#1
When we read countless articles and threads every day lauding new/old and different basses, amps, cabs, strings, styles... one of the best feelings is that "Eureka!" moment. That moment where you figure something out, and it sounds PERFECT to you and your style.

Last weekend, messing with my drummer's new recording software, i tried out a new set-up and laid down my bass parts. When i listened back, the tone was EXACTLY what i had been wanting!

My moment: My short scale SX Jaguar (J/J pickups) with some La'Bella flats, played with my fingers.


Oh man... to be quite honest, my flats have only ever been on P or P-style basses. I had no other strings available, so i slung them onto the ss Jag. It is PERFECT for this band. I needed a warm mo-town-y type of tone, but with a more modern punk style definition and cut. I found it!!!


So, with UG forums being flooded every day with dudes and dudettes wanting advice, lats flip it... share some success stories!!!
"Punk Rock should mean freedom, liking and accepting anything that you like, as sloppy as you want, as long as it's good and has passion."
#2
I had unintentionally created the perfect sound for a short song I was looking for.
It included a pick, two notes, and an amazingly psychedelic WAAAAAAAAWAAAAAAAA.
I felt so happy.
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I SAY, I SAY, BEWARE THE BANANA ARMY.

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#3
I've had a few small revelations trying out different basses, that moment when you have a good go on a bass and it just plays so effortlessly and sounds perfect to you. I've had those moments on a Steinberger L2, a Yamaha TRB1006, a Dingwall ABII, and a particularly good Fender American Standard Precision.

Also when I moved away from the SVT VR + 8x10 in favor of a Markbass. Having a nice transparent amp is more up my alley, but the lightweight factor alone is enough of a godsend to deserve being dubbed a "Eureka!" moment.
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#4
For me it was realizing that I had to move on from my all tube amp attitude and move on to hybrids and SS amps.

I was looking for flexible tone for all the bands I perform with and tube amps where never close to the tones I needed.
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#5
Quote by dark Mass
For me it was realizing that I had to move on from my all tube amp attitude and move on to hybrids and SS amps.

I was looking for flexible tone for all the bands I perform with and tube amps where never close to the tones I needed.


I know exactly what you mean.

I was REALLY bummed to have to sell my 70's Traynor YBA-3cs. But it allowed me to mess with my ss amps more, and realize the diversity i was missing in them.

My GK 400rb and 800rb can do the tube-ish thing if i need, but allow for much more!

If i want vintage tubey-ness, i have my ever-present 1968 Kustom200 (same model and covering color that Jamerson used in live settings!) that does "tube tone" almost better than a tube head. <3 u old-school germanium circuitry!


While none of my needed tones these days require SUPER modern clarity, i would love to try some of these newer amps when funds allow. I really liked the MarkBass LM-II i played a few years back, and i AM GASing for a GK MB210 combo...
"Punk Rock should mean freedom, liking and accepting anything that you like, as sloppy as you want, as long as it's good and has passion."
#6
Quote by Din of Win
I know exactly what you mean.

I was REALLY bummed to have to sell my 70's Traynor YBA-3cs. But it allowed me to mess with my ss amps more, and realize the diversity i was missing in them.

My GK 400rb and 800rb can do the tube-ish thing if i need, but allow for much more!

If i want vintage tubey-ness, i have my ever-present 1968 Kustom200 (same model and covering color that Jamerson used in live settings!) that does "tube tone" almost better than a tube head. <3 u old-school germanium circuitry!


While none of my needed tones these days require SUPER modern clarity, i would love to try some of these newer amps when funds allow. I really liked the MarkBass LM-II i played a few years back, and i AM GASing for a GK MB210 combo...

For me it was the fact that hybrids can get me both tones whenever I needed it. Some of the bands I play with need a modern HiFi tone while others needed a tubey tone.

