Chris2112

I'd not heard of this bum before but I definitely won't be giving him any clicks. Good on Danny Sapko for exposing this fraud.

That is such a cool touch. Real artistry and attention to detail.

I still have my L-Bow and it remains one of the basses I'll never sell. There is just nothing else that feels or sounds quite like it. Everyone that has tried it thought it looked strange or novel at first but then agrees that it is a remarkable instrument and a great bit of design.

I hope he is found soon, Nick is an institution around here.

Well, I hadn't read any of this thread before tonight. It's been a real rollercoaster, and not always a good one at that.

Sorry to bang on about this shape but I love it. It works as a four string too. And look at the six from the back! So smart. This the direction I'd like to see Mark follow, if he won't just do the BT/BSR shape in future. As previously stated, I have no problem with something looking like a British Ken Smith. It may seem a bit jarring to some but that's only because he's the first guy to do it but look at all the other amazing builders that were clearly influenced by Ken.

I will say again that this with a buckeye burl, redwood, quilted maple top or something like that... I'd want for nothing more than a six string. I've now spent the morning thinking about it!

I won't even bother watching this. Rick's content has become more and more focused on clickbait, misleading titles and ranting. I should probably unfollow him on YouTube and it seems his great content is all behind him now.

No, share the sordid details! I've always wondered about the status of whether or not there would be more Celinder basses made.

I've got a lot of time and respect for what Mark Jones is doing with his instruments. His woodworking and craftsmanship looks absolutely world class, and I'm pleased to see a product of that quality being made in a small operation in England. It's a brave move to try and break into the toxic and often snobbish bass market, even when your product appears to be as good as anything else you can buy. Yes, the earlier basses were obviously inspired by Ken Smith. I'm not sure why that attracted such opprobrium; I don't think an order with Jones Bass would have gone to Ken Smith otherwise. If you see an R Bass or a D'Mark, you don't automatically think that Fodera have lost out. If you see a Unicorn, you don't assume that the order would have otherwise automatically gone to Alembic. If you see a Lull, you don't assume that Sadowsky, Devon, Valenti, Fender, Moon etc have lost an order. I think some of the initial criticism over social media of the derivative styling was just people sticking the boot in because they could. Because Mark was posting the builds online as the luthier, it was probably quite easy for the detractors to have a pop at them. I don't like Mark's current shapes as much but his coolest, sleekest shape is one that he needs to make more fuss about. I think he calls it the MK1 shape. I absolutely love it. See the attached item. Irrespective of what you think of the shapes of the basses, you can't argue that they look absolutely flawless in the pictures. I'm not sure if he does his own finishing but the high gloss finish he getting looks like glass, it's absolutely incredible.

I can't reconcile with them being anything other than £500 bass on a good day. I don't think they're worth any more than that, whatever you rose-tinted glasses might say.

I spotted this online the other day and thought it looked quite naff and generic. Not at all exciting, with the sort of spec that just about anyone could make.

Yes, the bass was modified before my brother bought it and has remained unchanged since. I was a little skeptical because I had little experience with Lace pickups, and I questioned if the addition of a bridge pickup in this context was useful or necessary. Well, for my tastes and usage, and I suspect for most players, I find myself more in need of bridge pickup than another neck pickup to bi-amp out for a big, bassy tone. I tried using both the pickups on full today for a bit, playing the same parts back to back and switching from just the splitcoil to the P/J split. Usefully, the volume balance for both pickups is very even. On something like my Pentabuzz, the splitcoil always dominates even when both pickups are running on full. The P/J mode on this adds a little more snarl and notably more 'tightness' in the low end, which may be a result of the inherent mid-scoop of running two pickups together like that. Either way, it makes an excellent noise, almost a Geddy-esque bark, and that's through the EBS Billy Sheehan pedal rather than the GED-2112. I suppose my results in playing this bass must be tempered by the pairing with that EBS pedal, it really does what it says on the tin and gives you that Billy Sheehan overdriven sound on tap, with an almost unseemly ability to let the clean tone through with the overdrive almost on top, rather than just blowing out a foul, brash overdriven sound into your amp. The EBS engineers clearly put the work in studying Billy's Pearce preamps to emulate their sound like this in such a small unit. Gushing about the Attitude aside, I really think that is the best pedal I've ever played through. I wouldn't be without one now.