ianrendall

Always in the back of my mind, don’t worry... 😁

My wife was asking me about this ‘bl**dy Slavinsky bass’ (Sadowsky) I’m saving up for and how much they are. So I started to tell her how much and that I could get a pre-owned one for X amount because ordering a new one direct would just be too much. Then she said ‘well it’s your 40th next year and our 10 year wedding anniversary is coming up so why don’t you get an interest free loan and get a brand new one?’ On top of that, I was willing to sell my current bass to help fund it and she said ‘why don’t you keep it because you’ve always wanted to have more than one bass.’ I nearly fell off the bar stool.

Easy online streaming has all but killed the idea of the ‘album’, designed to be listened to in its entirety. Modern bands just don’t have the staying power to commit to more than one or two albums before splitting up over childish arguments. Record labels forcing their ‘ideas’ on artists causing them to dilute their music in favour of commercial reach. Bands becoming less about music and more of a business and marketable brand. Bands that leave it too long to release new material. By the time the new album comes out people have moved on.

Some very good points raised so far which brings me to a slightly off topic question. Has there ever been a bass made where the neck and body are milled from one single solid piece of wood? No bolts, no glue.

Agreed and again a subjective issue. There are a few basses out there with just a volume control, the Fodera Anthony Jackson to name one IIRC. But again this relies on player input and the knowledge of the builder.

In my original post I was meaning as an object. A functional bass object. An object where, for the builder, time, money and materials are absolutely uncompromised and without unnecessary flourishes such as fancy inlays, bindings or diamonds. The absolute purest, most sonically transparent and microscopically researched and tooled instrument possible.

And therein lies the answer to this entire thread.

I just really hope Wal don’t cheapen their brand by churning out a budget range made overseas. I was slightly disappointed when the US made SUB range of MM basses got too successful, slowing down sales of the main range as they were for all intents and purposes the same instrument at a fraction of the cost, so they decided to shift manufacturing overseas. Seems to me like a quiet admittance that their main range is overpriced and they shifted to overseas manufacture to justify the lower price. Done to remain competitive, I’m sure, but still a cynical move towards quantity over perceived quality.

This. Much more eloquently put that my mumblings. A luthier that micro engineers every single element of the instrument right down to the contours to get the ‘best’ instrument possible.

The more I read this the more I agree that subjectivity can’t be ignored. That $250,000 Ritter is no doubt very well made, but somewhat excessive . Carl Thompson’s Rainbow basses - some might argue also excessive but still very well made. Any more useful at a gig than a Jazz? Probably not unless you are in some sort of weird art band.

Yes, I completely agree with this. But let’s take subjectivity out of the equation and look as objectively as possible, regardless of cost, individual need, aesthetic quality, desirability and playing style. I’m thinking in terms of the actual physical construction. Let’s compare it to, say, a Brough Superior motorcycle where pretty much every single component is bespoke and handmade - granted the machine is not suitable for every rider but the quality and workmanship is undeniable.

So who in your opinion makes the absolute pinnacle of bass guitars? By that I mean top quality materials, craftsmanship and components. Some might say Carl Thompson, Wal, Fodera, Alembic or Ritter. What are your thoughts?

Fixed it for you 👍

The scratchplate has always baffled me. The nomenclature suggests that it is there to protect the finish underneath from scratches, although they are seen as more of a decorative design feature, to mount controls, or hide unsightly routing. But let’s assume for a moment that they are there purely to protect the finish underneath. To what end? Do the manufacturers think that players might remove the plate for a very special occasion such as a gig in front of the Queen where the full glory of the bass can be shown to Her Majesty? It’s like those little plastic surrounds that go round light switches to protect the finish on the wall. Would there ever be cause to remove them for a very special visitor to your house? Don’t get me wrong - I love the look of scratchplates and think that solid colour or burst finish P’s and J’s look odd without them. Just a bit of a tongue in cheek offering 😁

Always have some gear setup ready to go so all you have to do is pick up the bass and turn the amp on. I rarely play at home because I procrastinate on setting up my stuff.

I once purchased some squarnch from a Mr Plemp just off of Lower Belb Street, next to the Horrid Cranningstench Arms pub.

I’m going to throw the GK MB200 in. I’ve just got one myself as a backup for my massive 600w Trace and it really does punch above it’s very light weight. I’m actually using it at rehearsals and gigs more than the Trace now Astounding tone, more volume than you would think and very quiet operation.

I think by the look of the Satin prices on Guitar Guitar they have added (and of course, they should) the HMRC another costs to the final price. I think my best bet is to buy in the UK second hand. Wonder if I can find a 5 string PJ fretless...

Thanks for the heads up. I thought as much. So I can assume that if I buy from a UK Sadowsky dealer like Bass Direct they will have priced accordingly to take Customs into account?

So I’ve pretty much decided I’m getting a Sadowsky. A new NYC Satin is doable with my budget, but has anyone ordered direct from Sadowsky? I’ve a feeling I’d get stung by the gentlemen at Her Majesty’s Customs.

Easy question..when I’m not considering how to fiddle with my EQ, this:

Ok guys, here is where I’m at. I’ve had extreme unicorn GAS for as long as I’ve been playing bass for a Sadowsky. The blame lies with Will Lee and Walter Becker. I’ve decided this is where my heart lies and as we all know, GAS cannot be be reasonably satisfied by a third party. I will by a damn Sadowsky and if I don’t like it I’ll be bloody well back. Thank you all for your suggestions, it has opened my eyes to what is available in the UK. I’ll probably sell the yet to be acquired Sad in a few years anyway and get a custom.

What strap are you using? Try getting the widest most padded strap you can find - spread the load.

You are correct. However, the idea of an Everson custom with an MM J config is becoming more appealing by the day.....and then I look at a Sadowsky again and I’m back where I started 😂😂