Dingus

I have played whilst sick with flu and had a blinder , and done shows where everything was perfect before hand and I am totally relaxed and then had a nightmare . There is no rhyme or reason for good nights and bad nights. I'm an unusually inconsistant player , though . On my good nights I'm great( well , pretty good anyway) and on my bad nights I'm t[u]errible[/u].

I listened to this album last night for thr first time in ages. It's bloody brilliant ! Tonight I may well dig out my copy of Jack Johnson .

[quote name='Graham' timestamp='1380642983' post='2228349'] I remember feeling sorry for the rest of the band when Watkins was arrested as it's basically killed the rest of their careers, I wouldn't have thought a band made up of former Lost Prophets members is going to have much sucess. [/quote] [quote name='Musicman20' timestamp='1380704110' post='2229079'] My thoughts exactly. I knew as soon as he was arrested, they were over. Mind you, it would have obviously been a lot better to not have this outcome, but they have had a long run at it. I was roughly 17 when they first came out, (I think!). I'm now 32. [/quote] I feel very sorry for the other guys in the band, too, and the whole experience must have been a terrible shock in all kinds of ways . The fact that it has also wrecked their fantastic careers in music so far seems terribly unfair to me . Whatever comes to light in this case and whatever the eventual verdict in court ( and let's [u]never[/u] forget the maxim of innocent until proven guilty up until that moment ), these fellows have got nothing to do with what may have happened . I sincerely hope that, despite the kind of highly charged emotions that always( quite understandably ) surround these kind of cases. that the wider public would have the good sense to realise that the other members of the band are not associated with whatever may have ocurred and that their own reputation would be untainted. I think it would be great if these fellows formed a new band together, and my gut feeling is that they would face no prejudice if they did so, although maybe that is being slightly naive on my part. The last thing in the world they should do is hide themselves away and act like they have anything to feel ashamed about . Lost Prophets were never my taste in music, but I really feel for the remaining band members and I wish them well .

I love this album too . It's such a great - sounding recording for a start, as anyone who has experienced the pleasure of hearing it on a good system will attest to . I think the music on this L.P is so captivating because it is at once more accessible to a rock audience than most post-bebop jazz up to that point because of its' overall attitude and instrumentation , but it is unfamiliar and esoteric at the same time due to Miles Davis ' uncompromising obtuseness and steadfast refusal to dumb down the music in any way . He may have made a crossover album , but he certainly had no intention of selling out his jazz credentials to do so.

Lutherie encompasses specialist carpentry skills, along with various skills . Saying that a luthier is just a carpenter is akin to saying that a surgeon is just a butcher. More luthiers would use machines to help them in their work if they could afford the machinery, but most can't so do the work by hand .

[quote name='Conan' timestamp='1380637299' post='2228239'] Really? Widely regarded as one of the best basses Fender ever made. I love 'em. Anyway - back OT... [/quote] I know a lot of folks like them , but the neck is way too skinny for me , and the fake blocks and binding irritate me. Not that keen on the pickups, either. I think the uber skinny neck affects sound quite a bit , too , in all probability. To my ears, there's a slightly nasal upper -mid emphasis that is out of keeping with what a real 72 Jazz sounds like. I would much rather Fender had made a production model of this bass that cost more but was much closer to the original bass that Geddy bought i.e not Custom Shop , but not a cheap imitation , either.

[quote name='Gamble' timestamp='1380575312' post='2227454'] Luke - the one I've found is prettier! Warwickhunt - Thanks again for the details, if it's there in a few weeks I might try and low-ball them. It really is very nice...... [/quote] [quote name='warwickhunt' timestamp='1380575464' post='2227455'] Low-ball is the way to go but you need to develop the ability to walk away if they don't accept... and do it in person with a face that means it! Good luck! [/quote] If the bass is in a shop, go in at a quiet time of day with the cash in your pocket that is the maximum you are prepared to spend, , explain that you like the bass but that you can pick up a comparable one elsewhere cheaper and see what the best price they will offer is . And like Warwick says, be prepared to walk away. There is [u]always [/u]another fantastic bass and another bargain to be had elsewhere if you have got money to spend.

