Well, the rig is solid, definitely dig it. But I'm a little sad that you didn't get along with your BTB. That's the next bass I'm getting, and I lurve it.
I chose this one because it's a good shot of the band, my rig, and my lovely face. In case you're wondering:

Bass - Ibanez EDB 500
Head - Ashdown MAG 600RM
Cabs - Old school Fender Bassman 410 and 115
Beard - only growing for about a week at time of picture

Once you get into it, try nailing some Parliament. Classic funk. Flea is a good place to start though.
My first suggestion would be don't get a Behringer.

My second suggestion would be to check out the forum FAQs.
Quote by Hail
Just to mix it in there, on top of scales, arpeggios are extremely useful in writing lines/fills/riffs/solos/etc. and incorporating advanced sweep/tap/slap work cleverly into lines adds a huge spice that many people tend to overlook.

Yes. Arpeggios. ARPEGGIOS.

I'd say that like, 35% of my style is good use of arpeggios. "Oh, what's this, we're on the dominant chord? Guess I'll do a 1-4-dom7 arpeggio, add a little hook, then when we resolve on the tonic chord I'll be playing M3-4-1."

Then again, this has pretty much become my style. It's not the kind of thinking that's for every bassist. Regardless, learning your arpeggios can only help.
Ok, so I've been looking around for a cab to go with my Ashdown MAG 600 for several months now. In the meantime, I've been using Fender Bassman 410 and 115. Soundwise, they do just fine. But 1) They weigh about 65 and 55 lbs respectively; 2) They're not technically mine, but are on indefinite loan. Now, I do love the classic 115/410 setup. My sound just has so much breadth to it. However, I play a LOT of shows, and a lot of those are out of town. Car space and my physical sanity just can't take all that cab for much longer.

Then I learned of this:

-212, which I've been told is a great substitute for 410/115.
-600W, perfect fit for my head.
-34 freaking pounds, which is a picnic to schlep.
-$400, which is NOT unreasonable.
-GK, which always makes great products.

Have I found the Holy Grail-lien Krueger?

See though, I haven't been able to find one of these to try it in person. So I offer this thread to you, O Bass Forum, in hopes that someone has had some experience and formed an opinion on this cab. Or, failing that, has some alternate cab suggestions for me.

Ready? Go.
To sum up what's been said:

Fingerpicking is not the only true way to go. Many bassists prefer it (myself included). But Perdestrian is onto something, in that learning many different styles is always a good thing (though I'd disagree that even that is the ONLY way to get a true bass experience).

Digressing, getting consistent with alternating your two fingers is key. Not only is it easy to accidentally start 'swinging', but without practice you'll find that your two fingers will give you two very different tones. Being able to play fast without either of these two things happening is a big step in your bass skill.

Also practice playing on different strings. I use a classic method: playing scales and arpeggios, and variations on these. You will find a whole new world opened up to you once playing between strings becomes second nature.

Hope I helped.
Quote by Guano23
You can see my whole setup in this one heh. Ibanez EDA900 and EDB600. Just missing the Boss GT-10B.

Your Ergodyne and my Ergodyne should have bass babies. Mine's name is Horatio.

Long time no see, UG. This thread allows me to trumpet my glorious return with ACTION SHOTS. (Thank you for this, OP)

These are from a show a couple of weeks ago with my side project band. It was a Battle of the Bands at a college amphitheater. Yay for outdoor shows!

I like this one because my hair looks freaking crazy. Like. Medusa hair.

This one is pretty in-character for me. I am a happy bassist.

And here's a picture of the whole band, for context. Plus, you can kind of see my rig. Which is:

Ibanez EDB 600
Ashdown MAG 600RM
Old school Fender Bassman 410 and 115
Quote by systematic_nois
funny you mention Tetrafusion, theyre old friends of mine from when i lived in Shreveport, Louisiana lol I didnt know Mark used a 7 string?

No way. I've actually played a show with them in Shreveport. The hardest act I've ever had to follow. I actually go to college with the guitarist. :P
I'm trying this now with One Hot Minute.

No matter how much undeserved crap that album gets thrown at it, I will forever maintain that it is Flea's best work. If the two solos in "Coffee Shop" don't drive you, I don't know what can.
As much as a copout as it sounds, the perfect drummer is one who has amazing chemistry with you as a bassist. My old drummer was exactly that.

For instance, our guitarist and singer would go inside for awhile during practices, and my drummer and I would stay in the practice area. I would hit up my BOSS ODB-3 (I said it!) and we would just start jamming. And it was AMAZING.

Of course, the fact that he was a kickass drummer simply from the drumming point of view was essential to this (plus I'm a baddass bassist ). When your band is going over its new riff or song that is in the making, and you and your drummer are constantly just looking at each other and playing based on what each other's playing, and smiling and laughing because you realize you're both playing something sweet as hell, well... THAT'S the perfect drummer.
Quote by fatgoogle
Well i have to be proud dont I, and im very happy with it. Can Decide what to make next, im really starting to like 10's more and more. But yet low mids still scream at me so im unsure, a 4x10 or a 2x12.

