Chris2112

I can sing, if I know the song and I can get the words out without thinking about it. I can't talk though. I'm like BB King when I talk and play. One bar of playing, pause to speak and then play again!

[quote name='4 Strings' timestamp='1365156676' post='2035975'] (But, rather like a Volvo driver offering Michael Schumacher a few tips about driving, but can't help suggest to pick up on the triplets the drummer gives to mark the end of your solo!) [/quote] Some Volvo drivers could offer him a few tips...

I doubt I'll ever buy another Streamer. It was a 1990 Ltd Edition model and it was so good it made every other Streamer I've ever played feel a bit ordinary, even Stage II's! I love Streamers but I feel I've owned the best now. Six string basses on my mind include the Yamaha TRBs (neck thru models) and then custom/boutique stuff. I appreciate a good TRB is every bit the equal for a handmade bass though. If I could have any 6 string back, it would be my first generation Status Stealth bass. I was stupid to let it go.

Even if I was gigging the Thumb, I would usually have the luxury of a seat. Though having held Thumb 6'ers before in the past, the weight wouldn't particularly bother me. If find if you wear them high and with a good strap, the balance is neutral and they are a fairly clever piece of ergonomic design. So that isn't an issue. It's mainly one of me wanting a 6 string, but loving the sound of the Thumb too! I think I will keep the Thumb and save up for something else, and then see how I feel when I had both basses.

[quote name='visog' timestamp='1364500746' post='2027443'] Can't help feeling you're exorcising some inner demons here... [/quote] Can't help but feel you're only saying this as I don't agree with your fanboi opinion of GB basses? As I can see you clearly like them! FWIW, yes, Mark's tone with them was utterly dump. Flat, lacking any zing or punch, and with no depth whatsoever. Maybe it would have suited a pub rock band, but they definitely weren't up to the task of playing in a clean Level 42 mix. Especially as we'd had years of Mark playing Jaydee, Status and Alembic basses before the GB debacle, and the aforementioned basses sounded fantastic. You might love GB basses and I agree, it can be irritating when someone doesn't love your brand of choice but clearly, they didn't work for Mark. Hence him keeping them for five minutes and having another decade with Status afterwards! Mark King going back to Status was not the reason Level 42 'took off' again, though it was for the better that he was back with Status. He sounded far, far better after ditching the GB's. I don't think Ashdown were the problem either, I wouldn't bother with any of their products other than the MK stuff. I've always thought my MK500 combo was a bloody brilliant little amp, both for recording and monitoring. And on both the occasions I saw Level 42 when Mark was using Status basses and his Ashdown amps he had an incredible tone. Quite frankly, the sort of tone that comes close to defying belief in a live environment!

[quote name='Truckstop' timestamp='1364512142' post='2027657'] They've got a new website opening tomorrow. They've closed the current one overnight. Truckstop [/quote] I've just looked and I can't find a website.

Morning all, Recently I have found my playing massively re-energised by purchasing a Pandora. Whoever suggested that as a solution to the troubles I was having with my amp sounding crap in my front room, I will buy you a pint as it is the best bit of music kit I have ever bought! Anyway, since getting the Pandora, I have really come to appreciate my Warwick Thumb 5 string bass. I've always loved Thumbs; nothing else sounds like a Thumb and has the sledgehammer-like low mid range punch of a Thumb. Playing it through the Pandora, my playing sounds better than it has in years. I think this is helped by the tonal characteristics of the Thumb, even the lowest notes of the B string ring loud and clear. I feel as though my playing is more 'on the ball' timing wise than it has been for ages. I feel a great desire to get my bass out and play again, which is great. I had such a busy year last year I barely played at all sometimes, and feeling a passion for playing again is wonderful. I've been thinking of changing my bass, either by selling or trading my Warwick Thumb. Ideally I'm after a 6 string. After years away from the low B, I don't think I could live without one now; it simply gets too much playing time! But I would love a high C too. So therein lies my quandary...do I keep the Thumb because it sounds amazing and save for a 6 string on the side? I would be looking for a similarly high end instrument so I'd be spending approx £1000 or more on a 6 string. Or do I trade or sell the Thumb towards a 6 string? I know the obvious answer is 'get a 6 string thumb', but they don't seem to come up all that often (and I love trying new basses too).

