White Cloud

[quote name='Happy Jack' timestamp='1383909073' post='2270614'] [color=#000000][font=sans-serif]Psychotics are consistently inconsistent. The essence of sanity is to be inconsistently inconsistent.[/font][/color] [/quote] Very true! Your display of sanity is reassuring in this instance

[quote name='JazzBassfreak' timestamp='1383834804' post='2269766'] Yeah, oak is a lovely wood, very sturdy. I just hope it turns out the way I hope. I'm just thinking about the JPJ pickup config, I was hoping to get a set from emg with all the solderless bumph, but emailed them and they won't do it! Very helpful! [/quote] Just remember not to machine against the grain on the Oak or it may tear out...particularly when routing!

Some here will claim it wont change it at all...however the reality is that it will certainly change the tone. How much? Hard to say...the proof will be in the pudding.

Here is a great example of Percy Jones. It saddens me that a British bassist recorded this before Jaco's breakthrough on the Weather Report album "Heavy Weather" - yet went almost unnoticed. Its maybe a reasonable assumption that if Jaco had recorded this it would have been lauded as earth shattering. I think Percy is totally underrated and almost ignored by the main stream bass press in the UK. http://youtu.be/ZQYkBwfzHAc

[quote name='Happy Jack' timestamp='1383907204' post='2270575'] Not looking to start a fight about this, but my experience of graphite necks is that they sound like ... erm ... bass necks. I have Fender Precisions hanging next to a Status Artist GP and when you play them back to back there's no obvious change in tone. Not to my tired old ears anyway. The attractions are that they have a noticeably more punchy sound (especially on a Precision) and they never, ever move so you don't need to adjust your set-up as the seasons change. [/quote] Also without wishing to start a fight - you have contradicted yourself here. No have stated that you cannot here any obvious change in tone...but then assert that it provides a noticeably punchier sound! The extra punch is a change in the tone! IME with graphite necks they sound quite different from wood necks. It always surprises me when players on this forum assert that the material that a bass is made from does not influence the sound. That is illogical...but that's just my tuppence worth.

[quote name='Lord Sausage' timestamp='1383811441' post='2269286'] Today i was told by a wet behind the ears assistant MD (that's assistant to the MD) that fretless is no good in rocking songs. It's ok if you put chorus on it in chilled out tunes but not in rock. I've been playing as long as this guy has been alive. The guitarist left the room as he thought i was going to go nuclear. i had to bite my tongue as i didn't know if it had come from the MD. It hadn't. He even told the guitarist to try putting some pick scrapes into is playing. The guitar player has been the player for every big version of this show in th UK for 11 yrs. I think this kid thinks he is co MD not assistant to. Today should be interesting! Am i wrong? Am i being precious? or is it a naive, ill informed basic cliched thought? [/quote] Music is art...there are no rules.

[quote name='JazzBassfreak' timestamp='1383690363' post='2267844'] Thanks man, I've found some mahogany too, glued it all up today. It's a 3 piece neck mahogany being in the middle. I'm hoping you're right about the oak, I've heard bad things, but then a lot of positive things too. So to be honest i don't really know what to think /: either way with a JPJ config of EMGs it should sound killer ! [/quote] Well, I heard horror stories about Oak in guitar building...but also heard Chestnut being championed by the same people. As a furniture maker I knew that Oak & Chestnut are virtually identical...so I figured "whats the beef?" and went for it. I was spurred on when I saw a beautiful 1970's Alembic series 1 with Oak facings. My advice...go for it.

My all time favourite British bassist, the great Welsh fretless genius Percy Jones. Ground breaking, innovative, unique...even Jaco was blown away when he overheard Percy practicing! A word to the wise - seek the Brand X album "Masques" ...so many great examples of Percy playing his Wal fretless..."The ghost of mayfield lodge" in particular....

My first build (fretless bass) was a merranti core with oak front & rear facings...both unfashionable woods in guitar building terms.....it sounds Awesome. Good luck with the build...it will be a journey and the learning process will be priceless.

[quote name='XB26354' timestamp='1383601091' post='2266539'] Counterparts is a good album. They should remember what songs sound like. I've been distinctly underwhelmed by their recent output, and having bought every album on release since Exit... Stage Left I gave up after Snakes and Arrows, which has one decent song but is otherwise dull (I put it in occasionally and get bored after 1 or two songs, which never happens to me on the previous 20-odd releases). I didn't even bother with the last album. It's a shame because they have been one of the most interesting and varied bands in my lifetime, consistently good and even the weaker songs have good playing and some ideas of merit. It almost feels like they've run out of ideas. Alex Lifeson's layered guitar approach since Vapor Trails doesn't work for me and makes for tiring listening. And am I the only one that wishes Geddy would ditch the Jazz and play something more interesting? The Rick, Steinberger and Wal were such distinctive basses. Ironically though, I think the Jazz worked really well on Counterparts, so maybe it is the wall of guitars. Geddy commented that Alex is an exceptional chordal and arpeggio player and a lot of their song ideas sound like they come from his riffs. I think the layering, and the fact that they take months to make an album, has taken some of their spark and spontaneity away. [/quote] My sentiments exactly....totally agree with all points made here.