[quote name='Lorne' timestamp='1380636979' post='2228231'] I completely agree with Shockwave, and I will name and shame I gave Chris Eccleshall my B.C.Rich Widow bass to remove 3 pots, add a rosewood headstock overlay, bind the body inlay the fretboard and headstock with inlays I provided,respray it completely in black, all work was painstakingly explained and he took notes. MANY MANY phone calls in between (All from my end), I finally get the "It's finished" call 2 YEARS later. I arrive, he's set is up all lovely on a stand at the end of a corridor, from 20 ft away I say "Oh for F***'s sake!" , What's wrong is the reply, "The inlays are opposing triangles, the points of which are supposed to touch in the middle of the fretboard, NONE of them do, and they get further apart towards the body" Of course, I am wrong, then I get close to the bass, "where's the serial number gone from the end of the fretboard?" What serial number? I didn't see one I made him stamp it back on, there and then. the headstock overlay was 2 peices of rosewood, the binding wasn't great, and it was 2 different colours of black!!!! But, under the threat of me killing him, I gave him a second chance with my USA B.C.Rich Ironbird, which I had with me, he was NOT to respray it, get someone else to do it, remove the fretboard, replace the trussrod (DO NOT LOSE THE SERIAL NUMBER) get it working, then strip the paint and send it away for a respray. All to be done within a year! After 3 YEARS of me phoning and asking, "How much has been done" and getting the predictable, I haven't done much, I asked "SPECIFICALLY, what have you done in the 2 months since my last phone call" NOTHING "Right, find all the bits. I'll pick it up" Ok, when "NOW" Got the bass back, all that had happened is the hardware removed, the electrics and one of the pick ups, absolutely NO work actually done to it. I gave it to Tom Anderson and told him to just get it working 12 HOURS later, the fretboard is OFF, broken truss rod removed and a new one to be custom made, ordered. although the respray was dropped from the list of work for now, Tom Anderson had the bass completely fixed and working in 3 weeks and 1 day, now, that is what I call service, he had told me 4 weeks to 6 weeks. I will never use Chris Eccleshall again, which is a shame as he is such a nice guy, just useless [/quote] That is the guitar making business in a nutshell . Most of the people involved are nice enough, some are very skilled at what they do . , but most are bleedin' useless at organisng themselves and running an efficient business! As I've said on these pages before, it's not the kind of endevour that attracts hard-headed go-getters.

[quote name='Conan' timestamp='1380636196' post='2228217'] [url="http://www.fender.com/en-GB/custom-shop/series/limited-edition/limited-geddy-lee-1972-jazz-bass-maple-fingerboard-black/"]http://www.fender.co...gerboard-black/[/url] [/quote] I was looking at these when they came out . I'm sure they are great, but I wouldn't buy one myself for numerous reasons. Needless to say that if you do buy one , when the novelty wears off, it will sound like a Fender Jazz Bass . ( I wouldn't buy the cheaper version either ) .

[quote name='xilddx' timestamp='1380617433' post='2227776'] Seems to me a custom bass is simply a vanity indulgence for most people, their time and money would be better spent on learning how to set up their instruments, learn about sound and eq. I think half the problems they think they are addressing with a custom bass could be solved more simply if it's not just a vanity project. Probably should get some lessons on how to play the thing too [/quote] In essence , I agree with what you are saying here in a lot of ways , especially the bit about spending less money on equipment and more on learning how to play. Lets just be clear ,though, there is no way the O.P or anyone else should be "punished "for ordering a custom bass because it doesn't fit in with some other folks prescibed idea of what a bass should or shouldn't be and how or how not you should choose and buy a bass. . I'm sure we all agree, whatever our own preferences or opinions on basses, that people should get what they have paid for and that the goods should meet their reasonable expectations . Also , are we all on the same wavelenghth when we say "custom bass"? I think some folks mean any high-end predominantly handmade bass whereas others are referring more to individualistic, one-off designs with a degree of customisation on them . And so , in light of that, I would be interested to know if other people think it is wrong or ill-advised to buy superior quality, higher cost versions of established designs. Myself, I think it's a much better idea than designing your own bass in the vast majority of cases, but at the same time , I have to be honest and say that, slinky playability and good looks aside, the final sound that comes out of a boutique Fender-style bass that costs three grand isn't that different to what you get from one that costs eleven hundred quid ( or less) brand new from the factory that you can try before you buy in a shop. I have spent [u]a lot [/u]of money comiing to that conclusion though, and it certainly isn't a standpoint that comes from any sense of resentment or envy about what I can't afford . In line with what Nigel has said , I have realised that a lot of the time, buying fancy basses and focusing on equipment is a diversion from the far more difficult task of learning how to play properly , and players who can play well will make any bass sound better that a player who is less capable. Improving yours skills on the bass improves the sound of your equipment.

