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Chris2112

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Everything posted by Chris2112

  1. [quote name='Machines' post='1248733' date='May 28 2011, 10:34 PM']Thanks for the links guys, they do sound pretty good. What is the neck pickup like alone, can it do fat ? So far all of the tones i've heard so far are very clear bridge/finger tones I think.[/quote] Typical neck pickup when solo sound, not very good! They will always sound like a Status bass, but it's a sound that is at home anywhere if you'll let it be. I used to love really bright bass sounds, and my Stealth could be so bright it was too much, very harsh and zingy. It was a great bass, though I've since learned that the midrange is truly the be all and end all! The bridge pickup alone should sound fairly decent, certainly useable even if it's not going to be one of the legendary solo bridge pickup sounds.
  2. They do. I don't think they need truss rods at all, they're a ridiculous idea on graphite necked basses.
  3. Good tapping tone - plug in a Kubicki and away you go! In all seriousness, I think developing hand strength is the most important aspect to start with. This will help you get an even, controlled sound from every note, no matter which finger you use. And becoming adept at using free fingers to mute strings as you need to. I basically started learning to tap listening to Stuart Hamm, playing an Ibanez BTB and a Kubicki. Then once you've learned how to do it you can stop, or do it in small quantities. I've found that outside of Stuart Hamm and Michael Manring tap quickly becomes quite dull and often sounds vert overdone and contrived.
  4. Bump for a "anyone got a nice fretless handy?"
  5. Yes, they are fantastic basses (thats why I have collected them!). Not really scratching my itch for a fretless but if I ever need to cover something with a big slap sound this is my first choice! It knocks other supposed slap basses like Status and Jaydee into a cocked hat!
  6. I'd go to Bass Central. Beaver Felton has the contacts to get you pretty much whatever you want and the stock there is always good. Mind you, I remember a few years ago before the economic downturn, Bass Central had the most amazing stock list you can imagine. Either or Ishibashi.
  7. The Killers and Brandon Flowers' solo act. That would be a great gig, I know most of the material already!
  8. I've always thought of the Kubicki as the ultimate fretted bass. I've never tried a fretless one, I'd rather just get another fretless bass and let someone enjoy a fretted Kubicki!
  9. Well you know Pete, times are hard and my passion for cars is now running on 98 RON! In any event, I do like a nice fretless and I miss having my Alembic around so I might as well see whats out there.
  10. [quote name='Musicman20' post='1241314' date='May 23 2011, 10:55 AM']I think the prices are part of why I gave up on the Metros. A few years back, they were reasonable, but still expensive. Now, they are almost £2000, or more.[/quote] I'm sure when Guitar Guitar first got them in they were about £1200. And even then, they wern't very good!
  11. They are the greatest basses! Absolutely unique, and they sound incredible. I'll be quite happy to keep it if the right fretless bass doesn't come along. That said, I based my decision partly on whats easier to replace. I'd certainly find it easier to find another Kubicki bass than replace my ACG - simply because my ACG is one of kind! As I've said, I'm playing less than ever now, maybe a few hours a week. I'd like a nice fretless. I've been there and traded away a Kubicki before. I regretted losing that first Kubicki, but it also got me a Status Stealth bass to play with. And you only live once, so I might as well try a few basses along the way! I might not be explaining too clearly exactly why I'm willing to trade away a bass I love and am attached to but you never know what is waiting round the corner.
  12. Well, this is a bit of a tough one to offer up. I've been thinking of getting myself a fretless bass. I was all set to pull the trigger on a fretless ACG when I ran into some car trouble. I wasn't sure how much it would cost to fix (in the end, nothing thankfully. I can now tell you a lot about the Magnetti Marelli electronic throttle module from a Volvo S60 though!). This put my finances on freeze. I've spent a lot of money this year and I want to take the wife away as she deserves a holiday too, so thats something else to tie up disposable income! I decided at the Rush show last night that one of my fretted basses had to go and I had to get myself a fretless bass. It was a toss up between my two fretted basses, my ACG Harlot S type and my Kubicki Ex Factor. I've had two now and I've been very lucky to own them, as they are awesome basses. I've had the Kubicki longer than the ACG too, though really I'd like to hold onto the ACG forever! Anyway, this particular Kubicki is serial number #1659 built in August 1989. I have previously owned #1777 too. Anyway, this one is a 'cross over' model made after Fender had bought Kubicki but before they changed the model parts. It has the Fender Custom Shop logo silk screened onto the back of the headstock, but it comes with the original 18V electronics and the 6 position preamp. For those who aren't familiar with these basses, they were made in California by Philip Kubicki. Philip used to work for Fender R&D and designed a headless bass for them in the 70's before setting up his own company. The Ex Factor has been his only bass creation, simply because it's excellent and has always been a hit. It's kept him in business from when it was first made until he retired! Aside from the Key Factor bass of course, which is a simplified Ex Factor. Anyway, the bass is 32" scale with the D-Clip detuner which extends the E string to 36" scale and opens up two more frets and detunes the string to D - a far more elegant solution than a Hipshot detuner. The preamp is the 6 position version (before Fender changed it for a 9V preamp). It has two active modes and three passive models with bass and treble controls alongside the volume and pan controls. The board is made of ebony and is radiused, a radius which is also evident in the pickups to allow for very low action with an even, clean feel across the board. The pickups also have 'pop cuts' small indentations on the top edge to create room for popping. The bass takes normal strings, with the ball end anchoring in the headstock and the other end being threaded through the bridge. The body is made of maple and the neck is also maple, namely 36 laminates for superior strength and stability. It truely is a great neck. Of the two Kubicki basses I have owned, this is the better one. It's in better condition and sounds a little brighter and more poppy. On the downside, the bass has a couple of small dings in the finish and the black paint at the bottom of the neck join on the body has worn slightly. It's also missing the original volume control which has been replaced with a chrome knob. it plays brilliantly and sounds excellent. Here are the only pictures I could find. I'll have to take some more, but in the meantime... [size=6]For sale £700 - Now sold thanks 07/08/2011[/size]
  13. Love these. I nearly purchased a 4 string headless model recently but it had a lot of damage that would be pretty much impossible to repair due to the nature of how these basses are made.