[quote name='molan' timestamp='1383446813' post='2264605'] First gig with my new band tonight and I'd been going round in circles a bit on what to use. A Celinder J Update got me the gig so that was a possible. I've also been playing my '63J quite a lot and, at the other end of the scale, a very cool 'stealth black' Sei headless 4 has had a lot of use recently because it's just stupidly easy to play. My 'big gig rig' of Aguilar DB750 and DB410 kinda fitted the bill for a rock gig In a fairly large venue and I had an option of my favourite lightweight Aggie SL112's or a MarkBass Mini CMD112P plus extension cab that I've been rehearsing with. In the end I decided to take out a 33.3" Ritter Cora, an Aguilar Tone Hammer 500 and a Bergantino AE210. The, totally vain, reason for choosing the Ritter was because we had agreed on stage clothes and I knew the Ritter would match my 'outfit', lol. Plus, of course, I knew it would sound good and the shorter scale makes it nice to play. The TH500 is very much reference head. It doesn't have the depth of the DB750 but it comes close and it's so much easier to lug around. The Berg AE210 was the hardest choice. I'd kinda fallen out of love with it recently but the size, weight, tone combination seemed right for this gig. I was pretty happy with what I was hearing on stage but was even happier at the end of the gig. Turned out there was serious live sound engineer in the audience plus a very good guitarist who used to play with our singer. The live sound guy came up to talk to me after the gig and said couldn't believe the depth of bass coming from the little Berg cab and was amazed to hear that there was virtually no bass in the FOH. The guitarist then really quizzed me about the bass and rig because he said it sounded 'just right' in the live mix. Plenty of depth with lots of clarity and note definition (which worried me because I know I hit a few bum notes, lol). He claimed it was different league to his regular bass player in terms of pure tone and that he'd try to find a way to get his guy to think about some new gear. Both of them commented on how cool the Ritter looked too - they said they'd not seen anything quite like it before It's nice when a plan comes together. . . [/quote] As a player that doesn't get excited about gear or technicalities most of your text is absolute gobbledegook to me. ...but I'm glad you got the result you wanted!

This subject is entirely subjective...............

[quote name='thepurpleblob' timestamp='1383390262' post='2263899'] I keep thinking "I'm a five string player" and then the next year something (e.g. the band) changes and it's "I'm a four string player". I've always played both more-or-less interchangeably; I've never been sure what side of the fence I sit. Anyway, it's always an excuse to get new stuff if you change your mind. [/quote] I would not limit myself by ever having the frame of mind that "I am a 4 string player" or "I am a 5 string player". Why limit your options? I am a bass player. The instrument that I decide to use is the tool that I have decided to deploy for the musical situation I am involved in.

Have you any experience of guitar building?

[quote name='Skol303' timestamp='1383304289' post='2262816'] I've finally come to the conclusion that I'm a 5-string player. I bought a second hand 5-er (Peavey Cirrus BXP) last year - having played 5's a long time ago - and have barely picked up either of my two 4-strings since. I just love having a low B in my life. I'm now tempted to make some room at home by selling off my 4's. No real money to be made in doing so - I'm just feeling all very Feng Shui at the moment and not sure I need to keep them, given I rarely play them. Am I being hasty? Has anyone else here switched from 4 to 5 strings and regretted clearing out their old 4's? Should I keep one, just in case, or take the plunge? Yeah I know... this is one of those threads where I'm really just thinking out loud. I might as well be asking what colour I should decorate our bathroom in. But go on, humor me [/quote] I cleared all of my 4's out after having the same experience as you when I switched to 5's. I did regret it and eventually bought a couple of 4's again. I now use both 4 & 5 stringers live.

[quote name='erisu' timestamp='1383308072' post='2262897'] I once owned a Corvette many moons ago, tone was thick and very growly! The neck wasn't thin but it wasn't chunky for me, but it did feel very, very nice! I'm now thinking of looking for Warwick alternatives! Anyone know of any similar sounding basses? I'm specifically looking for that growly tone that the Wicks produce Probably go custom from a luthier using exotic body woods will maybe work out the same as a standard mass production bass? [/quote] May sound a bit left field but the mid to high end Ibanez SR's feel really tactile in a Warwick kind of way imho. They also have a bit of the woody growl.

I'm a big fan. Also considered Frank to be one of the best of a generation of British talent. Awesome guitarist too.

That is really nice...thanks for sharing.

One mans madness is another's sanity. Instead of playing with yourself go and play with others....you know it makes sense!

It's normal. The question is....what band are you listening to Marcus? I sense GAS.

Breathtaking woodworking! Wow.

This sort of thread isn't my usual fare...but what the hell! If money was no object it would have to be a custom Carl Thompson scroll made by the man himself.

[quote name='Dingus' timestamp='1382791697' post='2256596'] I think Rotosound are great-sounding strings , but it's just everything else that goes with them that puts me off . The actual tone fresh out of the packet is fabulous , but ... we all know it doesn't last long enough and the fret wear is frightening . I used to like Elites Stadium Series , but I'm sure that they aren't the same as they used to be because they seem to die off much quicker and don't sound as good as they used to . Back in the 1990's they used to last for ages and sound great, but now they sound so-so and die off quickly. [/quote] I have found this to be very accurate from my experience too.