Kiwi

[quote name='simon1964' post='254288' date='Aug 4 2008, 12:03 PM']Have they been sending free copies to Basschat members?[/quote] I doubt it, we don't have any postal address data for members and we don't give out real names or any other personal information to third parties without members written consent.

[quote name='noisedude' post='254061' date='Aug 4 2008, 02:23 AM']I got shot down in flames a while back on this forum for having the temerity to claim that neck joints make any difference to how a bass sounds...... ![/quote] Where was that then? Got a link? [quote name='thepurpleblob' post='254069' date='Aug 4 2008, 06:58 AM']I think if you read his article you'll see that he doesn't say that the wood doesn't make any difference - he says that it doesn't make as much difference as (some) think it does. Firstly, I'm inclined to think that he knows what he is talking about. I also, suspect that I haven't played enough instruments and really thought about it to know any better. The type of hardware, pickup choice and location etc., could *easily* make much more difference than the choice of wood and I'd find it hard to refute if someone claimed that.[/quote] In principle, fair point but my experience differs from his. I don't think he has a very well structured argument.

[quote name='OutToPlayJazz' post='253991' date='Aug 3 2008, 11:09 PM']Crazy Kiwi: Hey Steve, just listened to all your basses Love your 'rhythmic' right hand damping - I do that a lot as well. That Cellinder jazz sounds amazing! Rich.[/quote] thanks Rich , I literally plugged the instruments and bashed stuff out. Which reminds me, I should really upload clips of the Cutlass II as well.

I think wood is fundamental to the tonal character of an instrument. Listen for yourself. [url="http://www.freewebs.com/crazykiwi_bass/musicmanstingray.htm"]http://www.freewebs.com/crazykiwi_bass/musicmanstingray.htm[/url] [url="http://www.freewebs.com/crazykiwi_bass/musicmancutlass.htm"]http://www.freewebs.com/crazykiwi_bass/musicmancutlass.htm[/url] One has a graphite neck. If materials didn't make a difference, the two basses would sound the same. Maybe some people can't appreciate the differences, in the same way that some people can't appreciate the difference between red plonk and a half decent merlot. However I've played enough instruments (and buggered around with them) to feel pretty comfortable in knowing how much of a contribution the wood makes. The rules aren't hard and fast for tonewoods because wood varies in density and mass, and the sound of an instrument can even vary with humidity so its always possible that a piece of alder and a piece of ash could sound similar if they share similar characteristics. However if you've played enough 70's Fender Jazz basses you'll notice the good 'uns from the bad 'uns despite the materials being the same. The other thing that hasn't been addressed in article is the way in which tonewoods contribute to the feel of an instrument. The flexibility of the neck has an impact on characteristics such as sustain, attack and decay and on the tension in the strings. Its this characteristic of planned flexibility which is key to the warm growly sound of Smith basses, Ken Smith deliberately designs some flexibility into the instrument. Alembic, by contrast, designs out as much flexibility as possible. By way of further demonstration, have a listen to samples here: [url="http://www.freewebs.com/crazykiwi_bass/alembicseries1.htm"]http://www.freewebs.com/crazykiwi_bass/alembicseries1.htm[/url] [url="http://www.freewebs.com/crazykiwi_bass/smithbsr5gn.htm"]http://www.freewebs.com/crazykiwi_bass/smithbsr5gn.htm[/url] Do you think the writer of that article would retain any credibility by arguing that these instruments sound the same? If he's arguing for not needing to use exotic woods, fair enough. I think he has a point. But to make that point by completely dismissing the idea of tonewoods is remarkably ill-considered.

No gigs again this weekend, I backed out because I was down to go to dubai which didn't end up happening. Didn't miss it at all. It was nice to rattle around the flat a bit, if anything.

I thought you'd snagged the graphite necked energy that was for sale. The wooden necked status basses rarely sell for a lot of money. They can be reasonably good value so long as you can be sure of selling it for close to what you purchased it for.

[quote name='OutToPlayJazz' post='253617' date='Aug 3 2008, 09:40 AM']Curiously, Bongos seem to be worth more at the moment. Is it the modernity or the novelty value, I wonder?[/quote] Probably because they aren't as easy to find second hand?

