7string

I've heard nothing but great things about Benaventes. I think he has something to do with Low End basses as well, but they're high quality J-basses in 4 to 8 string versions. Maybe with the Divinity brand he's letting himself loose !!

Very cool bass... You certainly don't see many of them around

Very cool Even has the Fender "push-back wire" connecting the pots.

Just one superb bass. No wonder you're so pleased with it. I watched a video interview with Roger Sadowsky recently and I think he said that all the NYC basses are chambered (someone please correct me if I remembered that incorrectly). Congrats again on a great acquisition....

Wow!! That's a great (and varied) bass armoury. Superb!! It's always good to have a burglar alarm though. Luckily, I have one of those as well

[quote name='4000' post='257766' date='Aug 8 2008, 08:17 AM']If it was a singlecut that's my Sei. It has Bare Knuckles and they sound very good. I think they'll wind to your preference; the bass wasn't built for me but I believe Alex asked them for something specific. Of course it also has a Demeter circuit and is a through neck with a maple and macassar ebony top, so it's difficult to say what the pickups would sound like without the circuit and in a Fender-type bass.[/quote] That sounds like the 33" scale "melt" Sei to me (will be embarrasing if I got this wrong )

I found that string spacing affected me more than the scale length. I've played basses with 32",33",34",35" scale lengths. The 35" Yamaha that I had was really difficult to play. It was only when I played another 35" scale that I realised it was the wide spacing that was doing the damage. I found 32" and 33" easier to play than a 34". However, the shorter scale felt funny when I went back to my regular 34" basses. A bit of a rambling answer, but I hope you get the idea !!

Alan has described the fretboard as "a challenge". It may have been a challenge, but the result speaks for itself. There can't be too many spalted, bookmatched, acrylicised fingerboards about

Here's the latest from the ACG workshop. Here's the fingerboard glued onto the neck and fretted with a large amount of fretwire.... This ERB is looking better and better with every update

I read the review of the Shuttle in Bass Player last month. They gave it the thumbs-up as well.

Very cool. Jon's take on the 'traditional' basses do look excellent

Heard great things about the P pickups. Presume the J's would be a good bet...

What a shame, it was a nice idea to get something "home-grown" though. [quote name='eude' post='250237' date='Jul 29 2008, 10:12 AM']Is it not possible to get New Zealand sourced woods shipped to one of the more reputable builders over here in the UK? Eude[/quote] When I was reading through the latest bits, that's was my first thought. Maybe some wood suppliers outside NZ (the USA or somewhere) would have NZ woods?? Keep up the good fight

Usually a set of Elites, but I do have some D'Addarios to try which I got when I was in the States. At $27.95 a set I had to buy them...

Does this that you're now known as the Clovered Avenger.... (OK, poor joke. I'll get me coat....)

Blimey. Didn't come from the Chicago Music Exchange by any chance did it?? What a store that it is !! Great to hear that this bass was bought to play and not as an investment which will just sit in it's case for the next decade

That's one very cool looking bass many congrats. Coming from The Gallery I bet the set-up is superb as well !! By the way, Henry Ford never said "any colour as long as it's black". Model T Fords were available in a range of colours, including blue and green (I definately watch too much QI ).

Great, a bubinga body. Just like the 'proper Warwick Thumb had back in the good old days! Never heard of bubinga with a maple top and back though (or maybe I should get out more). The green stringers are really different as well. I hope you get the funds together sooner rather than later, as I (for one) want to see this get built

Looks like it's going to be a superb bass Figured mahogany is definately different and there doesn't seem to be a lot of it about. I wanted something different on my up-and-coming ACG 9 string and I was as amazed as anyone else when I heard that you could not only get such wood but that it was spectacular as well.

[quote name='Scoop' post='247419' date='Jul 24 2008, 11:53 PM']I think it's fair to say that I'm officially enthused.[/quote] That's the most understated, excited line I've read for a while It does look very cool indeed.....

[b]tauzero[/b] - Can I ask a couple of questions ? How long have you been playing the 7 and how do the people at your open-mic night react to the big bass ??

Looks superb !!

Hey, [b]ARGH[/b] good to hear from you! How the latest build going? Do you think that more people would play ERB's if they just got on with playing instead of taking 20 minutes going "how am I going to play that?". ACG 9 No.2 has Hipshots Ultralites on it (I think No.1 did as well) so no problem there. I would have gone headless, but even though I've played those before, I don't really like the look anymore. I think the carbon helps to eliminate "dead spots" on the neck as well as helping to keep things straight. Hopefully, someone who knows a bit more can shine some light on this.

I think that in some ways, the bass guitar can be a difficult instrument to learn. If you learn a "classical" instrument, there's a set way of holding the instrument, a set way to learn, an accent on learning to read music well and a set of graded examinations. The problem is that there is no set way to teach bass guitar. Everyone holds it differently, everyone has a different technique and some players just don't have the need to read music. They'll either learn by ear or by playing along with someone else. There's a set way of learning music theory, but even then a player may still not have the need to read or write music. I can understand Jeff Berlin's appeal to players to learn to read and write music and how he's sees this as [b]the[/b] way for a player to learn. But that horse has long since bolted and there are too many bassists who don't want to go down that road. It's for these people that all the bass DVDs, camps, books and so on are aimed at. Jeff must know by now that there is no way that suddenly huge numbers of bassists are going to go back to school and learn to read & write music, especially when they don't see they have a need to. However, they may want to learn the latest techniques and so they go and buy the material to give them that information. Jeff clearly doesn't see validity in such material. I learned my music theory through playing violin for 10 years or so, but I've also bought books and DVDs of bass lessons. So which is best? Personally, my opinion is that there's a balance between knowing your theory and taking techniques from any place you can find. In 18 years of playing bass, I have only had to read music once and that was on a residential Open University course where I played some classical double bass in a concert (then took the bass to the bar and played as part of the house band for an evening!). If bassists want to learn more about reading/writing music then it's pretty easy to find out how it's done, but it should definately not be compulsory (as Jeff Berlin suggests). Only individual players can decide on the worth of information they can get from DVDs, camps and so on, but I think they have toreally think of the value of that information before they part with their hard-earned cash. Remember, there's no refunds available if you've bought material which is full of waffle and doesn't give you what you expected.....

Always exciting to get some progress pics. On the other hand, it makes the wait that little bit more painful