Kiwi

Ha, the one of Prince playing has been removed. Now THERE'S a surprise.

[quote name='cheddatom' post='96707' date='Nov 30 2007, 02:45 PM']Surely, if they can be sustained for any amount of time, they can be sustained forever? To be honest, I don't know all the physics surrounding the sustainer, but I thought you generated some sort of electro magnetic field which caused the strings to vibrate, so maybe for bass you'd need a strong field?[/quote] Well just have a go with an Ebow and see for yourself how successful it is with the lower strings. I'm no expert, that just what I've heard being said about the idea. I did wonder whether a super strong magnetic field might actually have the opposite effect beyond a certain mass of string? Magnetic choking was an issue with the neck pickups on MM Sabre basses. I've lusted after a sliding pickup arrangement for ages. For standard pickup designs it usually requires a whacking great trench to be taken out of the middle of the bass to let the pickup move. Unless someone can build a very flat profile (ie shallow) pickup, the only other way is to put a pickup on both sides of the string which is what happened with the Ovation etc. referred to earlier. I wonder if it could be achieved with an optical pickup though?

[quote name='cheddatom' post='96667' date='Nov 30 2007, 01:54 PM']I don't know of any sustainers aimed at bass, let alone passive ones.[/quote] In the past, the lower strings have too much mass to be sustained for a long time by a magnetic system.

MacDaddy's Shuker 6 is the burpiest I've tried in a LONG time.

For me, the sensitivity is going to be key. If the cabs are more than 100dB then I might be able to get away with one cab (HX410) rather than two.

I'd like to see an MM/J system developed where the output is the same, regardless of whether 1, 2 or 3 coils are selected. This is the major drawback of all the HS stingrays I've tried because it means I'd have to adjust the gain on the amp every time the pickup settings are changed. +1 on the sustainer Very cool for fretless, I can set up a mild feedback effect on my Pentabuzz if the amp is loud enough and that sustains and swells wonderfully.

[quote name='dood' post='96577' date='Nov 30 2007, 11:35 AM']Hartke have finally gone NEO.. Have my prayers finally been answered? If these cabs sound as good as the 4.5XL, I'll be needing to change my trousers. I LOVED my 4.5's ;o)[/quote] Me too - those cabs sounded pretty good in terms of their midrange and low end but my 4.5xl at 125lbs was a bugger to carry.

thinking s'more: MacDaddy's shuker 6 and my Jaydee was almost all mahogany and they were very growly

[quote name='Johngh' post='95856' date='Nov 28 2007, 10:36 PM']Well, in keeping with me changing my mind like the wind changes direction, I've ended up buying Angelboys Kingbass. So the S2 6er will have to wait until next year.[/quote] Is that the BC equivalent of a fart?

[quote name='Mr. Foxen' post='94355' date='Nov 26 2007, 12:19 AM']I'm thinking of starting up another project bass, based on a jazz body most likely, I'm looking for a real punch in the guts sort of sound, my last project was built to growl and sustain, which was pretty successful. So, what gives the punch? I've been told bolt on neck, light bridge and light body, and MM style pickup. Anything to add, experiences, details, philosophy and luthier voodoo, etc?[/quote] With that spec you might as well buy a Warwick Rockbass streamer basic. You might find it lacks a little warmth however. I'd suggest a stiff neck and soft body, make your own mind up about the woods.

[quote name='bass_ferret' post='95921' date='Nov 29 2007, 12:37 AM']Its the music that determines ones opinions not the number of strings.[/quote] +1 Couldn't agree more.

[quote name='dood' post='95396' date='Nov 27 2007, 11:13 PM']Lets nip this one in the bud shall we. I would very much like this thread to get back to a good discussion as suggested by the OP. Personal jibes, attacks etc that have nothing really to do with the subject are not necessary and I'm starting to get a little tired. Thanks, - no more warnings. Ooooh actually, I quite fancy dishing out some profile warnings to users as well.. see what takes my fancy. Chuck? What do you think?[/quote] Tscha! You you you. People on other forums might start to think I'm not in control any more.

[url="http://cgi.ebay.co.uk/Status-Groove-5-String-Bass-UK-Active_W0QQitemZ140183143083QQihZ004QQcategoryZ4713QQssPageNameZWDVWQQrdZ1QQcmdZViewItem"]http://cgi.ebay.co.uk/Status-Groove-5-Stri...1QQcmdZViewItem[/url] One of these was my first 5 string - superb bass. I just found the body shape wasn't to my taste.

[quote name='dood' post='95362' date='Nov 27 2007, 10:34 PM']Its not the beard that people should fear... Chuck Norris just popped in for a cuppa and has a full can of b*tchslap on the go.[/quote] Does he take sugar and milk with his bitchslap?

