Chris2112

Love that Chapman fretless, I always thought it sounded nicer than the Sei. Wouldn't mind seeing that one in action again!

[quote name='MuckedUpFunkies' post='1093156' date='Jan 17 2011, 09:37 PM'][attachment=69163:stockhle...buyafull.jpg]Dunno if this counts as rare or exotic... (i suppose it must be rare as their custom order? =L) but this is the only headless youd get me within 50 yards of![/quote] Well, it's a one off. I spoke to John Shuker about this bass late last year, I was really GASing for it and was ready to buy it. I phoned John and he confirmed that it's actually a bolt on mahogany neck and that about killed it for me. I was really hoping it would be a hidden thru neck or set neck made of something bright sounding like maple. It wasn't, so I had to pass on it. Lovely bass though. And Alpha-Dave, if you check the thread here about the Dean Entwistle signature bass you can get a lot more info on the Status Buzzard. The license on the shape has now expired, meaning Warwick don't technically own it anymore. But there will never be another Status Buzzard made, because Rob and Chris Entwistle aren't on the best terms. The Entwistle estate lawyers made an error during the negotiations with Warwick and effectively gave them complete ownership of the shape for the period agreed, and Status were forced to destroy the moulds for making Buzzard basses or risk being sued. It'd be too expensive to remake the moulds though, even if Rob wanted too, apparently. However, I don't think there is much of an argument for it being the best bass ever or the peak of bass evolution, but it's certainly the ultimate Buzzard as far as I'm concerned! Here is another rare type of bass that I love...another bass that has been worked on and evolved over the past 30 years and is stunning in it's elegance and simplicity. And I love this 1993 made blast from the past...

I like the Sterling, as it's so well proportioned and sounds great. It sounds as though you're at the stage where buying the best player is more important than obsessing over different types of magnets! A 'Ray aficionado will have a preference, as will more experienced both players. But they'll both be fantastic instruments that you'll get a lot of enjoyment out of!

Well, I've had the pleasure of seeing Billy playing his Attitude basses live with Steve Vai on a few occasions and they always sounded amazing. Then getting to play one, I was surprised at how light, well balanced an playable it was, completely unlike a P bass! It sounded so hot and vibrant, it was fantastic. I nearly bought a Seafoam Green LTD II a couple of years ago.

Oh no, has he moved to Fender? His Spector sound was so much better than a Fender could ever be!

I'm quite happy with either. My Kubicki has a radiused board, which is complemented by it having radiused pickups, which strikes me as excellent engineering. My ACG has a flat board matched with an asymmetrical neck and on that bass, I couldn't imagine it being any other way. It definitely feels instantly natural in your hand. perhaps the "quirkiest" neck I've had was on my Status Stealth 6 string. It was flat on the board, and a massive flat "D" shape on the back. Very usable but not traditional in the slightest.

[quote name='warwickhunt' post='1090145' date='Jan 15 2011, 09:01 AM']'Probably' the only bass that I'd go out on a limb for! [/quote] I love that bass, the woods are awesome and the fish inlays are superb! If they would do those inlays one of their amber flamed maple basses...

If they had thought of a better bottom horn design I'm sure it'd look a lot better.

I love that new Attitude bass, it should be as awesome as ever!

I love the Wal-influenced look of the Zone basses, they were always a huge cut above usual Fender fare.

It's good to see him looking back to that record, it is by far his best.

Yes, it's a shame that Mark has gone over to TC Electronic, as I rmemeber seeing Level 42 live for the first time when Mark was using Ashdown and I thought "Bloody hell, never thought I'd hear an Ashdown sounding that good!"

The MK500 is the one for me, quite easily the best amp I've ever used...I love it!

