4000

[quote name='ezbass' post='1073531' date='Dec 31 2010, 10:34 AM']My customised Road Worn shortly to be for sale [/quote] Now that is quite something! I'd really like a P, but I have issues with the forearm contour which I'm not sure I can get round.

My old '73 4000, 2nd 4001CS ('91), my '72 4001 (the only one still left and the love of my life) and my old '76 Azure. I have some scans of previous basses that I can't seem to post. My '71 21 fretter, recently sold.. ...and my '73 Paul Wilczynski restoration, sold to get the 21.

[quote name='silddx' post='1092568' date='Jan 17 2011, 02:53 PM']daftwood bodies[/quote] You have to TM that!

[quote name='wateroftyne' post='1090018' date='Jan 14 2011, 11:52 PM']I always think my J sounds like a P when I solo the neck pickup. It's a great sound. But then I pick up the P, and... BOOM! J's just don't have that wallop.[/quote] J neck pickups never have the balls of a P in my experience.

[quote name='beorc' post='1091422' date='Jan 16 2011, 02:57 PM']Hello community, I just registered and this is my first post =). Well, let's get straight to the point. Whenever I play fast songs (like coffee shop - rhcp, and so on...) My right hand turns purple after a while, and I get less accurate and slowed down. And my hand feels tense. I have Raynaud's syndrome. -My first question: is it really Raynaud's? I mean, my right hand turns purple in warm environments too, when playing fast songs. -Any tips? What should I do about it? - Will it limit my playing a lot? I kinda love playing the bass, it's kinda part of my life :s. - Should I just take another instrument ( like guitar ). Thanks for reading, Me[/quote] It's an obvious answer I guess but go and see your doctor. I think you need to establish exactly what this is before it gets worse, and your doctor should be the first point of call.

[quote name='BarnacleBob' post='854935' date='Jun 2 2010, 01:47 PM']Yep! Done this many a time as a lad, though if you had binding on them it tended to unravel and look crappy BB[/quote] +1. Chris May used to tell me off for doing it, but I did it anyway.

[quote name='lettsguitars' post='1088826' date='Jan 14 2011, 01:25 AM']to compare the '75 (year before i was born) findin my way with the '91 version is incredible. sounds soo much better in the 70's, and i dont mean the playing, but the actual sound. where did we go wrong? too many effects and 'better' equipment now i guess. funny how improvements in audio technology just make things crapper. although lee looks hardly any different.[/quote] I'd probably say the same about most 70s bands who are still playing. I remember watching the Cream Reunion Concert (yes I know they were 60s!) and thinking "where did the sound go"? It just seemed so weak. I'm a bit like Bilbo in that I kind of lost interest in Rush after Moving Pictures (although I bought and quite enjoyed Signals). It just wasn't the same without the kaftans.

[quote name='JTUK' post='1088587' date='Jan 13 2011, 08:59 PM']I guess I graviated towards a funkier style pretty quickly. My fave rock player as a learner was Glover.... and was never into any proggie stuff...so I wouldn't have listened greatly to Squires, Lee or Entwhistle..not that the latter played in a prog band..but I would have said he could have done. After that I found Stanley, Jaco and pretty soon MM even though he was hardly 20. I think everyone was slapping around the time of Lopsy Lou.. I stayed Stateside with my choice of players.. I had influences but no idols. I'll steal something that I like from anyone and mash it all up into what I do.[/quote] Always liked Rog. I discovered Stanley immediately after Geddy, much the same as Les Claypool did. Stan became The Man for me for a while then. I listened to a lot of Jaco but never really liked his playing too much (and I really, really tried); for me his greatest asset was his time (of course his intonation wasn't bad either). As for Marcus, I got into a lot of trouble last time....let's just say he doesn't do it for me. I grew up listening to jazz (big band & bebop mainly) and from there gravitated (I'm sure Bilbo would insert a different word!) towards rock, particularly prog, and pop. My real loves tend to be in one of those 3 areas; although I went through a fusion phase it was very much a RTF/Mahavishnu thing. I was never really into jazz-funk or r&b in the Marcus sense; James Brown is a different matter. I think up until recently Stan was the only Stateside player who was a big influence, Geddy being Canadian of course. I've had players I really love (still do) but I don't necessarily want to be them (ok, at the very beginning I really wanted to be Lemmy ). I imagine many of the people who have seen me noodling would be fairly surprised to see a list my favourite bass players, although I could be wrong!

