mcgraham

I'll be down to two basses that I definitely want (getting my bass from home tomorrow), both Jazzes, both black, one a Geddy, one an epoxied fretless. I genuinely only play one bass though, to me it's just an instrument so the only reason I'd change is because the instrument I have is limiting me from what I want to do. So you never know, one of them could be up for sale soon! Mark

To be honest, I wouldn't do a whole lot differently, at least nothing too major. Perhaps started reading earlier, adopt a classical guitar position when seated (how I coped before that I don't know), stopped ogling pretty guitars when I could've been practicing, and finally, been confident enough to not be phased by people who told me what I was playing was wrong. Those 'wrong' notes/bits put me on the right path. Mark

I don't agree with a few things that have been said so far, I don't need to say which as what I say will more or less point that out. In joint 1st is sound and feel, everything else comes second. You need to have both (to an extent you are happy with) in an instrument. You wouldn't want an instrument that plays effortlessly but sounds awful, equally so you wouldn't want an instrument that sounds great but plays like crap. HOWEVER! These two factors are not by any means set in stone when an instrument is manufactured. With regards feel and playability, I don't believe in an unsetupable instrument. I have yet to find an instrument that cannot be set up to obscenely low action or obscenely high action or anything in between. Amongst other things you may need to get someone to do a fret job to achieve this or you may find that your neck has something other than natural bow from string tension. Other than that last one, the common problems that I'm aware of or have encountered are relatively easy to overcome and will give you effectively a new guitar once set up properly. Soundwise, I appreciate that woods and type of construction play a role in this, but I definitely feel they are secondary compared to pickups, pickups locations and electronics (and amps, and strings etc etc). How secondary they are I am unsure but I don't think it's a close call. Anyway, a good set of pickups can breathe new life instantly into a guitar. How you wire/configure them, how you eq etc. So in terms of amplified sound, you can get a great sound from a 'cheap' bass with good pickups and electronics and, drawing on the above point, that is well set up. I'm not saying go out and buy the cheapest bass you can, but don't be fooled into thinking that cheap MUST equal crap and expensive MUST equal good. All in all I guess I'm saying, don't be biased, the two most important factors are not fixed. Mark

Perhaps grabbing the Geddy, getting a P routing done and a replacement pickguard and adding a P in place of the neck J may be a possibility? Come and try mine, as I may have said before the pickups are P's in J housings so you may find you like the P-like sound it gets whilst not having to do any routing mods, just pickup replacement. Mark

Exactly, I'll drop them an email today to say I can't take it. If it's still there some time down the road I'll reconsider, but right now I can't do it. Mark

Hmmm....not quite sure how to say this, y'ever get the feeling you're making a huge mistake? I think I may be making one selling this Smith. Despite my ravings about the sound, I've just plugged back in and been sent straight back to how I felt when I first played it at Jammy's. Urgh, I hate this. Anyway, that isn't the focus of this thread. But Kiwi, thanks for making me pick up my Smith again... and I shake my fist at you at the same time Mark

Dude if you thought it played well before you should try it now, it's positively obscene how effortless it is to play. Mark

[quote]Its funny, I find myself playing the Celinder P-bass often coz it fits the music and its OK but sounds a bit muddy if the amp isn't right up against a wall. I switched over to my Smith and suddenly the world seemed a better place - lows, clarity, mids etc. It was like sinking into a warm bath again.[/quote] Good analogy there! It is interesting how different basses suit different people in such radically different ways. I found the Smith worked wonderfully with boosted treble and boosted bass, really had the sound that people want from a Smith (IMHO). I think I'd unknowingly found the tone I wanted in my Geddy and just didn't see/hear it for all the lovely basses out there (of which your beautiful Smiths are definitely some of the finest!) Mark

I hear you Jam, that is exactly the reason I'm selling on my Smith. As much as I love looking and ashamedly desiring some of these high end basses, whenever I try them or get them I just find myself drifting slowly back to my Geddy; it's truly a phenomenal plug'n'play bass with a great live tone upon the turning on of the amp. The Smith sounds great solo and does a few things very well, but the Geddy Custom blows it out of the water for fitting with every group I've played with. I can say that with confidence because it's the ONLY bass I've had and used the last few years. My humble suggestion is that you check out just a standard Fender J, perhaps even replace the pickups as I did for something that'll throw in some serious meat. Feel free to pop over and try mine. Mark

