scrumpymike

QUOTE: Although @Len_derby 's bass contained no CITES Appendix timbers, there seems to be confusion in some US and UK customs operations (and some associated scare stories) to make me believe that I need to be particularly careful that this does NOT contain any such woods and that I can prove that in a way that would satisfy a well-meaning but ill-informed customs official who might think, "Bass Guitar - impound" or even worse - and just my paranoia because I'm sure this would never happen - one who might think, "Hmmm - bass guitar, impound ...and keep" Andy, I know from my Gillett experiences what a minefield this CITES business is. Doing the necessary paperwork for Japan recently was a nightmare and I was having sleepless nights until the importer confirmed the consignment had successfully cleared through customs. So, here's an interesting development I was going to PM you about but thought I'd add to this topic instead as it may be of general Basschat interest. A Swiss guy visited our stand at Olympia to tell us about a system he's developing that would enable us to build ID data in to our instruments. The data lives on a transducer that's embedded during construction and can then be scanned with a smart-phone. His idea was that this could confirm serial number, model name, give detailed info on construction materials and would also be helpful in case of theft. He didn't know about CITES and when I explained to him the potential for adding traceability info he got really excited. We're excited too as this would be a great 'fit' with our Contour range. We're expecting a trial system some time soon.

😄 Yep, Mick's right - that's the sort of answer I was hoping for!!

+1 (except the one-hour drive bit).

What a bummer! That must really take the edge off owning a good amp.

Thanks skelf - I know this is pretty complicated. The compromise I'm after is low physical input with good sonic definition but I don't know how to translate that into a string spec. Maybe time to have a chat with Newtone.

Thanks for the lead. As you suggest, shorter scale normally means lower tension and a heavier gauge is the obvious way to add some tension back - hence my surprise at how good the light-gauge Fender strings sounded on my tuned-down 30" scale bass.

I've been asked to dep with a rock band from now til the New Year. I only play short-scale basses nowadays and the band tune down a semi. Had a rehearsal with them on Sunday and tried out my Maruszczyk Elwood (medium-gauge D'Addario flats) and my Andy Jr special (Fender Rascal neck/electrics/hardware on custom body with original light-gauge Fender rounds). Surprisingly (to me anyway) it was the custom bass that gave the best sound (thru my Mesa Subway 800 and 2 x BF Super Compact G3 cabs). The band seemed happy but I'd like to experiment a bit with different strings on the Elwood. Any suggestions for what might tighten things up a bit?

JB has always been one of my bass heroes too. The first band I played in as a teenager did mainly Cream and Hendrix stuff and won the local Youth Music Festival with Sunshine (yours truly on bass & lead vocals!!) - great memories ☺️

Nothing if not consistent - looked just the same when she was Christine Perfect in Chicken Shack.

Jogged by the mentions of Jet Harris, my tired old brain has just come up with another couple of names - Eric Haydock and (post-'66) Bernie Calvert of The Hollies. I saw the band - including EH - in '64 as a kid on holiday at the Princes Theatre in Torquay, where they were sharing the bill with Jet Harris and Tony Meehan. I was mainly interested in The Hollies for their vocal harmonies but I really loved the distinctive bass lines Haydock played on a Fender VI, although Calvert turned out to be a more than adequate replacement.

My 'I was made to play bass' moment was hearing Stevie Wonder's 'I Was Made To Love Her' for the first time in '67. Although I'd already been playing bass for 3 years by then, that bass part went straight to my soul and raised the bar for me. Certainly exciting to my ears then - and now. Pretty much every other name on my late-'60s radar has already been mentioned except Trevor Williams. He played bass with one of my all-time favourite bands, Audience, who just about scrape into the decade as they started in '69.

Thanks again 👍