Kiwi

Thanks Eric, I've PM'd Phatmonkey. He may need more information from you.

There was a time about 5 or 6 years ago where you could easily pick up a used TRB Mk1 thru neck for 600 quid on Ebay. I knew then they were being undervalued and would have had one were it not for the width.

I think the injection molding approach produces a better sounding result anyway. The fibres are suspended in epoxy resin around layers in a wooden core before the resin-fibre mix is injected. The core can also be tuned for rigidity prior to injection as it still plays a structural role, unlike the monocoque construction method. Fabric isn't needed, the process is more like fibre reinforced cement although the trick is to ensure the fibres are evenly distributed throughout the mold. It's a much quicker way of producing a warmer sounding neck. The same approach for a whole bass would result in a massively heavy instrument though. My Steiny weighs more than my Alembic

[quote name='henry norton' post='1328356' date='Aug 5 2011, 10:08 AM']Wasn't the original Steinberger one-piece carbon fibre moulding?[/quote] It was but resin based injection rather than monocoque layering.

I've had a long and more or less fruitless search looking for the ideal compressor. I just need something to take the edge off the bass without altering the dynamics. I've found that just having a valve in the signal chain somewhere more or less does the trick for live work.

Had a similar conversation on Facebook recently - I'm lost as to the differences now. Fantastic sounding instruments even if the string spacing is wider than I'm comfortable on.

I won't buy anything else other than Wizards now if I need new pickups. I wanted to get a set of 74s for my Celinder but they won't fit the routs. I've had about 4 pairs of soapbars from him in the past though.

Gus Guitars could do one for you by hand laying a shell over a wooden core. Alternatively there's Miller in Germany but I don't think they get a lot of business given they've diversified into other things.

[quote]You'd be better off just listening rather than watching the videos. As soon as you see the bassist\'s haircut you\'ll be wanting to punch him in the face because of his stupid haircut! Nice tone though.[/quote] Hey, that's an extended range hair cut. BTW it's not jazz, its pffy funk. FFWD to 1:15. I challenge anyone to convince me that the bassist doesn't go 'PFF' at the end of the run.

Hmmm, I think his comments are more about the player and less about the bass...don't believe the hype...maybe even, don't go blowing a load on an instrument if you think it will make you sound like him!

[quote name='Beer of the Bass' post='1327543' date='Aug 4 2011, 06:06 PM']My brother is a classical guitar maker who is trying to offer sustainable woods wherever possible, so it's something we've chatted about before. While it's harder to find quality examples of the traditional hardwoods like rosewood etc, there are any number of alternative, more sustainable woods which would do the job equally well [i]if customers can be persuaded to accept them[/i]. The area where it is more worrying is with softwoods like spruce for acoustic intruments. Quality spruce and cedar pretty much have to come from old-growth forests in high altitude or northern areas as the slower growth and shorter growing season gives them the required tight grain. Plantation grown softwoods have much wider grain and are not as suitable, apparently. The sustainable solution would be for musicians to maximise the lifespan of instruments by choosing used instruments and repairing rather than replacing them, but this is probably not too palatable to the big guitar companies.[/quote] +1 I can't add anything to this. I've been hunting for sexy looking NZ native woods over the last few weeks. Not only is the old growth stuff hard to come by now (and it breaks my heart when I see a stunning piece of 100 year old native broadleaf that was used as a house pile and is now borer ridden) but the source of these timbers is totally unreliable and inconsistent. Guitar makers literally have to be opportunists and take what they can get as and when they find it. I'd never be able to offer native woods consistently on a line of basses, there's just not enough of it available at the quality expected.

[quote name='phil.i.stein' post='1321686' date='Jul 30 2011, 08:47 PM']and he can play xylophone at the same time with his feet.[/quote] Three note chords too. But seriously... [url="http://www.gigwise.com/photos/47655/3/The-Greatest-Rock-N-Roll-Myths"]http://www.gigwise.com/photos/47655/3/The-...ck-N-Roll-Myths[/url] Seeing Prince at two aftershow parties was a life changing experience for me, he's an astounding band leader. He manages to get his musicians to achieve amazing levels of team work when they're improvising. The people who work with him show a huge amount of respect even after they've been booted out of his band. There were rumours on one of the fan sites that he had been accused of taking credit for Wendy and Lisa's work while collaborating on Under the Cherry Moon soundtrack amongst others. There's some support for that on their [url="http://en.wikipedia.org/wiki/Wendy_%26_Lisa"]wiki page[/url] which also mentions they later on fell out with Trevor Horn in a big way, too.

Lovely old girl, not quite as beaten up as mine but oodles of character nonetheless. [quote name='Ou7shined' post='1320995' date='Jul 30 2011, 12:53 AM']They used to do the odd Jazz neck if you specifically asked for one. £1500 seems pretty fair for a '79.[/quote] Really? Interesting, I wonder if mine has one too.

Someone should ask him whether the instrument is US made... lol

[url="http://cgi.ebay.com/IBANEZ-STANLEY-CLARK-BASS-GUITAR-/360364020203?pt=Guitar&hash=item53e75e91eb"]http://cgi.ebay.com/IBANEZ-STANLEY-CLARK-B...=item53e75e91eb[/url]

Modulus Sonic Hammer, a Flea Bass or a Status Empathy...graphite necks with phenolic fingerboards. G&L dont sound aggressive to me at all, they've sounded woolly if anything...but I've only tried them in music shops and haven't actually owned one.

Steinberger XL basses (Ned even admitted he should have gone with a wider body in the first place.) Rickenbacker 4001 and 4003 basses Parker Fly bass Moses jazz necks where access to the truss rod is hidden by the 2 fret fingerboard extension. DOH! Musicman bridge on preEB basses; the saddles move because of the lateral pull of the string tension...not such a good example of Leo's engineering IMO. Almost any unmodified Wishbass

[quote name='BigRedX' post='1316926' date='Jul 26 2011, 11:55 AM']The other thing that many people forget is when specifying species of woods is that every board is going to be different. Wood is from a living thing and is subject to massive variations due to environmental conditions while growing and rate of growth to name just two. Just because your favourite instrument is made from a particular type of wood doesn't mean that you can replicate it's sound with another piece of wood from the same species of tree.[/quote] And the same applies from the same tree, a piece that comes from near the root is going to be denser than a piece that comes from further up the trunk. So it's possible to have a piece of alder that sounds close to a piece of mahogany. Where I've found the luthier earns their money is in being able to tell those differences before the instrument comes together. Less luthiers out there can do that, than one might think.

Or...the combination of woods is such that they cancel each others differences out....or...that the listener didn't notice the differences. There's a simple test for those who say wood doesn't make a difference. Play a Status and testify that graphite doesn't make a difference. IF graphite makes a difference (because its [url="http://www.janartsguitars.com/joomla/index.php?option=com_content&view=article&id=6&Itemid=6"]denser[/url]), then why shouldn't different densities in woods? The difference is there, I'd suggest its not as distinct for some. A bit like giving someone brought up on chinese takeaways a plate of beef carpaccio and asking them whether they thought it tasted better.

Shame the video didn't actually show us what it sounded like. I was disappointed by that.

Don't be a ++++. Chunky means less hand cramp.

Love the drumming, how Chris Coleman manages to keep steady time with so much space, so many polyrhythms AND tying into what Hadrien is playing is utterly breath taking.