I honestly believe that 99% of players ( myself included) could be perfectly well-served by a decent quality off the shelf, mass-produced bass. From my own experience, the difference between a good mass produced bass and a custom built job in terms of the usefullness of the final product is often minimal . I'm not saying this to be inflamatory or provocative , but a good Fender Jazz Bass, for example, will do just the same job for you as a custom -made Celinder or Alleeva Coppolo or whatever, and you can have just as much fun playing it . Of course lots of high end basses have their own strengths and are great instruments to own and use , but a whole industry has grown up around the questionable idea that ditching one perfectly good bass for a subjectively better one will make you a more satisfied player and therefore a happier person . Listen to some of the bass comparisons that crop up on Basschat every so often and there is no automatic direct correlation between top priced boutique basses and the best overall sound . There are players out there who have discovered that their own individual style does actually neccessitate a custom -made instrument , but they are few and far between .

[quote name='tauzero' timestamp='1380550983' post='2226913'] Surely you're not saying that the Peavey Grind is a niche instrument? Just because Fender don't do neck-throughs doesn't mean that they're not commonplace. [/quote] [quote name='jaydentaku' timestamp='1380552005' post='2226942'] Neck through is hardly niche and as for single cuts being of no use after the 12th fret? [/quote] Neck through certainly is a niche market in comparison to the period from the late 1970's to the early 1990's when the trend in basses was for them to take advantage of whatever structural and technological "advancements" that had been made since the late Sixties by pioneering builders such as Alembic . Neck throughs are far less common nowadays than they once were , and that whole approach to bass building and the sound and design aesthetic associated with it is very out of fashion for the mass market . Just look at how many boutique bass builders who previously championed neck through have added bolt-on neck basses to their product lines in the last twenty years to try and retain some market appeal .

[quote name='4000' timestamp='1380543640' post='2226737'] I agree that the old shapes had some issues; the Small Standard shape (SCs) tends to balance poorly and the Standard shape tends to be very heavy with the first fret being a fair old stretch for some, although I love the aesthetics of both. The Balance K is a lovely rationalisation and if I could ever afford another that's probably what I'd go for. In my opinion the best Alembics have an Art Nouveau quality that I really love, but which I appreciate is possibly too ornate for some. [/quote] The Art Nouveau observation is a good one . The unique aestheitic of those original Alembic basses is like a fusion of that style with that of the less well known movement known a American Arts And Crafts. It's very prevailant in the furniture and structural woodworking in a lot of older homes in Northern California where Alembic was conceived , and I cannot help but think it must have influenced their overall design aestheitic.

I've had numerous custom builds and special order basses done for me over the years , and all of them were, on the whole, overwhelmingly positive experiences in terms of the honesty and good intentions of the builders. However, I have learnt to take most projected delivery dates from smaller builders with a pinch of salt , as in practise they seldom are finished on time . The waiting for pickups/hardware from a third party excuse is [i]very [/i]common .( To be perfectly honest with you , I take most manufacturers claims for the superlative quality of their work with a pinch of salt, too , but that is probably a topic for another thread. ) The thing is , though , that custom bass building is not , on the whole, the kind of activity that attracts the most organised and hard-headed of businessmen, and I am sure a lot of these guys have the best of intentions but are out of their depth in trying to organise themselves , their resources and their time to meet their obligations to the customer. When you visit them in person , a lot of big- name custom bass builders are basically very modest cottage industries trying to subsist by doing what they love. I am not trying to excuse anybody who has behaved irresponsibly or dishonestly , but I cannot think that a lot of these " rogue" builders are in fact just hapless rather than malicious or conniving in any way to do people out of their money . What is for certain , however, is that if as a builder you take someone's money then you are morally obligated to honour that contract .

[quote name='BigRedX' timestamp='1380543200' post='2226726'] But a lot of the "modern" single cuts have a lot more in common with the Telecaster shape than the stereotypical Fodera type single-cut shape. Even what is considered to be a modern signal cut comes in a wider variety of shapes from the Warwick to the Ritter, with many others in-between. [/quote] I agree. Even construction techniques such as neck -thru-body that were extremely fashionable and commonplace thirty years ago , and generally thought to be superior at that time , are now a niche design , but it will always be around as a way of building that is the most appropriate for certain basses and a certain kind of sound . I don't doubt that certain singlecut basses are terriffic instruments that are aided in no small measure by virtue of that singlecut construction . As ever though, a lot of companies and custom builders just jumping on the bandwagon trying to exploit the trend , and inevitably , the final in terms of basses results will be mixed .