I use SS for my amps that are less than 350W just because they sound clearer in smaller venues like jazz bars and the like.
Damn it! Disable can't use disable to disable Disable's disable because disable's disable has already been disabled by Disable's disable!
#7
Flats on Jazz is nice!

My most recent eureka moment would have to be getting a tube rack setup so cheap, and that bronco bass that people just loved to mention. Wiring it up wrong accidentally also caused a Eureka moment due to the lovely tone and made me actually start liking round wounds on a bass again in conjunction with that wiring.

I do love a solid state, but I needed/wanted that tube grind, and at $225 it's hard to complain.
#8
Wounded Paw Attack Goat on Bassfuzz.com. was exactly what I wanted fuzz to be.
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#9
My first time in a recording studio the owner let me use his old sovtek green russian fuzz.

Damn. Sounds so good.

Most modern fuzz boxes don't even come close to sounding like that coveted box. After hearing so much about it I finally realized why people like it. But it's difficult to put into words. You not only have to hear but play through it to know.
#10
My Epiphone Ripper has now become my greatest success story. I've been running it through my usual LH500 rig since I've had it with no real complaint but I decided to lump for a varitone switch and fitted to my ripper. It replaces the stock tone cap on the tone control and my god did it make a difference. It sounds like a bass worth 5 times its price now. It goes to show how poor the stock tone cap is on cheap basses.
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#11
Quote by skater dan0
My Epiphone Ripper has now become my greatest success story. I've been running it through my usual LH500 rig since I've had it with no real complaint but I decided to lump for a varitone switch and fitted to my ripper. It replaces the stock tone cap on the tone control and my god did it make a difference. It sounds like a bass worth 5 times its price now. It goes to show how poor the stock tone cap is on cheap basses.


A buddy of mine in a busy touring band bought one of the P/J Epi Rippers on a whim... he replaced the caps/pots and switched in some pickups from a G&L SB-2, and it's since replaced his MiA '77(ish?) Jazz Bass as his main.
"Punk Rock should mean freedom, liking and accepting anything that you like, as sloppy as you want, as long as it's good and has passion."
Last edited by Din of Win at Jan 18, 2012,
#12
the realization that I could use light gauge strings on electric and still get a big, fat sound if I played them right. opened up more tonal possibilities than heavy gauge flats with the tone knob turned down.

another eureka moment has been awareness 7-3 resolutions and playing V's over ii's and ii's over V's.
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#13
I don't know and remember who's bass it was but since i didn't had one at the time for this band that wanted to play with them they got this Jazz bass copy which i forgot the brand of modded for just one vol. mod and a treble/mid/bass EQ on the other knobs, also had a 4 way switch to go from bridge to neck to both pickups and killswitch.

I also right now forgot the amp since it was a couple of years ago, but after a while with it on practice day i just nailed this tone which was AMAZING and so unreal, it sounded so ME instead of something else and boy if i was impressed by it :O Then after we stopped practice i forgot to jot down the settings since i always forget and some kid came and changed it all and i never got that tone again... >,<

But i know if i had the equipment i could come up with it again lol. Probably some time this year when i buy a bass again i will be happy once more
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#14
Quote by BlackVoid
My first time in a recording studio the owner let me use his old sovtek green russian fuzz.

Damn. Sounds so good.

Most modern fuzz boxes don't even come close to sounding like that coveted box. After hearing so much about it I finally realized why people like it. But it's difficult to put into words. You not only have to hear but play through it to know.


What is the difference? It couldn't be more than a few bits and pieces with difference resistances etc?
#15
my biggest eureka moment was when i first played my Ibanez ATK.
I sold the ATK now, but it made me realize that MM style bridge humbuckers are definitely what I want in a bass.
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#16
I found the perfect signal chain for my band while messing around in the studio, blending a few different styled drives with my clean tone and playing aggressively.

Still trying to figure out a way to do it live without busting a giant hole in my wallet.
#17
Quote by askrere
What is the difference? It couldn't be more than a few bits and pieces with difference resistances etc?


