. HATED the longhorn, ripper, and Gibson eb3. Everything sounded more lively with the pick but that's to be expected. Wonder how fresh some of those strings were some sounded more lively than others. Very similar tastes we seem to have! |
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Post by johneppstein on Aug 26, 2017 16:17:21 GMT -6
The 60 J Bass sounds delicious but wouldn't work outside anything clean or sparse, IMHO. I dunno - when I was working at Don Wehr's in the early '80s Bobby Vega used to come in with his stack knob and just tear it up playing funk bass... poppin' and slappin'...... |
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Post by johneppstein on Aug 26, 2017 16:58:04 GMT -6
Well, it's another Johann shootout. As usuial, he has a very interesting selection and tries really hard to do a good job - he's one of the better of the prolific shootout guys IMO, but his work still, to me, is illustrative of the inherent problems with the shootout format and reminds me, again, why I generally ignore shootouts - but I figured I'd listen to this for fun, and because it's Johann. I have personal experience with nearly every model in this shootout and if I had to judge by this video my choices would be vastly differrent than in real life. First, the individual clips were clearly not adjusted for equal volume, which biases any tonal evaluation. Second, I'd be very curious what the control setups were on the various instruments because some of them were clearly not optimal, based on my experience. Third, the strings on some were clearly both in better condition and better matched to the instrument than others. I'd also like to know the settings on the amp and how they were arrived at. Some of the instruments just sounded plain weird - the EB3 sounded as if the neck ("Mudbucker") pickup was broken or switched off - it didn't sound like any EB3 that I've ever heard in full range mode. The '53 Precision and '69 tele bass sounded distinctly darker and more balanced than any basses I've ever encountered that were equipped with the tele style single coil pickup. Most every one I've played in real life has been decidedly on the bright side and lacking a little bottom relative to a "regular" Precision with the split pickup. (I used to own one with a '59 body and '60 neck that was sold to the original purchaser in '62 and have played many others.) The Dano had obviously the wrong strings and needed a setup. (Strings for Dano basses were problematical for a long time as they just don't work with strings not designed for them, which is why John Entwistle prevailed on RotoSound to develop their original Swing Bass set - he couldn't get Dano strings.) You also don't want to set up the amp like you would for a Fender....  |
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Post by jcoutu1 on Aug 26, 2017 21:36:28 GMT -6
Well, it's another Johann shootout. As usuial, he has a very interesting selection and tries really hard to do a good job - he's one of the better of the prolific shootout guys IMO, but his work still, to me, is illustrative of the inherent problems with the shootout format and reminds me, again, why I generally ignore shootouts - but I figured I'd listen to this for fun, and because it's Johann. I have personal experience with nearly every model in this shootout and if I had to judge by this video my choices would be vastly differrent than in real life. First, the individual clips were clearly not adjusted for equal volume, which biases any tonal evaluation. Second, I'd be very curious what the control setups were on the various instruments because some of them were clearly not optimal, based on my experience. Third, the strings on some were clearly both in better condition and better matched to the instrument than others. I'd also like to know the settings on the amp and how they were arrived at. Some of the instruments just sounded plain weird - the EB3 sounded as if the neck ("Mudbucker") pickup was broken or switched off - it didn't sound like any EB3 that I've ever heard in full range mode. The '53 Precision and '69 tele bass sounded distinctly darker and more balanced than any basses I've ever encountered that were equipped with the tele style single coil pickup. Most every one I've played in real life has been decidedly on the bright side and lacking a little bottom relative to a "regular" Precision with the split pickup. (I used to own one with a '59 body and '60 neck that was sold to the original purchaser in '62 and have played many others.) The Dano had obviously the wrong strings and needed a setup. (Strings for Dano basses were problematical for a long time as they just don't work with strings not designed for them, which is why John Entwistle prevailed on RotoSound to develop their original Swing Bass set - he couldn't get Dano strings.) You also don't want to set up the amp like you would for a Fender.... That's one way to say a lot without actually saying anything. What did you like from what was presented? |
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Post by EmRR on Aug 26, 2017 22:53:11 GMT -6