Urgh, I simply cannot make a decision on this LE Jazz... I (will) have the resources spare, and I would love it. But I don't feel 100% comfortable doing it, for numerous reasons. I think I'm going to have to say no to it because of that so sad! Mark

Pianists, specifically classically trained pianists, can sometimes be quite infuriating in worship. Not least because of their heavy right hand (that's OUR territory ) but the apparent need to hammer out lots of notes on both hands and the strange loss of hearing that they suffer in that they don't listen to the sound of the team/group/band holistically. I appreciate that the latter problem may stem from the fact in classical that each instrumentalist has their own piece of music and as such you don't need to think about what others are playing, but when arranging and leading worship (guitar and vocals) I've needed to, inter alia, tell them to actually listen to what they're playing and suggest things to do instead. Alright, back to topic... Sorry My apologies to the classically trained pianists among you, small gripe I have with pianists who pretend to be keys players Mark

The simplicity and coolness factor is great with minimal controls, I completely agree with the x-band eq thing, it's much better to adjust at the amp IMHO. I reckon I've got as simple as I can get with controls as I would want 2 pickups on my main bass. Almost guitar like in that I have volume, rotary pickup selector (with a 4th position turning the bass off) and a passive tone. Don't think i could get by without those options. I love a master volume but hate blends, so it's about the only way to do it. Mark

+1 with regards time needed to get accustomed to more strings. I'm glad I got onto more strings early on, not that I'm now a 6er exclusively (not yet ) but I feel happy on any number, though I have yet to try a 7. I mostly play gospel and do quite a bit of arranging so the extra range is going to come in handy. Dangit, I'm speaking as if the decision has been made... Mark, what prompted you to go with a single control knob on your Sei? Is it somewhat inspired by Anthony Jackson? or do you not really use the extra controls? Mark

I'm sorry Mark! Perhaps you should post a few pics up in the thread, just to check we know how to count. 7 is God's number y'kno I checked out Sei's prices today just to remind myself why I didn't and wouldn't consider using them. I could never justify spending more than 2k on a bass, in fact this 6 is already pushing the limits of what I consider reasonable (for me, simply my conviction). Yea, I seem to recall that Chris and Brian seem to have been in it together for a while, at least since I became aware of them primarily through another bass related chat forum... I love the slightly chunky look that their jazzes have, the value is astounding but I had never considered or at least considered and pursued purchasing/ordering from the states. Thanks to BC and various conversations I've managed to suck up the courage and read about the extra costs that potentially come with it. So thanks guys, owe you a big thanks! Anyway, back on topic... I agree with those who've said they can't quite get on with 5, I always felt they were asymmetric before (in a non-OCD way), got over that now but i feel more comfortable with 4 or 6, as with OTPJ. Mark

I'm afraid the custom isn't really on the list, not when that jazz is EXACTLY what I'd order as a custom job bar the string spacing, which will be rectified with a replacement bridge before it gets sent out. Only gotta shift that last blooming instrument! Is the little sister a guitar? or a short(er) scale? Or is little not representative of what you've got coming? do tell! Mark

You do have a killer bass Dood, tis nice to see someone else choose a custom with a maple fretboard. I've actually been in contact with Brian @ Low End and (provided my Smith shifts sharpish) I will be purchasing that jazz I mentioned above. Fitted with a more narrowly spaced bridge of course We were talking about perhaps a custom build, and the prices are sooo good it seems almost a waste not to shell out just a couple of quid more and go for the full works with a 7 string. However, that's not on the cards just yet... Will keep you informed as to the progress. Mark

[quote]ok i don't quite understand this. You say that as if it's simpler then just having a string with lower notes on it which it's not really.[/quote] You're right, it's not easier than having that extra low string. My apologies if that came across as a bash or saying it's easier to drop tune than have a 5 string, what I AM saying is that I have used a 4 exclusively for the last few years and rarely ever needed to (or chose to) go lower than the low E in the groups I'd played in, hence didn't need more than a 4 99% of the time. But whenever I did, I downtuned for that song. I hope that clears up what I meant. Mark

Hmm, you are a wise man sir... I may do that. Wouldn't happen til sometime next year though, and bits of gear would have to go to fund it, the proceeds from the Smith would cover a good portion of it though. There's a beautiful 6 string black alder/maple Low End Jazz for sale over on the Low End forum for a great price, unfortunately I like 16-17mm spacing and that one looks to be 18-19mm. Otherwise it'd be perfect! Mark