Chris2112

[quote name='buff' post='1094197' date='Jan 18 2011, 06:43 PM']Now that ive finally got one, im not to sure i'll be keeping it. Im finding because of the strap position on the neck, instead of the top horn. The bass does'nt tuck in like a bass with a strap button on the top horn, so its a constant battle not getting a raw arm off the edge of the bass. Sound wise i know people have raved about the sound from these, but compaired to my squier jaguar that fitted with a wizard thumper it sound's pretty wooly. Am i expected to much ? anyone who's owned one got any advice ?[/quote] Awful tone, bad balance and poor playability was my experience with these basses.

You're a Dingwall addict!

Another nice one, the Richard Bona imperial...

One of these days I'll have to get a TRB!

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.