I think I got Hold Your Fire and Power Windows when I was about 16, and the first Rush record I bought was Grace Under Pressure. I was in Virgin's music store in Newcastle when I found Grace Under Pressure and scanned it on one of the listening points. I listened to a small section of 'Afterimage' and I was blown away. I bought the CD and I have been hooked ever since! I guess thats why I'm such a fan of 80's Rush, with Signals through the Hold Your Fire being my favourite Rush records. I like their newer stuff ('How It Is' has to be one of the best songs they've ever written) but it doesn't hit me with the same memorable melodies and stunning arrangement as their 80's stuff. Counterparts and Test For Echo are really the low points for me, as both have about 1 song I'll sit and listen to, namely 'Resist 'and 'Leave That Thing Alone'. Their embracing of the rock sound of the time doesn't really interest me and those two records strike me as being a band that was running out of steam. It seems when they made Vapor Trails, after everthing they'd been through, they had finally gotten their fire back.

Sadly, I don't think Dean will be interested in reasoning from seasoned luthiers or concerned fans that these basses are a rather tasteless and tacky way to further exploit John. There is money to be made here. As has been previously mentioned, just look at all those awful Dimebag Darrell models.

Such a shame that Greg Curbow died. I heard that one of his staff was planning on keeping his workshop open and making New basses as well as doing repair work on the old ones. Sadly, I'm not sure this ever really got going as I haven't seen a new Curbow bass in ages.

Surely it can't be that simple, as even then Rob could have kept an old body shell his loft or something. And the time and cost it takes to develop the moulds are huge, so surely there can't be a quick fix. I remember reading about Geoff Gould's huge startup costs for Modulus, because the moulds cost so much to create in the first place. So I assume it is a difficult process!

Looks like a nice piece of wood, if the neck pocket is ok.

I(f only Rob had just put the moulds into storage he could have resumed production of the bass if Chris and him had been able to reach an agreement. But I'd rather he just kept on making his own basses than risking getting sued. All those Kingbasses and S2's, just not worth it to keep the Buzzard going as sad as that may be!

[quote name='Mark Latimour' post='1087005' date='Jan 12 2011, 06:30 PM']He's still alive and playing (saw him last year). Are you using the past tense to infer he's no longer great?[/quote] Well I've got to be honest Mark, the Skolnick trio stuff doesn't really grab me. But I am impressed with the dedication he has shown in transitioning from metal to fusion and then onto jazz!

Will Warwick not make a custom one if you offer them thousands of pounds? I was sure I read somewhere that they were planning on reintroducing the 'Nobby'.

Just one of the reasons why I decided to retire from live playing! To be fair, I've never had any personal issues with bands other than time management issues, as shift work can be troublesome. But other bands can be so rude and obnoxious, as documented by the many threads about other bands wanting to lend gear around here. Given that live work was all effort and no reward, the band decided to retire to the studio where we can just spend a bit of time when we've got time and mess around recording what we like. Mind you, if this lot haven't gotten back to you then it seems like they aren't worth your time anyway!

[quote name='crplumb' post='1086529' date='Jan 12 2011, 11:37 AM']Some good early footage of Ged and the boys. Love the Rick, pity it was effectively retired for many years. I'd love to know what happened to that Steinberger bass he played for a short while in the 80's???? He is one awesome bass player - maybe not as good as he used to be but still great![/quote] AFAIK he kept the Steinberger and would have happily used it for much longer had he not been blown away by Wal basses. It was during the warmup sessions for Power Windows when Geddy Lee tried Peter Collins' Wal bass, which Peter recommended to him because it was the "in" bass on the British pop and studio scene which Peter was involved with. Geddy liked the bass so much he ended up buying his own and that was that! I believe he still his has Wal basses too. Then, sadly, in 1993 Geddy went back to his jazz bass. It was suggested to him by a bloke called Kevin "Caveman" Shirley, who I think was a studio tech or something for the Counterparts record. This was at a time when Nirvana were big and grunge rock was the "in" thing in America and he thought it would help the band go for a rock sound that would appeal to American audiences of the time. Geddy tried the jazz bass and sadly he's been using it ever since! It's a nice sounding bass but it can't hold a candle to his Steinberger or his Wal basses! He is still an awesome bass player, one of my all time favourites.