...blimey SJA that one came out of left field. And I thought we were doing so well with this thread too. C'mon people, lets chill out a bit and get back on topic - ERB. Else Dood will set his goatee beard on you.

[quote name='6stringbassist' post='95292' date='Nov 27 2007, 08:31 PM']This thread seems to have lost its way a bit, its gone from discussing ERB's (rather pointlessly IMO, seeing as they do exist, and they aren't going to go away, and if anything the popularity of them is increasing), to openly and rudely criticising someones music and ability to compose.[/quote] If you go back to the first post, I don't think its gone too far off track, [quote name='bilbo230763' post='85902' date='Nov 9 2007, 01:32 PM']OK - I get the five string thing. I can even see the point in the six (Anthony Jackson is soooooo musical). But what music are you people playing on 7, 8, 9 or 11 string basses? All I ever hear is sub-bass tractor noises and pseudo guitar noodling, all circus tricks and never anything I would call enjoyable music (and, trust me, I am not narrow minded about it) . I have been out playing and watching live music for three decades now and rarely even see anyone playing a 5-string, never mind a 6. But what and where are you guys with the 9 string basses playing? Or do they never get out of the bedrooms?[/quote] Looking at the bigger picture for a second, I think the variety of posts on this thread has probably given Bilbo as good an illustration of the state of affairs surrounding ERB as he's likely to find anywhere. Even though specific posts somes veer off the topic a little, the circuitous discussions are as big an indication as any that there some unresolved issues in regard to how these instruments are percieved.

ap'strophe police? I'm lucky in that I haven't had too many moments of regret over gear. Wish I'd had the money in 1987 to buy an early Musicman Cutlass 1 - one without the Cutlass "1" on the headstock logo. Very unusual - asking price was NZ$2399 even back then though. I had the opportunity to buy a Jaydee Supernatural Mark King in white, #0026 in 1989 once but turned it down because it was worn out and the guy selling it sounded like he needed a fix. I missed out on a couple of ebay auctions where stuff went for a song but I didn't bid because I couldn't justify spending the money on something I didn't really need.

[quote name='bilbo230763' post='94955' date='Nov 27 2007, 10:27 AM']I heard this track first in about 1980 and still drool every time I hear it! 'Shadows and Light' is, for me, one of the best live LPs of all time (for some readon, the best tracks are missing off the CD). The DVD has all of the tracks on it. Mitchell, Jaco, Pat Metheny, Lyle Mays, Michale Bracker and Don Alias - WHAT A BAND!! That took me to the 'Mingus' LP (yes, vinyl). Great bass from our man - lots of space, no overplaying and funky as a mofo! But both versions of 'The Dry Cleaner From Des Moines' (a Mingus composition with lyrics by Mitchell) are fantastic. Go listen on Amazon for a taster - you'll buy it, I guarantee!! [/quote] This is my favourite Jaco tune by a long long way. There's something magical about how he and Joni weave around one another.

a bassline didn't want me to become a bassist, it was a second choice after I had to give up drums for medical reasons. First complete top 40 bass line I ever learned was New Years Day by U2 coz we had a geek American guitarist at high school whose father lectured at the nearby uni and he wanted someone to play bass while he did The Edge impressions over the top.

Some good stuff going on here. It's great that people are sharing their views and exploring some ideas together.

Hi Gary, welcome

[quote name='bilbo230763' post='94633' date='Nov 26 2007, 04:55 PM']I understand that Keith Jarrett thinks any music over and above that of the solo performer will inevitably require compromise. I guess its is true in a way but I see music as a communal activity because, even if you are a solo performer, the moment the music is out there as sound, its beauty is in the ear of the beholder. There are now two people involved so the debate begins anew.[/quote] That's the point I was trying to make. Any artist who wants to be appreciated enters into a form of consensus [u]if they care[/u] about getting recognition. Where that point of balance between their vision and their tolerance of compromise is achieved is another question, however. Some artists don't need to compromise their vision and get recognised anyway, such as Banksy. But he must care about recognition or he wouldn't feel like putting his works in high profile locations. [quote name='bilbo230763' post='94633' date='Nov 26 2007, 04:55 PM']I think the role of the innovator is a lot easier to take a perspective on with hindsight. Remember Stanley Jordan - whatever happened to him? For every innovator who succeeds in moving the art form forward, there are 1,000s taking it up all sorts of blind alleys. Who is to say who is right, other than a concensus? I just think that the debate is more important than the outcome![/quote] This is interesting, because you're describing a process of natural selection to a certain degree. Survival of the fittest. But its also possible for musical performers to come back from the dead, The Police could be a good example of that although whether their music is still innovative is another question.

I like it, there's an elegant simplicity to it and there's no question about the quality of the materials used. The price is enough to make me break out in a sweat though. I wouldn't be able to sleep at night with all that dosh wrapped up in one instrument.