You can order edwards from ishibashi, but by the time you've paid shipping, import tax and whatever costs they decide to tack on it's not worth it.

Believe me, a P bass will work wonders for you, try it and see!
Quote by smb
You haven't taken into account the fact that speakers are conical, or the excursion of different speakers

and you haven't taken into account I can't be bothered with that
The math nerd in me is begging to point out that 2x12 doesn't move 24" of air and a 4x10 doesn't move 40" of air.

4 x (3.141 x (5x5)) = 314.1 inches squared

2 x (3.141 x (6x6)) = 226.152 Inches squared

A trivial error, maybe. But an error nonetheless.

Otherwise, an awesome job.
Got a boss LMB-3, 3 rack stand, hard case and soft case and £165, a large amount of which will be spent on more gear!
Interestingly, last night I had a dream/nightmare I went to a music shop and spent all my Christmas money on an epi t-bird. Then when I tried to return it I got run over by a car and woke up.

True story.
Quote by Monkey_Bassist
Hey Mayano, I've got a new 506 (6-string) & I have experimented with the same thing (I was playing "As I Am" ) and as long as you don't have a Heavy Gauge (I think Medium for the low B is .125, but it's new to me too) set of strings + High action you'll be fine - after all it's only half a step up

Exactly what I did
He's had a number of tones over the years, (he even used a P for the first rush album) but the archetypal Geddy tone is a mid heavy, overdriven tone usually favouring the bridge pickup.
Quote by nobusforharold
I agree, considering he DOES own a P. Bass himself :P

Swing and a miss.
Quote by watchingmefall
Nice one! props.

P-basses are quite frankly, terrible.

Think about it, crappy bolt-on construction with no sustain and out dated 50 year old designs. Get with it fender?!

And the tone, one split single coil pickup? Please! You have one sound to play with with just one tone knob? lame. 20 frets? Oh, E to Eb, real clever Leo.

And the big, thick cumbersome neck? Don't get me started on that, a major design flaw if you ask me. All fender's bass designs are 'me-too' copies of their guitars anyway. Jazz bass = jazzmaster, P bass = tele and then later a strat; get some originality.

The bridge might as well be made of cardboard for all the good it does.

The only excuse for anyone to buy one is because "I like it!" and as we all know, liking something is certainly not a reason to buy an instrument.

Don't buy fenders, they suck.

Merry Christmas everyone.

It's been a good year, most of which spent in the UG bass forum!

I've been here for two years now, and it's been pretty darn cool. I'd be a hell of a lot more bored if it wasn't for this place!

EDIT: anyone getting any interesting bass related stuff for christmas? I myself am getting a boss LMB-3. I will learn to use tapping and slapping in a band context better! Also I may well buy a pedalboard and good flightcase with the money I may get.
Not as bad as everyone suggests they would be, it's just for the price you can usually get a better built, more versatile instrument.
HUGE skepticism from me till proven otherwise.
Quote by johnro6659
I have been playing since 1972 gigged with many bands and collected, bought and sold a couple hundred guitars and dozens of amps. The Spider line of amps is one of the better ones I have used and I do have one myself and love it. I hear all the bad people love to post here about them and I don't understand it. The funny thing is they have them but don't seem to get rid of them if they are that bad why hang on to it? When I started playing again I tried a lot of solid state amps out at GC and Daddy's and drove around trying out used amps that were on Craigs list, unless you want to spend a truck load of dough for a tube amp a Spider is a good choice over the other SS amps that are more expensive. It was better IMHO than the SS Marshalls, Randall, Behringer, B52 and the others SS amps I tried. Actually there was one SS amp I tried I like as much if not better was one from a company called Johnson but the guy sold it before I called him back. I was going to buy a new one but my nephews bands old guitar player had a Spider II HD he sold me for $100.00. He used for gigging for all their shows and never had a complaint the only reason he sold it was he moved to CA and needed dough and couldn't bring all his equipment. Trust me he hated to part with it. He bought a Spider III after he got settled so I know he was happy with his old Spider II. In a few months when I start gigging again be sure I'll be using my Spider II I think it performs great and so doesn't the guys I jam with. The other guy I jam with has a Marshall MG100 half stack and IMHO that doesn't sound as good as my Spider II. Of course I would love to have a vintage Marshall head and stack but I just don't have that kind of money to blow. I had a 72 100 watt Marshall super lead head and stack and never found a Marshall that sounded as good I can imagine what would would cost today.


Against most other cheap solid states, the spider maybe better. But compared to the roland cube and Vox valvetronix the Spider is obliterated.

Plus in this age of cheap, small, affordable tube amps there's no reason to get one.
Quote by thefitz
This question comes up from time to time, and here's the answer.