[quote name='jezzaboy' timestamp='1363612349' post='2014677'] So, the man who helped design it doesn`t use them. [/quote] He didn't use them for very long, surely. One lame solo record (nowhere near as good as his first), where the bass was instantly forgettable. He also used it on a televised Prince's Trust gig. The sound was pretty lacklustre. I also recall reading that a lot of owners weren't impressed with the basses due to shoddy fretwork and woodwork. Mark ended up switching to GB basses quite quickly. I think he was going through a bad time then, as the GB basses sounded absolutely shocking as well. The first Level 42 record/DVD I got was the [i]Ohne Filter [/i]show. Dear me, his bass sounded f***ing crap there. Flat as f*** tonally. Even the red bass he got out for Mr Pink sounded hopeless. He ended up going back to Status; a smart move as Level 42 took off again soon after and he had left those dire basses buried in the sands of time.

Beaver is also a f***ing fantastic player. See if he will demo a bass for you!

[quote name='Lynottfan' timestamp='1363904342' post='2019428'] I must say that I have always found EBMM to be a straight as a die bunch, and its not every forum on the net where the CEO does come and chew the fat with you [/quote] As long as you're singing from the same hymn sheet and not complaining, otherwise you may find yourself censored! Vote with your feet, and buy basses from manufacturers that don't whitewash their negative press, or indeed, just don't get negative press...

[quote name='EBS_freak' timestamp='1363699836' post='2016025'] Probably plays better than a real one... [/quote] There isn't much doubt in my mind...

She is easy on the eye!

I have never really heard much of an attitude that Behringer were poorly made or liable to break down. I thought the real issue they had was that they were ripping off patented designs and getting away with it. At one point, it was impossible to discuss Behringer on Talkbass because every thread invariably turned into a fight, and one who supported Behringer was labelled a scab for supporting a the ripped off gear! It was usually along the lines of 'my Ampeg stack cost me $3000. Why should you get something of comparable quality, of the same design, for $300, asshole.' There was a criticism that Behringer never gave anything back in terms of new designs yet reverse engineered any Western gear they could get their hands on an flooded the market with cheap copies, furthe deadening the impetus for companies to make and patent new gear. I remember the first time I sat down and played through a Behringer amp. It gave the Ampeg combo next to it a good run for it's money,

[quote name='chrismuzz' timestamp='1363397903' post='2012396'] Dominic "Forest" Lapointe is my favourite bass player at the moment. He's primarily a metal player but I doubt there's anything he couldn't do! I nearly posted Beyond Creation's music video in here, until I remembered he did a playthrough video so you can really see and hear what he's doing... Oh and the good news is, you can hear his bass on the actual album too... A rare treat for metal! [media]http://www.youtube.com/watch?v=rrwWBFp91U0[/media] [/quote] Very good, he is really going for it! Some metal bands seem to use the 'technical bassist' as a gimmick. Give him a 6 string fretless, make it look as though he is really good and then bury him in the mix to complete the façade. But this guy has chops for days!

What a shame. He had kept on working until just a couple of years ago and went into semi-retirement, moving from California to New Hampshire or Viriginia, or somewhere like that. He was a superb craftsmen and one of the most innovative bass designers ever. In fact, he might be the greatest bass visionary ever. The Ex Factor was so, so advanced at the time and pioneered ideas that still put it head and shoulders of most basses made today. And that was in terms of design, materials used and how he used them, electronics and fantastic ergonomic ideas. He was also a Fender R&D man in the 70's before setting up on his own too. I felt extremely lucky to get a Kubicki Ex Factor when I was 16, after months of hard saving at work. I've had two, #1777 and #1659, both 1989 'cross over' basses with the Fender custom shop stamp but made to the original spec with 18v electronics and 6 position preamps. Fabulous instruments, and without a doubt the ones that will hold the dearest place in my heart. I've had basses come and go since (such is my way) but the Kubicki Ex Factors were among the best. Only my old Status could compete with them. Phil was also a fantastic guy. Always willing to offer advice by email or over the telephone, despite the fact that I had bought the basses second hand and he never saw a penny from me. He also shipped me some replacement parts free of charge once when I enquired about where I could replacement parts. A great guy, no doubt and a hard worker until the end!

Remember the days of MXtabs and the Rush tab project? You could get tabs for bloody everything it seemed. Though it was often just as quick (and more beneficial in the long term) just to work by ear. I haven't looked at tabs in years.

It all depends on the basses coming through my hands at the time. I never make a concious decision to pay less or more strings, really.

[quote name='OldG' timestamp='1363357072' post='2011743'] Scooped cuts the mids - like a 'smile' EQ setting.... not so good for a Precision tone IMHO. [/quote] This. Turn the scoop upside down though, and you'll unlock a secret world of amazing midrange tone!

http://www.youtube.com/watch?v=_8htAULV2Lo Like getting a good kicking.