I know EXACTLY what you're saying.... but i feel the same way as BlackVoid.

I had an old Green Russian muff for a while. Very few muff variants have come close.

I'm not NEARLY knowledgeable enough to understand all of the nuances involved in 'why' the Green muffs sound so good on bass, they just kind of 'do'.

My Bluebeard Fuzz is as close as i've gotten to it. Which, again, makes little sense as Sonny basically uses the components from a GGG Ram's Head (or Triangle? I can't remember) muff. But, i've played both GGG muffs and the Bluebeard sounds better... moreover, i've ALSO played BYOC Ram's Head and Triangle muffs and those, in turn, sound different than the GGG counterparts.

It gets pretty exhausting trying to rationalize why things that are suppose to sound the same sound different. At the end of the day, it's easier to just accept the "Fuzz Fairy" voodoo magic going on.

In general, it gets tiring dealing with Fuzz. I've owned probably 2 dozen different fuzz pedals. Each has their own subtleties that make them stand out. But, it really gets to be a wash, as the only other people that would even notice the difference between a Malekko B:Assmaster and Boss DS-1 are a pretty small minority of musicians. So, in the end, go with your gut and your ears. Moreover, go with what sounds best in the mix! That's the rational i eventually came to when i opted for my Bluebeard and EHX Bass Muff over supposedly BETTER things like my B:Assmaster, Musket, Cherry Pop, Brown Dog, and Wolly Mammoth. They sounded good, but not for my band.
"Punk Rock should mean freedom, liking and accepting anything that you like, as sloppy as you want, as long as it's good and has passion."
#18
Quote by sam_ofzo
my biggest eureka moment was when i first played my Ibanez ATK.
I sold the ATK now, but it made me realize that MM style bridge humbuckers are definitely what I want in a bass.


Dude, i hear ya.

In 1999 i bought a '95 ATK300 from a friend of mine that was playing bass for the metalcore band, Zao.

It was the first bass i bought with my own money. Years have passed. LOTS of basses have come and gone... but i've held on to the ATK. It sounds great, and i've literally used it for ANY type of genre. I've passed along basses 3 and 4 times it's price, as well as basses half its price, but the ATK has stayed. Even if it DIDN'T sound and play amazing, i have enough memories with it that it'll probably never be let go.

/nostalgia


As of 2010:


On tour in 2003:
"Punk Rock should mean freedom, liking and accepting anything that you like, as sloppy as you want, as long as it's good and has passion."
#19
Quote by Din of Win


It gets pretty exhausting trying to rationalize why things that are suppose to sound the same sound different. At the end of the day, it's easier to just accept the "Fuzz Fairy" voodoo magic going on.


EHX especially Russian stuff or just early models are extremely hazy inside. I've read dozens of sites and threads and it just seems most muffs, models and variants had a general schematic for a factory to read, then a "grab what you can to make it work attitude" of those parts most in Russia were/are old military surplus pieces etc. So when a guy here in good ol' Amerikay tries to make a muff clone, he'll have a hard time getting to exact spec ordering mouser parts when he's cloning a Russian electronics relic.

Overall as you said sound is objective, and your biggest critic is yourself. I think the voodoo of said muff and those like it, is the legend of it's amazing prowess coloring you to it, as well as the fact it's parts in exact specs and style are not as easy to come across, so nothing else sounds entirely like it, even if the factory in Russia made a few with different caps or resistors for what was handy.

I'm a huge skeptic on anything, but it is amazing what a small cap, resistor, diode change can do in the right place.
#21
I remember playing a funky little groove,and then just,kinda running with it,into a crazy slap groove that became a 15 minute solo,I had my eyes close...just tottally in the moment,in my room,finished,put the bass down,looked up and my whole household (2 of whom were musicians) was had come in and were just staring/listening...and were just like "wow,thats the best thing Ive ever seen/heard"

That was cool...
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