Wolverinebass

From playing one of them, I wouldn't even pay £100 quid for one. Awful, awful basses.

I tend to agree with Doctor J. If you really want a good non-reverse Thunderbird, get a Cataldo. Reasonably pricey, but they look (and sound) very good. Plus you know that they're not filled with second rate pots and need a new nut or whatever. I'm pretty sure that there's a gent who's posted a thread in build diaries about his Cataldo being built. Might be worth investigating.

I'm doing 2 bands at the moment and I'm alternating between all 4 basses in my sig. In one I'm exclusively using the 8 string and the Hamer Chaparral with the odd toe into 4 string if the song needs it or it's impossible to play with those 2 for generalistic sound reasons. That project is kind of progressive rock with some electronica twists. In the other, I'm alternating between the buzzard and my alembic. Since the material sounds somewhat like Cream or Live at Leeds I need to be able to use the fluidity that a 4 string offers for the "random jam" sections rather than the out and out brutality and harmonic denseness of the 8 or the 12. I do have a 5th bass which I don't play. It's a white Fenix by Young Chang with a soapbar in the musicman position which is the only passive instrument I own or ever will own. It's what I learned on and it's a stupidly short scale bass with 24 frets. I think it's about a 28 inch scale. Some may argue it's "Japcrap" (or "korean crap" if one were to split hairs) but it does hold some sentimental value for me. On the other hand I doubt I'd get that much for it if I ever tried to flog it.

Finally proof that guitarists are not 10 a penny. They're 7/8ths of a penny.

Without meaning to get a cheap laugh, when I read the list of stuff, when it said "military rations" and "survival gear" where was the gig? Chechnya?

I'm crying with laughter at this. It's kind of true, but I've never felt the need to jump about onstage. I'm mainly afraid if I did so I might have someone's eye out with the buzzard's headstock....

Thanks for the replies chaps. I fancy trying one as I like the sound. The one I tried was a mate's and it was from the early 80's I think and was passive. I'm not up for a "trophy" bass, just something that sounds a bit different to what I've got. Had you all said that it'd sound distinctly similar to an Alembic based on experience I wouldn't bother as I don't have 2 instruments that sound the same. I don't see the point. I'm not sure if as you say Chris b, the feel of them (or any instrument) to play is irrelevant. I wouldn't buy a Rickenbacker because I found the few I've tried to have insanely wide necks and it just put me off. Naturally of course I know what you mean though. If you want a specific sound, you just adapt your playing style a bit. I've had to do that when switching from 4 string to 8 string a bit, but not much. 12 string took a very different approach entirely. On the other hand it wasn't like they were insanely difficult to play in the first place. Depends what you want I suppose. It was merely a thought from myself and it's worth saying that I said maybe getting something for my 40th. That's not for another 7 years. Maybe I might be able to afford something decent by then!! Ha!! You are certainly right though Chris b I need to try a couple to think about it. I've only got almost a decade.... Thanks again chaps.

For those of you that have played both, is this an apples and oranges comparison? I've only played a very old Wal which was passive, so I hated it. However, what I'm asking is, how comparable are they? Both have filter circuits of some description, 24 frets generally and are active. I must admit to really wanting to try a newish MkII Wal (with a view to maybe treating myself at some far off juncture - possibly my 40th) and see how it sounds in comparison to my Stanley Clarke. More bite? More versatile EQ? Wide neck? Wal's website has absolutely no info on say nut width, neck radius, stuff that I could at least say when I read it "ooh, that's going to be chunky" or not as the case may be. What I mean is I appreciate it's a custom shop per se, but for a standard model, what's standard? The lack of price list does concern me a bit. Whilst for example Fodera are stupidly expensive at least they say how much their basses actually are. So, opinions chaps on what you think the plus/minus points are in comparison for Alembics or Wals. All info gratefully received.

[quote name='Machines' timestamp='1179590018' post='2324'] Personally I think it's too many when you have 2 basses that sound the same. [/quote] This is exactly what I think. What's the point of duplication? That's why all the basses in my sig don't sound anything like each other.

[quote name='fretmeister' timestamp='1334159566' post='1611821'] Wooly mess? What cab were you using? I find my LH500 to be wonderfully clear! [/quote] I was using my own cabs as in my sig which I tend to run with the tweeters full on. I used it with my Buzzard and Hamer 12 string. The amp was a total pile of poop. I couldn't get anything detailed or usable out of it at all. Now consider what I've just said. The Buzzard could well be described as being "lean bottomed" in terms of sound. It's probably the most brutal 4 string bass I've ever played. I might have been playing in a sludge band. I couldn't get rid of the 60Hz and 250Hz crap. I then tried the Hamer which is so amazingly brutal you could level buildings with it. Well even that got turned into mush. On each occasion when I tried to sort it out it literally went scooped and very, very wiry. I wondered if it was just me and went to my mate's rehearsals. He was using an 8 string with a couple of ampeg cabs. It was actually even worse. I don't know why anyone would ever use them (aside from them being cheap) especially if you want articulation. If you want a passive type Motown sound, this is your beast as it has amazing headroom. For me though, I just didn't like it.