I think a 410 would complement your 115 better. And then you'd be seriously kickass.
Ok, so, I think that according to the feedback you've received so far... it would be beneficial if you opened a poll. Let the bass forum decide your fate!

Or at least influence it.
I'm not a fan of the Ashdown cabs either, to be honest.

Like a Peavey, eh? Well then, damn, I'd say.
Quote by anarkee
There are also some good "ear training" sites out there as well. Check out is a good one.

She's right. Another good one is

Being able to hear intervals and knowing your scales are two sides of the same coin. If you do one, it is essential to do the other.

Another tip: if you want to start being able to hear individual notes, and you are a bassist, I would start with being able to identify the E, A, D, and G - the open notes on a 4-string bass in standard tuning.
Well Google, seeing as how you're my fellow owner of the discontinued rackmountable MAG 600 on these forums, I have a couple of questions for you.

1) Off topic, but what kind of rack do you have there?

2) If you were forced to compare your cab with some brand name ones, which ones would you list?

...I'm shameless, I know.
Quote by Jared R. Boyd
yes please. even did a make up for you on one of your bass designs. thats how strongly I feel about it.


You can't argue with pictures. That looks like a great mockup to me.

I mean, it might not fit the kind of basses you make, but still, can we say "potential"?
Quote by the humanity
it's really not.

Ok, ok... maybe not too terribly hard. I'd probably tend to screw it up though.

But regardless, it's a D.
Quote by Haanz
Edit: is Take the Power Back drop D? I learned from a standard tuning tab and it sounded perfect..

Definitely, the first note is an open D. Unless you play it on a fiver... but that riff would be a pain in the ASS to play in standard on a fiver.
Quote by NakedBassist
Take the power back. Favourite Rage song


Timmy C playing slap in drop D? Yes, please. That riff is fun as hell to play. Plus, the song's got great flow to it.
Gotta go with the fingers.

Rhythmically, I tend to be pretty funky, what with the syncopation and the upbeats and the swings. Fingerstyle goes best with that, tonally and technique-wise. Plus, as many have said, it's much easier to string skip (barring slap perhaps). Even when I was playing a bit heavier stuff, I only pulled out the pick for the most rhythmic, distortion-on, "play these eighth notes in unison with the drummer while the guitarist does his thing over it" songs. It's amazing what a funky, creative bassline can bring even to heavier music. Which is why I love Lostprophets.

...Oh, you're still here? I was done with my post long ago.

EDIT: I would like to point out that, thus far, there has been one vote for thumb style. Kind of sad, really, that one of the founding techniques of our instrument is now practically obsolete.
First of all... awesome.

Now you have to consider not just the ring of the name, but the visual aesthetic. Thus you have to come up with a great logo to go with your great name.

Initials are easy, and that's not a bad thing. Just having the letters "DPC" (which, by the way, I think that's my vote) in sans serif bold and italics looks great. Plus you can play with it and like, stack the letters, or make one of the letters a picture, such as making the P a bass, etc. And we all know that initials look badass on a headstock, for whatever reason.

Cookson is also good, and would also lend itself readily to a logo. Look at Fender's logo. It's the word "Fender" in a italic cursive-kinda font, accentuated by a tasteful underline. Cookson, especially with the o's leading into a k, would look great for that kind of thing.

Just remember - the logo sells more than the name.
Man. When you say you're going to be spending quite a bit of money, you mean it. Orange and Aguilar? I can't even afford a new tuner this month.

I've never had the pleasure of meeting an Aguilar, but I hear they are wondrous. And I can't imagine being dissatisfied in the least with 4x12. I'm not sure how you can really upgrade from that cab.

As far as the head, I'm uncertain. I realize that tube power is more efficient than SS, but still, the 200W make me wary. Maybe I'm just jaded to the 1984 that is the SS industry standard. Being an Orange though, I'm sure it sounds fantastic. Go ahead and give that rig a whirl in the shop, and if you find the head can get the volumes you need (the shop will forgive you if you're going to be dropping a few G's on them), I do believe you will have a rig that is the envy of many a bassist. And I can't think of a bass that's much better to represent that rig than a MIA Jazz Deluxe.
Quote by RatzaChewy
As I said, it could have been the cab that I didn't like, I didn't have a chance to try it with anything other than the MAG 4x10.

My input is based half on hearsay and half on experience. I have the MAG 600, and it really can put out a pretty wide range of tones, all of them sexy. However, I don't own any cabs for it yet - I've tried it on a couple of different cabs that I could get my hands on.

Now I hear (important word) that the MAG cabs, while nice, are pretty focused on a more vintage, "woof" kind of sound. I know that I've gotten some suggestions for more versatile or transparent cabs, like Carvins or (God I wish) SWRs, to go with my style, which is not so much vintage.

So, take what you will from that.
I love my Ashdown MAG... but I'm really not sure if it's the best for metal. Hartke might be a good choice, or depending on what kind of sound you're going for maybe a GK.

As far as the bass, a Warwick would work. I like me some Ibanezes though. I'm pretty sure that, in the end, you can make most basses work for metal.
Quote by loinmute
low end ibanez are junk, pure junk....they might be light, but heavier better woods, provide a better tone, and feel more solid

Congratulations on posting the most incorrect statement in this thread.