I love Alembic basses , but I find the more recent designs much more comfortable to play that the classic ones such the full-sized Series basses and the S.C which I grew up fantasising about, but soon found out didn't suit me at all when I was eventually able to buy them . The new Balance K Omega body shape looks exquisite though, and has reignited my Alembic lust . It's more compact, better balanced and lighter , too , so a big improvement all round in those respects.

[quote name='BigRedX' timestamp='1380480908' post='2225979'] And the OP isn't a bit of a troll post in the first place? All I was trying to do was to point out that single cut basses come in a wide variety of styles (just like double cuts) and whether or not you find a particular bass attractive looking is entirely down to personal taste. [/quote] For the sake of clarity , maybe we should draw a distinction between the single cutaway body shape , such as the Les Paul, Telecaster[i] et al[/i] , and singlecut construction such as that used on these modern basses , because the two really have bugger all to do with each other . The singlecut is essentially a double cut bass with one of the cuts left undone, if you see what I mean.

If the bass is a private sale then £2000 is a lot to pay for a bass like you desctribe . If it's in a shop at that price then they are asking the top end of what the bass is worth , but that's usually par for the course, and in either instance there should be some room for negotiation . The slimmer neck was standard on Warwicks back in those days , the L.E.Ds will have been a custom option , and the Bartolinis may or may not be the original factory-supplied pickups. From what I remember , EMG's were standard in those days , but certain special basses were fitted with Bartolinis like the Streamer Srage 2 . The man to talk to is Basschat's own Warwick Hunt , and hopefully he will be along shortly to share his knowledge of both the market for and history of these basses. I seem to remember that Warwick basses from this era often need their truss rod replacing as a retro-fit. It's not a particulaly big deal ( I think the old one just screws out) , but if you are thinking about buying this bass for that kind of money then you should look into whether it is an issue with this particular bass. The bottom line is that if you have got two grand in cash then you should be able to pick up a pretty spectacular used Warwick bass and still have some change left over .

[quote name='Lozz196' timestamp='1380382334' post='2224564'] Welcome to the forum. If weight isn`t an issue, a Peavey TVX 410 would be in budget of you can find one. Peavey make gear that is virtually indestructible and the added bonus is that these cabs sound great. But they are big/awkward/heavy. [/quote] A big +1 on the Peavey 4x 10 cab recommendation . They are built to last , sound fantastic and go plenty loud . I used to use one with a Trace Elliot amp and it was a great combination .

[quote name='White Cloud' timestamp='1380386738' post='2224633'] Absolutely correct! [/quote] The C.S.E was a rigorous exam procedure , even at Grade 3 level.

I expect that back in the 1970's if you had attempted to relic your brand new electric guitar or bass you would probably have been Sectioned under the Mental Health Act . It is a peculialy modern affectation that will inevitably go back out of fashion again sooner rather than later , leaving a lot of people owning expensive guitars with questionable aesthetics because of their fake " distress". I remember when guitars with pointy angled headstocks were all the rage and promoted as being structurally superior and the way of the future , yet nowadays it would be a brave man that would dare play one in public, and you would probably feel less self-concious wearing a shell suit and sporting a mullet haircurt than playing one .

[quote name='Lord Sausage' timestamp='1380383550' post='2224585'] I don't understand how aged wood makes a difference anyway as it's dead as soon as it's cut from the tree. I can't see how it alters over time. If it is covered in paint surely it would preserve it in it's state. Maybe it's all in the head. Wouldn't it be things like the pick up coils loosening over time etc that affected the tone? [/quote] Scientifically speaking ( and I've got a Grade 3 C.S.E in Biology , so I know what I'm talking about ) , older wood usually has a lower moisture content and the resin contained within the grain of the wood crystallises over time , supposedly giving it a different resonance

Modern Rock .

[quote name='rodacademy' timestamp='1380382945' post='2224574'] Looking at a lot of single cuts just now and some seem ugly and some look great IMHO! Do you think these basses are here too stay or like some 80's basses shapes, they will become a "at the time" bass if you know what I mean! [/quote] Difficult to say what will happen in future , but what is certain is that when the single cut was first conceived ( as far as I know, at least ) by Fodera , it was to perform a specific structural function on a specific design of bass by using the body to brace the upper part of the neck Predictably, though, other builders have jumped on the bandwagon and make singlecuts just for the sake of it to have a fashionable body shape in their range with no real consideration for whether it actually offers any real advantage on their own designs.