Well, it's another Johann shootout. As usuial, he has a very interesting selection and tries really hard to do a good job - he's one of the better of the prolific shootout guys IMO, but his work still, to me, is illustrative of the inherent problems with the shootout format and reminds me, again, why I generally ignore shootouts - but I figured I'd listen to this for fun, and because it's Johann. I have personal experience with nearly every model in this shootout and if I had to judge by this video my choices would be vastly differrent than in real life. First, the individual clips were clearly not adjusted for equal volume, which biases any tonal evaluation. Second, I'd be very curious what the control setups were on the various instruments because some of them were clearly not optimal, based on my experience. Third, the strings on some were clearly both in better condition and better matched to the instrument than others. I'd also like to know the settings on the amp and how they were arrived at. Some of the instruments just sounded plain weird - the EB3 sounded as if the neck ("Mudbucker") pickup was broken or switched off - it didn't sound like any EB3 that I've ever heard in full range mode. The '53 Precision and '69 tele bass sounded distinctly darker and more balanced than any basses I've ever encountered that were equipped with the tele style single coil pickup. Most every one I've played in real life has been decidedly on the bright side and lacking a little bottom relative to a "regular" Precision with the split pickup. (I used to own one with a '59 body and '60 neck that was sold to the original purchaser in '62 and have played many others.) The Dano had obviously the wrong strings and needed a setup. (Strings for Dano basses were problematical for a long time as they just don't work with strings not designed for them, which is why John Entwistle prevailed on RotoSound to develop their original Swing Bass set - he couldn't get Dano strings.) You also don't want to set up the amp like you would for a Fender.... That's one way to say a lot without actually saying anything. What did you like from what was presented? Dude, he said it all, like a wizard madman. He told us why the presentation was flawed and misrepresentative, so why pick at all. It's just a video game. I agree completely, shit don't work that way in real life. You can grok, or not, depending on what you already know, or don't. John sounds exactly like the guitar shop owner I was in a band with, and that guy had owned pretty much everything ever made, and knew them all inside out. |
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Post by EmRR on Aug 26, 2017 22:59:17 GMT -6
And. A single coil Tele is not interesting at all to me compared to the humbucker version, which is a true pig of a bass.
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Post by EmRR on Aug 26, 2017 23:02:02 GMT -6
MY THOUGHTS: 6. 72 Rickenbacker 4003 - needs flat wounds or ground wounds. All Ricks need flats, IMO, having suffered through years of playing one with rounds on it. Once it gets flats, it all makes sense. |
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Post by johneppstein on Aug 27, 2017 15:05:19 GMT -6
Well, it's another Johann shootout. As usuial, he has a very interesting selection and tries really hard to do a good job - he's one of the better of the prolific shootout guys IMO, but his work still, to me, is illustrative of the inherent problems with the shootout format and reminds me, again, why I generally ignore shootouts - but I figured I'd listen to this for fun, and because it's Johann. I have personal experience with nearly every model in this shootout and if I had to judge by this video my choices would be vastly differrent than in real life. First, the individual clips were clearly not adjusted for equal volume, which biases any tonal evaluation. Second, I'd be very curious what the control setups were on the various instruments because some of them were clearly not optimal, based on my experience. Third, the strings on some were clearly both in better condition and better matched to the instrument than others. I'd also like to know the settings on the amp and how they were arrived at. Some of the instruments just sounded plain weird - the EB3 sounded as if the neck ("Mudbucker") pickup was broken or switched off - it didn't sound like any EB3 that I've ever heard in full range mode. The '53 Precision and '69 tele bass sounded distinctly darker and more balanced than any basses I've ever encountered that were equipped with the tele style single coil pickup. Most every one I've played in real life has been decidedly on the bright side and lacking a little bottom relative to a "regular" Precision with the split pickup. (I used to own one with a '59 body and '60 neck that was sold to the original purchaser in '62 and have played many others.) The Dano had obviously the wrong strings and needed a setup. (Strings for Dano basses were problematical for a long time as they just don't work with strings not designed for them, which is why John Entwistle prevailed on RotoSound to develop their original Swing Bass set - he couldn't get Dano strings.) You also don't want to set up the amp like you would for a Fender.... That's one way to say a lot without actually saying anything. What did you like from what was presented? Nothing. I found it singularly unhelpful if not downright misleading, based on my experience with the real instruments. But that's no different than most other shootouts. Maybe I didn't communicate that very well. |
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Post by Martin John Butler on Aug 28, 2017 18:58:23 GMT -6
I happen to like shootouts and have often been helped by them when researching something. That said, I thought some things were weird in this one, and somehow those basses really weren't that accurate compared to what I've heard myself. My favorite bass ever was the mid-60's Jazz. I'm no bass player, but I'd hit a note, and it would sustain so long with no fret noise at all. It changed the way I played, and less truly was more. I'd play one note, where I might have played three using a different bass, and it actually sounded fuller that way.
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