Acoustic guitars are not a well executed idea. They're very boxy sounding, very very quiet, and have extremely unbalanced string volume. They can rarely, if ever, be heard over acoustic guitars.

There are 2 exceptions. A satin-finished short-scale Fender acoustic that's $600 (the name escapes me) that's not that bad, and the mother of all acoustic basses, the Tacoma Thunderchief, with is over a thousand. It's actually a fantastic bass.

Plugged in electric basses can have a plenty appropriate tone for acoustic music. Get a Precision bass with flatwounds and play with a pick, a la Neil Young (one of these days).

Is the fender the Victor Bailey sig? Looks awesome.
Quote by Sakrimo
well in the UK i'd say they make the best amp's under £200 which at the moment is worth $400 dollars, but.. appears all our stuff if made in the US so they add on about 100 quid in shipping. I totally beleive that until you go over the 50W range you don't get anything better.

So whatever that is on average in the US, but over here brand new its around £180-£200

I got my roland cube 30 for £125 new, and I believe the 60 is £180 or thereabouts.

Laney VC and LC combos are around £200 and are MASSIVELY better. Best value amps you can get in britain at the moment.
Quote by Sakrimo
firstly, to the guy who's friend's amp makes feedback at volume 2..

sort out your wiring/pups/cabling and if no luck then he's got a busted amp.

As for mine, it turns on at volume 2, and from there on up the tone gets better and better (this is the 150W version), unfortunately never had a gig where i've been able to turn it up past 4.

My only concern with Spider is they lack definition in their sound, and don't blow people back live like other amps but for under 100W's they are the BEST VALUE amplifiers ever.

The good thing with line 6 is they reach a volume, and stay at that volume, unlike many of the marshall half stack's i've had the 'joy' of playing around with. Although in their defence they were highly used and most likely were in need of a repair, much like my Spider II 150W HD i'm referring to in this post..

The 75W i had was perfect though, although you have to have a live setting and a practice setting (microphones don't take it in with all that distortian that makes it sound Ooooo soo good ,)

They really are not. Sure they're loud and cheap, but that means little when they don't actually sound that good.

You can buy much better amps for the price.
Line 6 spiders are, for all intents and purposes, horrible and unusable amps; while they do have a large variety of tones, none of them sound particularly good at all.

You'll grow tired very quickly of the sounds it produces, all of which sound very bland and digital. And also lack 'balls' for lack of better word. My college has them in their music practice rooms and they are terrible, terrible amps.

What genres do you play and what if your price range for the amp?
Quote by Jonnomainman
If there isnt enough signal the EQ won't work.

What you could do is just forget about the EQ and rewire it all together.

You could have volume controls for neck pickup, bridge pickup, a master volume and a master tone.

This would still give you a wide variety of tones and the master volume would prove very useful!

Given that I replaced my active P/J's passive pickups with Quarter pounders, and everything works as it should. I fail to see why the EQ won't work.

All you need to do, is wire it how the previous pickups were wired.
Quote by terb
you have active pick-ups now and you're replacing them with passive ones. You will not need the battery nor the active preamp; therefore you will have a knob (EQ boost) that does not do anything. As long as you don't wire in the battery and the boost knob you should be fine. Just follow the wire that comes with the new p-ups.

He has active electronics and passive pickups. He is replacing the passive pickups with another set of passive pickups.

Nothing needs to be modified, I did the same thing to my active fender. Everything works fine.
Quote by Aidy Damage
My only worry with the Ibanez is that it's quite small... will I look a prat?

Do guitarists look like a prat?
Wait... Don't answer that.

In my limited experience with it, it doesn't seem small. It's 34" scale and the body is not much different from other basses.

I would however reccomend, going used, you may be able to pick up a used MIM fender for slightly over £200 if your lucky. you'd be much better off doing that.
I'm 16 and I drink in the UK. But I still don't want the age limit lowered; it'd be a stupid idea to allow it, too many idiots out there.
Plus, I drink fine enough as it is.
This Ibanez is also a solid instrument from what i've played of it.
Quote by watchingmefall
The BA bridge is a direct swap but he'd have to groove the saddles for the strings.

Although you can get them pregrooved now as far as i'm aware. Also apparently you can get away with not even putting grooves in sometimes.
Ibanez do indeed make solid basses, I own the SR506 but have also extensively played the 4 and 5 string variants and they're both solid basses with great tone in a metal setting.

If your budget permits it, I reccomend the SR505.
Having played both of those, the Ibanez is vastly superior, the dean is downright awful.

