Fat Rich

[quote name='Ian2k' post='1139175' date='Feb 23 2011, 09:06 PM']The Status is headless I belive? What's the thickness of the neck like - I don't know how to technically describe it, but what I'm used to and like with the RBX is the neck thinness, so for example at fret 1, from fretboard to the back of the neck is around 2cm.[/quote] Headed Status S1 and S2 basses balance perfectly with only the headed 6 stringers starting to get a little neck heavy. Neck profiles are generally pretty slim although the very early ones (80s) were a bit chunkier.

Probably the producers of these videos only approach players with a very high profile in order to sell a reasonable number of videos, and they're probably not selling enough anyway to make huge profits as there isn't the big audience you'd get with say a Hollywood movie. The thought of an Adam Clayton instructional video is quite amusing though!

[quote name='Musky' post='1128924' date='Feb 15 2011, 09:19 PM']Oh they were very definitely promoted as an improvement. Steinberger and Status developed their instruments independently but came up with very similar designs (headless and the use of carbon fibre) at about the same time. I can't remember the story exactly who was first - I think one was prototyped first and the other made it to market first. 1982-ish? Anyone remember the exact details? Edit: It must have been before '82 as I can remember Bill Wyman playing a Steinberger in that year.[/quote] Dunno about Steinberger but the first Status was 1981, it was called the GMT Strata but the name had to be changed because Fender thought it sounded too much like Stratacaster More info here: [url="http://www.statii.com/status_cats/strata/index.html"]http://www.statii.com/status_cats/strata/index.html[/url]

My old Status Series 1 basses have a string guide and a zero fret, it sounds exactly like a fretted note on the fingerboard. For the fretless one the finger board slopes away where the nut would normally be so that the string sits on the end of the fingerboard and I actually get some mwwarr from open strings. Only downside on a headed bass is that it's going to wear more as the strings are dragged over it as you tune the bass. Not a problem for headless basses as the string is fixed near the zero fret and moves at the bridge end.

Advantages: Can change strings super fast Smaller bass more portable with no headstock The Status / Steinberger / ABM Monorail systems I've seen stay in tune really well Often get a Zero fret (instead of a nut) so open strings sound exactly like a fretted note Seem to be becoming more popular Disadvantages: Not all strings available double ball end, end up cutting and clamping at headstock end Pretty sure you're limited to 34" scale length for double ball end strings (I may be wrong on this!) which might not suit a 5 string low B Some people will assume you're a slap monster!

Maybe find some interesting drum loops and try a few things with each loop: 1. Something really simple that is locked into the rhythm, probably the bass drum. Not melodic at all, focus on groove. 2. Something melodic like you'd play on the piano 3. Something more complex rhythmically but simple melodically that maybe augments the groove of the loop 4. Some different combinations of what you've come up with for 1, 2 & 3 Take "Good Times" by Chic as an example, first bar of the riff is one note on the beat, second part is melodic and syncopated. Ear training is important, can you hear bass lines in your head but can't find them on the bass? There's lots of stuff out there to help you identify intervals, it's also something that will improve the more you play. Work out lots of songs and pinch and modify the bits you like, that's what most people do! Googled drum loops: [url="http://www.google.co.uk/search?client=safari&rls=en&q=free+drum+loops&ie=UTF-8&oe=UTF-8&redir_esc=&ei=2OhXTcOVD4eohAesgqTzDA"]http://www.google.co.uk/search?client=safa...VD4eohAesgqTzDA[/url] Good luck!

I'm happiest on a five, but I don't [i]need[/i] the low B so I voted no.

My Status S2 Classic bolt-on weighs a little over 11lbs, about 3 to 4lbs more than my other S2s. It's got a snappier sound as a result and I've not had any back problems yet, maybe because I'm no lightweight myself!

Might be worth finding a teacher, they'll be able to advise on the string height on your bass and also where your fingering the note, how relaxed your hand is, wrist position etc. You'll also find that the finger noise is generally less noticeable when you listen through an amp, and as you progress on the bass it'll probably improve slowly anyway. But a couple of lessons will speed up the process.