This is just getting stupid. Dean Guitars..... STOP. IT. This has totally got out of control here. If you want an Entwistle type bass you can either get an Alembic Spyder 2nd hand (or seriously mod an exploiter), sell your house and try and get a 2nd hand Status Buzzard (not the Warwick version as it's pants) or if you're more of the "non-reverse Thunderbird" bod get one from Cataldo Basses. I don't think that John ever would have played something like this. Maybe he'll be "the new Dimebag" and will have ludicrous amounts of basses passed off as "what he would have wanted" even though he's been dead for almost a decade. On the other hand, whilst those at Status were right royally screwed over by the Warwick thing, it's not like they're not making tons trotting out a new Kingbass every year with supernaturally minimal tweaks. That's not to say that I don't like Kingbasses, I just wonder why do they need 8 different models when all the options are available anyway? They never ever replaced the buzzard with anything at all which is a pity. I remember talking to Rob Green and he said it was something he wanted to do. That was 4 years ago. I doubt it'll ever happen. It is exploitation of the basest (pardon the pun) possible order. Dean should be ashamed.

This would be great. I'd certainly like to meet some of the people without their avatars!!

I must admit I hated the LH series heads. I had a shot of one of my mates LH1000 and just thought it turned everything into a wooly mess. Selling an amp as powerful as that with no "flat" setting? Er, no. Which is why I'm so glad I didn't wait the 4 years for the Kilo as it's got that same FMV tonestack in it which can't be defeated. Come on!! Sort it out Larry!!

I would imagine it would have to be the Warwick Hellborg rig. Whilst I thought it was great when I tried one, it's just so stupidly expensive as to defy belief. £1300 just for the preamp?!! Okay, I'd possibly pay that to get the Fractal Axe stuff as that really is all singing/all dancing stuff and depending on your viewpoint possibly worth it more than just a single amp/preamp.

After what seemed like eons looking unsuccessfully for a new band (and then not looking for about 6 months) I've finally had some luck. I took stock of how I played and realised that there would never be a one stop shop for all the things I want to do. My playing has become more schizophrenic over the years and I've noticed I can really only play in 2 ways. Full on rampage up and down the neck a la John Entwistle and more grungy type playing which is a bit simpler. They're not compatible mindsets to have in the same band. Hence some of the problems I was having as I couldn't decide which side to go on. Then after 6 months of practising my technique, I wondered why can I not have both in different bands? Why I didn't think of this before I don't know..... So a few weeks ago I answered an ad on Gumtree for a power trio. The musicians are really good and I'm getting carte blanche to basically do what I want. The stuff sounds a bit like Cream and I'm loving it. It's very 70's and I suppose since I taught myself to play with Quadrophenia, it's pretty much my thing. Okay, so it's not going to be a trio now as we're auditioning singers next week, but the fact is I'm having so much fun with it I expect to wake up at any second. At the same time, I've been in contact with an old guitarist mate of mine who is a mutual fan of King's X so it's 12 and 8 string basses all the way for that. Totally brutal bass sounds and some progressive twists. Meh, Meh, Meh!! Obviously this state of being happy about stuff will only last so long, but it's taken such a long time for me to get here after my last band kind of stopped, I'm just going to be grateful it's even come along at all.

I never compromise. If the band or the people aren't right, then I know that over a period of time it'll gradually wear me down and since my heart won't really be in it, I won't play as well as I can. I'm never, ever going to do covers as it's just not interesting to me. For me the fun is writing something new and then seeing what folk think of it at a gig. If I was being paid to play (and I have been on occasion) I'm more than happy to be bored for cold, hard cash. However, as my primary focus is and always will be originals, I'm really only bothering about the situation. Which is to say, are the people okay? Do I like the material? How much freedom am I going to get to do something interesting? If the answer to any of those questions elicit a chin stroking motion and me thinking "hmmm," I'm out of there. As much as I love gigging, I'd never take a soul crushing gig just so I could play unless I really needed the money and the opportunity was there. I'd rather write stuff at home.

Really depends what you want. I've never understood how Alembic don't sell their circuits seperately. On the other hand, to charge thousands for a preamp for a bass is somewhat taking the mick. I love my Stanley Clarke, but it's not without it's issues. It doesn't balance for one and totally neck dives. Funny, considering it's a short scale. The filter system can seriously put folk off. I tried a couple of Series II's and whilst I thought they were great, I couldn't say I felt they were worth £12K or so. On the other hand that's subjective. If you've tried a few and not thought "that's what I want!!" then it's not worth it to you. Lots of people gas for whatever bass or amp and then once they get it realise it wasn't the all singing/all dancing astronaut that they wanted but a monkey that had been put in a suit and strategically shaved. It's a lot of cash to shell out and not be happy. You probably want to look at something else.....

[quote name='Hobbayne' timestamp='1330275604' post='1555013'] I just play the main guitar riff on the bass, that fills it out a bit more than Bills original line. [/quote] Well quite. But it's worth noting that Bill Wyman doesn't play on JJF. Keith Richards is playing bass on it. The joke being that he nicked the idea Wyman was working on (which was the chorus part if I'm right) and then played the bass on it himself just to add insult to the lack of songwriting credit.... Yeah, just play the guitar line. Usually works.