That looks really nice, no wonder Jon's pleased with that blue. I was due to pop up there today myself to drop some bits off and check on progress but apparently it was a bit of a drop in session according to Jon. Looks like I might be up there next weekend, assuming I'm not overseas.

nice! whats the serial?

[quote name='Stag' post='253155' date='Aug 2 2008, 09:48 AM']Hi guys and gals, Unless I want to pay way over the odds for a 70's Gibson (£1200+) EB or Les Paul im going to have to get one from America, perhaps via EvilBay. How much woudl customs charge on say, a $1200 bass, then the insurance and packing / shipping? USPS service is £87.50 which sounds about right. Cheers for your advice...[/quote] Rule of thumb, allow about 22% for import duty and VAT. For big, expensive items I ship Fedex, its more expensive but they sometimes slip stuff through customs without duty. It often ends up being cheaper.

i hope his spelling isn't indicative of his accuracy in describing the instrument. You'd be well screwed if it wasn't as described. He has some cool stuff but some of the prices are a bit of a joke. $2750 for a 1980 strat?

[quote name='MB1' post='252853' date='Aug 1 2008, 03:53 PM']Manchester Salford....opening as P.M.T.....the Tensions killing me!...Sorry!.....I'll Get me Coat! [/quote] That was quite witty, for a change.

[quote name='mcgraham' post='252397' date='Jul 31 2008, 10:43 PM']Exciting stuff! I didn't realise the full extent of your plans. I wish you all the best with them and I look forward to seeing them come to fruition! You've certainly picked a top luthier to collaborate with.[/quote] Hi Mark, at the moment I'm not sure Jon will be making the prototype bodies. He just seems too busy at the moment, however I have approached someone else also known to Basschatters who I believe will offer the same level of quality as Jon.

OK, I have something rather exciting potentially happening on this because of such a positive response from the suppliers I've approached in the last couple of days. I'm going to be trialling some special pickups from a UK supplier instead of the Delanos. I'm hoping my personal fretted 5 string instrument will be ready in the next couple of months in order that I can test the prototype pickups when they're ready. I've also finally chosen a brand name, have registered the domain names, am in the process of trademarking the name and hopefully we will have 10 basses available for sale exclusively through Basschat in time for Christmas! I can't give out much more information at the moment as I'm having to review the pricing again.

Ummm just for the sake of clarity, when you say "female fronted"... [attachment=11454:comedy_breasts.jpg] ...?

[quote name='Oscar South' post='252003' date='Jul 31 2008, 01:02 PM']I was somewhat just taking a contrary stand to try and get some discussion going.[/quote] [i]"How dare you, how very, very dare you"[/i]

[quote name='Marcus' post='251002' date='Jul 30 2008, 07:38 AM']Sustain eh ? I know a long sustaining note from a bass with a big "piano like" accoustic tone makes you feel like you have a well constructed instrument, but most bass players work hard to kill the notes that ring (unwanted) and when was the last time anyone needed a note that lasted more than a couple of seconds anyway ?[/quote] Play a fretless and you'll understand that sustain is the one thing that separates good fretless basses from bad. Sustain is of course a question of taste and all that.

[quote name='charic' post='251079' date='Jul 30 2008, 10:22 AM']Personally I think you should connect the necks together to make one VERY long neck then a few bassists could play your bass at once [/quote] thats genius that is! *makes note*

[quote name='mcgraham' post='251052' date='Jul 30 2008, 09:41 AM']By suppliers do you mean with regards the parts? Mark[/quote] Only the headless graphite necks and bodies.

Hmmm, because things are taking too long to organise with Jon, there may be a potential change of suppliers in the offing... ...stay tuned.

[quote name='Sibob' post='251021' date='Jul 30 2008, 08:39 AM']Wow, she's either tiny, or your jubblies are quite high!? [/quote] It could be said my jubblies are of an elevated persuasion. Esepecially now when I'm around that particular singer

Before I danced, someone would probably need to complete a Risk Assessment and take out Public Liability insurance. In any case, I rarely play stages that are big enough. Most of the time I have a space about 1m x 1m between the percussionist and the drummer. On Saturday one of the singers swung her arm back too far and clouted me in the jubblies while we were playing. Luckily her aim was off.