Hmmm, tried it on my graphite necked Status and bent the screwdriver. I never really notice the edges of the fingerboard, I thought this was because my left hand technique is actually pretty good. Although looking at my older basses there's definitely a lot of wear on the bottom edges of the boards so maybe I'm just so cack-handed I don't notice the subtleties.

I quite like Alberto Rigoni "Something Else", been listening to more than I thought I would.

Good stuff, the slide in the opening riff was starting to get a little repetitive but then you stopped doing it, so it's all good!

[quote name='waynepunkdude' post='1120999' date='Feb 9 2011, 09:37 AM']...... Quick question what do the front 2 knobs do?[/quote] Guitar and vocals usually.

My favourite Fenders have all been Japanese, usually cheap and a bit dog eared but they feel and sound great. I definitely wouldn't buy an American or Mexican Fender without trying it first but I'd be more prepared to take a punt on a Jap Fender I'd not played.

I could live without the Stingray and the old wood necked Energy bass but you'll have to try to prise the others out of my cold dead hands! That not to say I won't add a few more to the collection though.

Never been a fan of REM but the basslines are usually excellent, quite a lot of movement without treading on anyones toes. They add a lot to the songs but not so that you'd notice unless you stop to analyze them, good stuff.

Musicmany.

I hate to admit it but I've come to the conclusion that the drummer can make or break a band. Most of the best bands have had drummers with exceptional feel and groove, not always the flashiest or with the most technique (although that might start the old Ringo Starr arguments going again!) And I agree with Bilbo about not gelling with some drummers, I worked with one for ages who was very tight, kept great time although he sometimes overdid the fills but should otherwise have been great to work with. We sounded pretty good as a band but his time felt slightly wrong to me, he was always telling me to listen to various artists who were the funkiest thing he's ever heard but to me they sounded rigid and monotonous. I'd put on some Stanton Moore or Stevie Wonder and he said it's too sloppy and he couldn't listen to it. Other drummers have had poor technique and a limited repertoire but are still a joy to work with, I can forget about timing and phrasing and just make music.

[quote name='BassBus' post='1108890' date='Jan 30 2011, 11:32 PM']Thanks for your thoughts Phil. Rich, OTPJ did appear once recently on the Status thread but has disappeared again.[/quote] Yup, he pops into BC and Statii every now and again but rarely posts. Thought I'd mention it in case you were still in touch.

OutToPlayJazz was talking about getting one and then he vanished from all the forums. Could just be coincidence of course....

[quote name='Chris2112' post='1104997' date='Jan 27 2011, 01:10 PM']I think Rob's design was at it's peak in the 80's, when the graphite necks were a "paddle" design with wooden wings attached. They sounded incredible, and after he shortened the neck design it was never as good.[/quote] I think they're better now, but then you know that already!

Might also be worth getting "70s Funk & Disco Bass" book by Josquin des Pres, no tuition but 101 bass lines in notation, tab and CD. It's bit cheesy and gets a bit samey about halfway through but there are some fun lines and lots of 16th ghost notes to get to grips with. It's no substitute for listening and playing the tracks recommended above though

All mine are out and ready to play, Fenders on stands and Status basses have an extra strap button on the bottom so just lean up against a wall. However, if I had a herd of kids running round the place they'd all be locked away to avoid damage. [i]Edit: The basses locked away, not the kids.[/i]

I've nothing against gold hardware on some basses but I never think it looks good on a Fender. Particularly if the rest doesn't match.

I think some people order a custom basses wanting something that feels and sounds exactly like their old favourite bass but better in some magical way, which is very hard to achieve. Or they're expecting their new custom bass to be versatile enough to cover the sounds of a Jazz, Precision, Stingray, Warwick, etc or to sound like all their favourite players which just isn't going to happen. I knew exactly what I wanted when I ordered my basses but when they arrived I still ended up making a couple of adjustments to get exactly the sound I was after (single piece bridges instead of monorails), but then I'm not trying to sound like anyone else. I've got basses that sound and feel perfect even though the body shape looks a little wonky to me I'm not intending to ever swap them for anything else.