[quote name='essexbasscat' post='1087651' date='Jan 13 2011, 10:06 AM']Do painters and musicians use the same parts of the brain for the creative process ? I'd like to see some MRI evidence to help decide about that one. The creative area of the brain is processing visual information for painting and auditory information for music. While both are potentially creative, the painter can take as much time as he likes to carefully construct his piece, while the musician is often working to an unforgiving time signiture in a live situation. If composing music, then of course, the composer can take as much time as they like, as with the painter. It's the differences of sensory medium that make this an interesting subject for me. A good friend of mine (now out of the country) is a hobbyist painter. While many similar things inspire painters and musicians, they often respond in very different ways. How much of that is down to differences of craft or personal differences is, I suppose, open to much discussion. But the handling of the creative process has fascinated me for ages. I do wonder if my songwriting would improve if I understood the creative process to a greater depth. Just a thought. T[/quote] I can't answer that conclusively but as both a painter and composer (I was a painter first) I don't think of them as different. They both start with inspiration and then involve solving a series of problems (usually how to get the idea as accurately as possible on canvas/tape). Having spoken to a friend who I trained with and who is a professional illustrator, however, his creative process is very different to mine. I tend to have the idea first whereas he works more instinctively. In a sense, if we were sculptors, I would be trying to sculpt what I see in my mind's eye whereas he would see what the sculpture revealed as he went along. Speaking personally, most of my inspiration is actually subconscious; the more-or-less completed ideas just pop into my head and it's often only afterwards that I realise what the inspiration was. When writing songs (certainly what I consider my better songs) I tend to hear the bulk of the song in my head straight off the bat; I seldom think "I'll write a song now" and if I do it's usually inferior.

[quote name='JTUK' post='1088490' date='Jan 13 2011, 07:33 PM']Was he ever really good...?? Does a fine job singing and playing but give me Glen Hughes anyday for that sort of thing. He is indeed a singer 1st cum bass player, IMLO.[/quote] Are you talking about Geddy? Really? I really like Glenn but I much prefer Geddy's playing. Geddy's style is very near my favourite in a rock context (whatever that is), although I prefer Entwistle and Squire. I'd put Geddy in my all-time top 5 rock bassists, no question. Just out of interest, what sort of player do you prefer (genuine query with no agenda)? Or are you just not a rock fan? I've already gathered you don't seem to like the twangy, trebly distorted thing (which is what I [i]love)[/i].

[quote name='Russ' post='1085498' date='Jan 11 2011, 01:51 PM']Chris, have you ever played a CT? There's something about the ergonomics of them that's just "right", plus they're incredibly light (most weigh in at around 6-7lbs). The "artisan" style of woodworking they use is an acquired taste, but they are incredibly well built, feel great and sound awesome. I had the good fortune to try out a 7-string fretted CT in a music shop in NYC recently - it was also something like a 38" scale, but it felt great, wasn't hard to play at all, and, again, was very, very light for what it was (seriously, the bass couldn't have been more than 14-15mm thick). I'm not really a fan of Les's ventures outside Primus - some of it is a little too self-indulgently strange, and I have no interest in the whole "jam band" thing that he's been doing, but I appreciate that he's a one-of-a-kind innovator, and inspired a lot of people to bring the bass front and centre.[/quote] I played a CT 4 in the Bass Centre once, many years ago (early 80s?). Have to say it felt lovely and organic, was extremely nicely made and had a rich and complex sound.

[quote name='Chris2112' post='1085114' date='Jan 11 2011, 07:15 AM']I kind of like the fact that Kubicki bass have a 'niche' appeal, although that fact is far behind the fact that they sound excellent, play brilliantly and look awesome. If everyone liked Kubicki basses and wanted to own one I'd have more trouble getting hold of them![/quote] Replace "Kubicki" with "Carl Thompson"......

[quote name='chris_b' post='1084765' date='Jan 10 2011, 08:13 PM']Les speaks very highly of you too.[/quote] +1 Chris, you seem to have very strong opinions about what you like and don't like, which is fair enough. What I find a bit weird is the "POS" kind of stuff you've been doling out, as if it's a universally accepted opinion. If I said "a Kubicki is a POS and I would never want to be seen dead with one" would you not be a little bit offended? Not that I actually think that, I don't mind them, but hopefully you get my drift; just because you don't like it doesn't make it a "POS", be it Les, his bass, P-Basses or anything else.

[quote name='noelk27' post='1083761' date='Jan 9 2011, 11:22 PM']Cr*p. Abrasive, tight, ill-defined, old technologies, redundant features, don't last, poor quality materials, poor quality control. Would love to be able to say a British manufacturer making a quality string, but this lot are not that. Because the strings are cheap, in relative terms, see people endlessly trying to justify to themselves that this lot make a quality product. But that's just bullsh*t.[/quote] I love the sound of them. Simple as that. Haven't come across anything else I like half as much, but then it all depends what bass they're on and what sound you're after. Oh, and I actually [i]like[/i] the abrasive feel. Maybe it's just me then.

That is indeed sad news. Never knew him well but he's certainly set up at least a couple of my basses over the years. R.I.P.

[quote name='Chris2112' post='1082798' date='Jan 9 2011, 12:08 AM']Well, if you've been there and done it the most important thing is that you keep hold of the bass thats right for you![/quote] Truer words were never spoken. Wish I could've kept my Triple O though.....