They probably sound awful like most of the other Marshall cabs. Hence the cheap price.

If it's 500W at 4 ohms, it'll be somewhere about 330 - 350W at 8 ohms.

[quote name='Bilbo' timestamp='1332247029' post='1585427'] I am glad I am not the only one who thinks Alembics are designed by blind guys. Their custome jobs are almost universally gross. I think there are a couple of old Series 1 and 2 basses that I would play and the Stan Clarke model is not too bad but some of them.... Have a look at this freak show.... [url="http://www.alembic.com/info/fcvault.html"]http://www.alembic.c...fo/fcvault.html[/url] [/quote] I agree with this completely. I think that from my own experience, my own Stanley Clarke, just doesn't balance. Neck dives like a whale. I find this most curious as it's a short scale and is fantastic to play. Whether or not you like the sound is another point entirely though. Some of those other Alembics are frankly sick inducing. For the bod that thought "12 strings are just for the novelty of playing Jeremy by Pearl Jam" you obviously have never heard of either King's X or Cheap Trick. I appreciate that it's not everybody's cup of tea, but to say that the use of a bass is literally for only one song is beyond funny. It did make me laugh.

Okay then, here we go. Rickenbackers - awful Fenders - awful with the notable exception of the Stu Hamm basses Front mounted LED's. (notice I say front mounted? My Buzzard has side LED's. Hope that's not too much hypocrisy....) Hofner Violin basses - Does anyone really think that Paul McCartney's instrument choice should be copied? Singlecut basses - Why?!! Insane stringed basses like that twonk higher up this page - how much does your string sets cost?!! Most Warwicks for their studpidly wide neck profile Fretless basses - You're never going to sound like Jaco, so don't bother and let's face it Pino Palladino was always the idiot who left his hat at someone's home... Gibson - 3 point bridge? Just STOP IT!! Plus the Thunderbirds are truly awful Foderas - How much?!! Really?!! Although I thought I'd never say it, Status basses. Just stop releasing endless Kingbass sequels with ludicrously minor tweaks. You don't need to sell 8 different versions with such a vast variety of options available. Until they do another all graphite bass with an upper wing you can rest your arm on, I've lost all interest.

[quote name='charic' timestamp='1331647314' post='1576487'] Fair enough Would you like BC members to start saving their egg boxes for you? [/quote] Ha!! If members of BC that are bricklayers had offered to help me out it might have saved me a bit!! However, a mate of mine is giving me a whole load of acoustic tiles for nothing. Naturally this is on the proviso that his band can record their new ep round at my house and he's going to help me out with my own stuff. Until I know how the room sounds, I'm going to leave off treating it for a few weeks after it's done. However, if some members of BC want to pop round when it's all done for a visit or to do a quick bit of recording - I accept cash!!

[quote name='charic' timestamp='1331646647' post='1576471'] Is the number just a difference in the thickness? Why different between the two? [/quote] It's very simple. The celing in comparison to the walls is like paper. So therefore I used RW3 in there as it's heavier and denser than what I'm using for the walls. Basically 100mm thick and it's 60kg/m3. See below. [url="http://buildingmaterials.co.uk/Rockwool-Insulation/Rockwool-RW3/p~402~048_101_002-Rockwool-RW3-Acoustic-Slab-60kg_m3-1200-x-600-x-100mm-4-or-2.88m.html"]http://buildingmaterials.co.uk/Rockwool-Insulation/Rockwool-RW3/p~402~048_101_002-Rockwool-RW3-Acoustic-Slab-60kg_m3-1200-x-600-x-100mm-4-or-2.88m.html[/url] The walls are already double skinned. So, they're already about 8 inches thick anyway. Hence, they will already have some form of sound insulation just because of that. So I used this stuff. 75mm thick and 45kg/m3. [url="http://buildingmaterials.co.uk/Rockwool-Insulation/Rockwool-RWA45/p~412~048_105_004-Rockwool-RWA45-Acoustic-Slab-45kg_m3-1200-x-600-x-75mm-6-or-4.32m.html"]http://buildingmaterials.co.uk/Rockwool-Insulation/Rockwool-RWA45/p~412~048_105_004-Rockwool-RWA45-Acoustic-Slab-45kg_m3-1200-x-600-x-75mm-6-or-4.32m.html[/url] Whatever is left over from all this, I'm going to use for bass traps.

Anyways we crack on. Had the fun of getting a metric tonne of acoustic plasterboard and rockwool delivered on Friday. After paying one of the neighbours 20 quid to give me a hand we moved it all round the back. Have torn my hands up something rotten so no playing for a week or so. However, now for a quick photo. [attachment=102402:IMAG0127.jpg] Most of the walls and ceiling are now stuffed with either RW3 for the ceilings or RWA45 for the walls. It's not the best photo and it doesn't show that the walls are non-parallel either, but you get the general idea. I would imagine by the end of the week the plasterboard would be up. Will keep you all posted.