Although, if you could save up for an SRX700/SR500 series, that'd be even better :P
Quote by BadBishop
How much of an upgrade is a Schecter Omen-4 from a Squier P-bass? I love the look, but I don't want to spend $349 on a bass that won't be noticeably different than a Squier. Plus how long do the batteries last -- people said they died on them.

I would suggest saving up a little more to around $500-$550, the reason being is that with that amount you'll get more of a substantial upgrade and a bass that could last you for life.

As for the schecter, I can't comment on the bass directly, but a friend of mine does have an Omen series guitar, and while it's decent for the price. The higher end products in the $500-$550 range blow it out of the water.

If you can't save up, that omen would probably be a good bet, as would a fender jazz/precision (although, I think they're $450)
A chord is a chord, there's no such thing as a bass chord or a guitar chord or anything.A chord is just a series of notes. I'd say learn to figure out chords yourself, it'll make you a much better player using them.
Also kicking around is the schecter hellcat.

Quote by kaptink
Im just wondering with these no tone knob basses, would it be like having your tone knob open 100% of the time or is it just an non-adjustable tone set to the artists specs?

If you want more versatility and the p-pickup in a jazz body why not check out the aerodyne jazz bass from fender. Or the Frank Bello bass but I don't think that has a tone knob either.

I believe it's the equivalent of it being 100% open.
While The P is not the most versatile of sounds it is a sound that's comfortable in nearly any genre and perfect in the genres you suggested. I say go for it.
Quote by gm jack
Only fault with this is that auto wah is the same as envelope filter. Just different names.


Quote by
An autowah, is precisely that an automatic wah. It wahs at either a specific amount for every note or at a specific rate and doesn't react to dynamics or attack. The MXR M188 is an example of this effect.

A envelope filter is voltage controlled. In laymans terms, it react to your playing. Plucking the string harder opens the "envelope" more, giving you more effect. With certain settings, playing softly wont open it at all. Dub artists use this to give them a huge, pillowy bass tone. Envelopes are dime a dozen. EHX makes 3 or 4 different ones. There are also a ton of older DOD models.

In short, envelope filters are responsive to your playing and an autowah isn't.

Having said that, most people do (wrongly) interchange the terms.
Quote by John Swift
First of all it must be established whether this is yet another respected name from the past selling on past glories whilst being badged up junk from China or is it being FULLY manufactered in the US.

I believe at least some of this new stuff is made in China, I can't attest the the quality though so i'd have to play them before making a decision.
Quote by Forcemaster
pedal compressors are perfectly viable alternatives.

for christmas I believe i'm getting the boss LMB-3 which is technically not a compressor for whatever reasons which i've now forgotten, but either way it does the typical role of a compressor and is considered a good choice.
Rackmount gear is not necessarily better quality than pedals. There are good and bad units in either format. That said, rackmount gear sometimes offers more controls over the compression than you'll find on most pedals, and good-quality rack gear may offer a better signal-to-noise ratio.

Requoted for emphasis.
Quote by Deliriumbassist
I f*cking love Panic Attack I think it was the first song off Octavarium I learnt.

I wish I had a six string so I could play SDOIT easier

Haven't tried any of that on the six yet, I think i'm too scared XD
Quote by Deliriumbassist
My bad, I'm thinking of Honor Thy Father

Although come to think of it, it's just really the 1st pre-verse that's a pain in standard 5 string.

Ah makes sense now. Rcently got the intro to panic attack down, whate a great song that is.
pedal compressors are perfectly viable alternatives.

for christmas I believe i'm getting the boss LMB-3 which is technically not a compressor for whatever reasons which i've now forgotten, but either way it does the typical role of a compressor and is considered a good choice.

Rackmount gear is not necessarily better quality than pedals. There are good and bad units in either format. That said, rackmount gear sometimes offers more controls over the compression than you'll find on most pedals, and good-quality rack gear may offer a better signal-to-noise ratio.
Quote by mountaindew88
MARK BASS!!!!!!!!!!!!!!!!!!

500 watts!! Fits in a gig bag!!!! weighs around 6 lbs!!!

+1 listen to this advice, for it is good.
I'd say a musicman bongo, i've never been dissapointed with any i've tried.

Plus it stands out dontchathink?
Quote by Deliriumbassist
But then you have those pesky notes on what would be the low A string. And it's not so much the transposing... a lot of the fingering becomes a bastard.

I find the fingering a hell of a lot easier, cause then you can pedal the open C as you should be able to.

How are you playing it?
Quote by Deliriumbassist
too bad As I Am is tuned down a step (like the rest of the album). Transposing it to standard 5 was a pain in the ass.

Isn't it all in C standard? I just tune my B up to a C for that one.