[quote name='dood' post='1082461' date='Jan 8 2011, 07:07 PM']Amongst my favourites would be: Paul Gilbert and John Pettrucci... yes, I know, I know.. but actually their playing style and approach to their instruments has been a huge influence on me and my playing. Their strings are just thinner ha ha![/quote] Actually Frank Marino was a huge early influence on my playing so I completely get where you're coming from. I always wanted the fluidity I heard from him so went in the opposite direction to the back-pickup, ghost-noted, staccato thing that became so popular.

[quote name='Chris2112' post='1081862' date='Jan 8 2011, 10:28 AM']They do growl but it's not with the nasal authority of a jazz bass, it's more of a subtle thing, with less obvious upper midrange "honk".[/quote] Ah, you see to me growl is more of a lower mids thing. The last thing I ever do with most basses is solo the bridge pickup!

[quote name='Crazykiwi' post='1081781' date='Jan 8 2011, 07:42 AM']I'll have to disagree. I've owned both and they share very little in common apart from a basic similarity in the body shape.[/quote] +1. Also, to me a J and a MM sound very different, especially when I'm playing them.

[quote name='Chris2112' post='1082300' date='Jan 8 2011, 04:57 PM']Yes, I recall an interview with Stanley where mentioned the Rickenbacker and how it was swiftly retired after he got into Alembic basses. Mind you, thats only natural.[/quote] I guess that depends on who you are. My main Rick has outlasted - and will continue to outlast - every other bass I've ever owned, including my 2 Alembics (which I also loved BTW). Best bass I've ever owned? My old Rick (not the 4000 BTW, that was 3rd). 2nd best bass I've ever owned? My custom-built Alembic Triple Omega, sadly no longer with me. FWIW Ricks and Alembics are my favourite basses.

Influential: Phil Lynott Lemmy Geddy Lee Stanley Clarke Leigh Gorman Inspirational: Chris Squire Stanley Clarke Leigh Gorman Lemmy John Entwistle

[quote name='Chris2112' post='1080351' date='Jan 6 2011, 08:02 PM']Well, it's been a few years since I've seen that video! The Rick was perhaps unsurprisingly retired in favour of his Alembic basses![/quote] Having had both (my 4000 was a '73), I found the 4000 was every bit a match sonically for my Alembics, although obviously not as well built. In fact my 4000 was incredibly versatile; it was also the most aggressive-sounding bass I've ever played in my life. Oh, and no, it didn't sound the same as just the back pickup on a 4001; no idea why. Set neck, wiring? Strung with light gauge strings through the right amp you could do a Stanley-esque thing no probs. It was actually a great slap bass too.

[quote name='Marvin' post='1073135' date='Dec 30 2010, 08:45 PM']This and this. Both good points A casual reader may be appalled at some of the snobbery and latent jealously of some of the posts on this subject. With regard to the subject of U2 I've never understood the moaning about Clayton's playing. Most of the whinging seems to emanate from people who don't even like U2. It's not bass driven music so it doesn't require 'look at me' lines. Anything more 'colourful' wouldn't fit in, there's no space for it - the focus of U2 are Bono's lyrics/voice and Edge's guitar playing. Arguing that one could play a better line is a mute point, and somewhat irrelevant as only the 0.0000x% of nerdy bass players in the general populous would be listening to it anyway. If the bass fits the song the player is doing their job.[/quote] +1 to all of it, and the points it was +1-ing...

[quote name='EBS_freak' post='1071820' date='Dec 29 2010, 03:17 PM']You subscribe to the same school as thought as me. My necks are pretty much flat radiused and dead straight. The fret job has to be absolutely spot on. One slightly high fret and the whole setup is ruined. Bit of rattle - but nothing you can hear in the mix. Solo playing and my touch is light enough to escape the rattle. Playing a lot of chordal stuff up the neck, the neck has to be flat otherwise the instrument just won't stay in tune properly. Think about it - the frets are spaced on the fretboard perfectly. The second you but relief in the neck, the fret spacing changes. Maybe it's not enough to realise when playing single notes but it certainly is when you are playing multiple notes. The stuff you try in shops rarely have had a fret job- the frets are hammered in and that's it... bass ready to go. You have to be really lucky to find a bass that plays low without doing a fret job first.[/quote] +1 again, although I like my radius (on a 4) around 12" or so.

[quote name='EBS_freak' post='1071744' date='Dec 29 2010, 02:02 PM']Mine is a between a 1mm and 2mm... and I play with a really light touch. Most people can't get notes out of my basses. I could take my basses a smidge lower but a little excitement at gigs would mean excessive fret clank.[/quote] +1. I know when I took my Seis to Moffat one or two people expressed difficulty in playing them as they found the action too low . I can't play with anything higher. My old Rick is currently set up 2mm 12th fret E and 1mm 12th fret G and that really is about as high as I go; I consider that medium high action! It really is all to do with how you pluck the string, how you fret the string (often forgotten; I fret really lightly), your strings themselves and the way the instrument responds. As an example, Chris2112, I believe you have Peter's old ACG? I've played that bass a couple of times and if the action is how Peter had it then it's way too high for me, but then I've only met one person who likes their action lower than I do (although Martin Petersen assures me there is somebody else...).