Low end Ibanezes are spectacular in their price range. Whether or not you think the higher-end Ibanez basses compete as well with their competitors (I do), the cheaper ones, especially Soundgear, never feel cheap. That is, they never feel low quality. Just, lower-end.

It might be obvious that I'd recommend the Soundgear. But the good news? You can't choose wrong, all three of those basses are great choices.
Actually, for Mitch Hedberg day, my friend made a joke that he thought was in the style of Mitch. I was pretty proud of him, actually sounded like something Mitch would say. Tell me if you agree:

"Man, I hate being tall. The rain hits my head EARLIER."
The side of my friend's garage. Happily, that little boondoggle didn't dissuade us from further entertaining ourselves with homemade napalm.
Wow. Apparently this AA joke is really ****ing hilarious, seeing as it's gone on for 7 pages. Guess I'm not high brow enough.

I was just going to ponder how much that old Disk of Returning I have would be worth.
Quote by espplayer400
loudog... that is one huge ass piece of banana bread..

That's no banana bread... that's a SPACE STATION.
I am the eggman. They are the eggmen. I am the walrus. Goo goo g'joob.

Ok, well, I tried it because I couldn't wait anymore.

And it sounded great.

I kept it really quiet, just because I'm paranoid, but loud enough to get some kind of tone. And I only played for like 5 minutes. And I probably won't do it again. But, no damage.

Thanks everyone, this was fun.

Ooh, EDIT: Fatgoogle, tell me more about the speaker setup you're building!
Ha, no no people, I'm not talking about disconnecting the speaker... BASICALLY I was wondering what happens when you out one amp into another amp. Merely curiosity.
Quote by fatgoogle
Well, if you ran it in the effects loop you might bypass the eq and be able to use the mag. Effect out into Mag and then line out returning. You cant use the outputs into the SWR inout s you would be poushing a load through your SR preamp.

Now this is really interesting me right now. This would really work? I could basically use the MAG as a Rackmountable EQ? Wouldn't the fact that it pushes 575 watts make that not work somehow?
Quote by jazz_rock_feel
As for anyone calling it ugly... Do you happen to like the teardrop pickguard on Stingrays too, because that would explain a lot

Well... I DO happen to like the way the teardrop pickguard looks, but I can see where people don't. But, that's not important. What's important is that you're right, these basses are absolutely lovely. They have a great aesthetic flow to them, and really, the fanned frets adds a lot to that. And I LOVE the pickguard.

Then again, I'm really not sure I've ever seen a "regular" bass I thought was downright ugly. By regular, I mean basses not shaped like Jack Daniels bottles, etc.
Most anything by Dave Matthews Band. I guarantee you'll see what I'm talking about. The song "Crush" is a good place to start.
Ok, so I'm sitting in my room, looking at my newly-arrived Ashdown MAG 600R, and thinking about jumping in front of a horse carriage because I don't have any cabs for it, when an idea entered my head for a brief millisecond. TECHNICALLY, I have a speaker. It may be contained within my SWR LA15 cab, but by golly, it's a speaker.

So this got me thinking - what would happen if indeed I plugged into my Ashdown head, and then OUT from the Ashdown into the input for the SWR combo? It is important to note that the Ashdown is 575 watts, while the SWR is 100.

So, who can tell me?

I'd like to assure you that I am not going to try this. I like my equipment too much to do that.
Quote by 4 strings
my personal favorites are basses with p/j configuration as i love the variety,

e.g fender aerodyne, fender p bass special, schecter model-t or a peavey zodiac.

best of both worlds

OOH! OOH! Did you know? Robert DeLeo helped design that bass!

...And I've never been able to try one.

EDIT: Well drat, I just went to Schecter's website, because on the product pages they used to have someone playing the instrument in the background of each product's page, and for the Model-T, it was Robert. But now the site's layout is all different and... kind of weird.
Quote by Nutter_101
0 frets mean that every note on the fretboard sounds like a fretted note.

Wow, I've never heard of that before. That's a damn good idea! Might take a little getting used to though...
Ok, I'd like to say that I'm digging the new beginner amp section, I don't know about the Orange but the rest are all good suggestions.

I think what would REALLY put the amp section over the top is a tonal description of each amp. Lately there have been a lot of questions from newer people about the terms "transparent" and "colored" when it comes to amplification. I think describing the amps in terms of these two... er, terms, would really help people looking for a beginner amp. Not to mention that understanding these qualities of amps is always going to be important.

Mite oose ents.
Quote by fatgoogle
Its like when you can hear your bas's tone coming straight through. While "coloured" amps, have heir own voice to them.

This. SWRs (or Acoustics in this case) would be like a completely spotless and clear pair of glasses, where as, say, Ampeg would be bright neon green tented glasses. You can look at the same exact things with either pair of glasses, but the latter will always be bright neon green. And if you like bright neon green, that's not a bad thing. But some people like to see the true colors of what they're looking at.

Of course, if you're looking at, say, a Thunderbird, bright neon green is probably an improvement.