  14. [quote name='wateroftyne' post='1239942' date='May 22 2011, 07:24 AM']Yeah... for me, the first set was lacklustre in places. There was a run of five songs which tried my patience even as a dedicated fan... Stick It Out. Workin' Them Angels, Leave That Thing Alone, Faithless, BU2B... a strange choice of tunes, IMO. Subdivisions had a bit of a shonky start, didn't it? The 'Subdivisions!' voice was a bit out of sync... The second set was much better. Moving Pictures didn't use too much video. Witch Hunt was awesome (sorry, chris2112 ) Camera Eye was wierd, though.. where I was, no-one reacted when it started..? A great performance.[/quote] I thought Workin' Them Angels and Leave That Thing Alone were great. LTTA is about the only song worth listening to from Counterparts! So overall I thought both sets were great. Even with small fluffs like the Subdivisions intro being out of time, you can expect one small gaffe of that nature at every Rush show. I think they do it to show that they're human! But yes, the lack of response to the intro for The Camera Eye was disappointing. There are a lot of fair weather fans there I suspect who come to hear Limelight and Spirit of Radio. Completely avoiding the rest of the songs. One bloke said as I was leaving "I think a lot of Rush fans put up with listening to all kinds of sh*t so they can hear Limelight and the rest of the hits...". I rolled my eyes and thought "yeah, fans...". The Camera Eye was a standout moment for me, utterly awesome.
  15. [quote name='wateroftyne' post='1239698' date='May 21 2011, 08:56 PM']It was... Marathon is the highlight for me so far... No busy video screens, just music. The sound is cack, though. (yes... I got a ticket in the end :-) )[/quote] Marathon was great. My favourite song of the show, and I loved the way the lights matched the music. The white lights that shone as Geddy sang "Something always fires the light that gets in your eyes" were particularly impressive and really added impact to an amazing song. Hearing 'Presto' live was awesome too, what a fantastic song. At first I wasn't overly impressed with the show, 'Spirit of Radio' seemed a bit of a dull choice for an opener and I've heard it so many times now. I think they got off on the wrong foot, because 'Time Stand Still' was incredible. Alex was the man of the night for me, his playing was spot on, his tone was quite sharp and bright and he was full of energy, clearly having a blast. His solo on the 12 string was particularly beautiful. The sound wasn't the best but it was more than decent considering the fact the arena is a load of crap. Alex and Neil sounded great, but Geddy's bass seemed to get a little mushy. It's as though he was using two different tone settings, because on 'Leave That Thing Alone' he sounded really clear and present with loads of growl, but at other times that was lacking. As has been said, in some of the heavier parts the bass didn't sound great. Still, his playing was great. There were a couple of duff tracks that could have been left at the door, things like 'Stick it out' and 'Witch hunt' were pretty dull and could have been replaced with a few more Hold Your Fire of Power Windows tracks. Interestingly, there was nothing from Grace Under Pressure, Test For Echo, Roll The Bones or Vapor Trails as far as I can remember. That said, most of the tracks were excellent and the standards were nicely balanced with more interesting tunes. 'The Camera Eye' was a particularly awesome song, and 'Vital Signs' took me by surprise as I had forgotten how good a song it is! Overall, it was a great show. The video segments are excellent ("Girls, can you stop those Moving Pitchers"). The guys are obviously still having a blast and they are still the best band of all time. I'd place the show on par with the Snakes and Arrows show, even if the sound mix wasn't as good. Still a great show and easily worth the asking price when you consider how long they play for.
  16. Just at the Newcastle show now, its vert good. Marathon was awesome.
  17. [quote name='AttitudeCastle' post='1239413' date='May 21 2011, 03:55 PM']I really liked the JM2s they sounded monsterous too![/quote] I thought they were lazy and cheap and sounded crap. YMMV.
  18. The first generation ones were much better than the lazy second generation effort.
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