Chris2112

[quote name='Tdw' post='968647' date='Sep 26 2010, 06:13 PM']On the subject of gauges, the kubicki strings sold on the website are only 45 gauge, somewhere else on the website it also says that a slightly heavier gauge string is required for the x factor because of the 32" scale. So it looks like kubicki recomend 45 gauge.[/quote] Well, this is what Phil recommends for getting a "normal feel" from the bass. With the decreased scale length there is a small loss in string tension compared to a 34" scale bass, hence Phil recommending the slightly heavier than normal strings to get a "familiar" feel in the fingers. Of course, the bass works perfectly well just .40's. I used to use Fodera Stainless Steel .40's and they were really, really good strings.

[quote name='bluesparky' post='969803' date='Sep 27 2010, 06:11 PM']And he's a lovely bloke too! (i met him at the bass merchant Hartke clinic thing - top evening out).[/quote] Absolutely, I've spoken with Stu a few times and he's been more than happy to just chat or answer my bass geek questions (I blame Stu for my love of Kubicki basses, nothing else gets that sound!). Probably the best night of live music I've ever seen (aside from Rush) was seeing Joe Satriani live for the third time. Stuart was playing bass and me and my brother had front row seats right in front of Stu. I was mesmerised all night, he is amazing. He even gave me the pick he used to play "Flying in a blue dream". Seeing your hero in front of you on stage is just incredible, and I suppose Stuart Hamm is the musician who inspired me to move in the direction I did with bass playing!

[quote name='tyronebishop' post='957792' date='Sep 15 2010, 10:29 PM']I just received one of these basses today and I'm afraid my experience isn't quite as pleasant as yours. I can't believe how shoddy the workmanship is ! I'll take pictures tomorrow and show close ups to all the flaws. Can't do it tonight really as i need daylight for best image results.[/quote] I suppose that is the risk you take with cheaper items like this, the workmanship and the quality control can be variable to say the least!

Where can these recordings with McLaughin be heard?

[quote name='munkonthehill' post='969665' date='Sep 27 2010, 04:47 PM']I think you should. Infact everyone should own one [/quote] Well, one day maybe! I'd still worry about the criticism that some find them uncomfortable to play sitting down as that is really where I do all my playing!

[quote name='Delberthot' post='968558' date='Sep 26 2010, 05:10 PM']i remember doing a gig in Tain, up the north of Scotland. To get into the gig, you had to go down some steep steps into the cellar. I rmember seeing my guitarist falling into the cellar - with my brand new Trace 4x10" in hand to break his fall. Luckily there was hardly a mark on the cab.[/quote] Good thing it didn't land on top of him! That Trace Elliot 4x10" cab I've sold sounds amazing but it feels as though it's lined with lead!

[quote name='urb' post='961267' date='Sep 19 2010, 03:48 PM']Sounds cool Chris, but you can get beautiful long notes by plucking at the end of the fingerboard as well, Gary Willis is an absolute master at this, his melodic playing really sings, same fir Jaco and Mr Giblin too. M[/quote] This is also true Urb, but I find the sound and feeling of giving 16th note finger funk at the bride too much to resist most of the time

Just watched the intro there, Stuart Hamm just keeps on getting better and better! He has also been recording a new album too, which is very exciting news!

Also, could you post some pictures of your Alembic please!

The little brother looks like the one I'd be buying!

It does sound like you're just playing some bad auditions at the moment. Hopefully things will get better and you'll find some people who are appreciative of your talents rather than seeing you as a "tick in the box" and an obligatory arse in the bass chair! It is disheartening to audition in situations where the bass isn't given the same weight and attention as other instruments. I've tended to look at it from Anthony Jackson's point of view, that it is just a big guitar. It sounds great supporting so naturally we play to it's strengths and support, but why do so many bands assume "support" is the most rudimentary way of doing things? Even being so petty as chastise you for playing the "wrong" D note! These situations tend to indicate to me that I'm auditioning for a band of lacklustre fools with no vision. I think things tend to work best when each instrument is given it's own voice and space (think Rush and you'll see what I mean).

[quote name='molan' post='968866' date='Sep 26 2010, 09:36 PM']Personally if I met someone with all of those expensive things you listed I'd assume they'd worked bloody hard, been very successful at their careers and were reaping the benefits - and good luck to them, that's what I'd say [/quote] To be honest, I think we'd all be so vulgar if we could afford it!

[quote name='silddx' post='967814' date='Sep 25 2010, 05:21 PM']The problem as I see it is that he is not a composer and doesn't really know what to do with his gift other than play fast over other people's Jazz music, and teach other people how to.[/quote] If I have just one observation it is that Jeff seemed to have a lot more to say musically when he was doing his old skool fusion stuff. However, that was over 20 years ago. He's been playing so long though that perhaps he has just got a different perspective to the situation as compared to me. But then, I'm not a huge jazz fan. I love fusion; I love how it's bombastic, electric and occasionally uses catchy melodies as a bass to solo over. Some jazz progressions just sound flat to me and don't really catch my ear, so even someone as good as Jeff blowing over changes wouldn't really interest me. It's much the same though, that I'd rather listen to the 8-Bit sound "Kind of Bloop" recordings that the original "Kind of Blue" etc etc.

I've always been extremely carerful with my gear to avoid such horrors as this!

There are of course many alternatives to Fodera through the old "Fauxdera" builders. R basses was the big one I think, saying as the luthier started off as renting space in the Fodera workshop, using their tools and wood stocks to make his own basses. IIRC the deal went pear shaped after a while; he was using Fodera shapes like the Imperial and Monarch and aparently the quality of his builds was so good that Fodera customers were coming to him! He did move on and set up his own shop in Puerto Rico which just drove his prices down even further whilst maintaining the same quality of product. In the end I think he started using his own designs but the heavy Fodera influence is obvious (saying as he learned his trade from Vinnie and Joey) and I think he'll still make basses with a Fodera body shape. Aside from that, there are many other builders across the world who will make Fauxdera basses for a fraction of the price. Chris Stambaugh and Nikolai Goliaev for two. You don't even need a Pope preamp, saying as the best sounding Fodera basses I've ever heard have had EMG, Bartolini or Hazlab preamps!