Chris2112

I do like how ramps help you fingers to 'float' over the strings. It's a simple concept that has quite a dramatic effect on playing. They'd be useful for some players who dig in a lot without meaning to and waste a lot of energy doing so. That and the last time I played a bass with a ramp fitted, the strings would hit it when slapping (it was matched to the pickups but just slightly taller). I've never felt the need to fit one myself.

Pretty much, yeah. I'll admit that I was quite surprised by the price. Moreso than that price (the highest I've seen for a Wal without say, a Live Aid connection), I really just wanted to get across how cool The Gallery is and what a sound dude John Chapman is. I didn't want to pick anything up for fear I'd end up buying it, but they have a Streamer Stage I and an NT Thumb in which were both very reasonably priced, I thought. On top of that, I do really need to get a Sei but I'm yet to start GAS'ing hard after getting my Basslab last year. So far I'm mainly thinking about getting another Basslab!

These look better as a headed bass. Like, a million times better.

Sell it/send it to me and I'll make sure it gets played 🤣

I don't know as I never weigh my basses (I don't have any back issues and I'm fit and healthy). It will be over 5kg though, maple is heavy.

The neck is just great. It's sizeable but very fast and smooth. I love a finished neck but the finish has to be very smooth otherwise they can start to feel a bit tackey. The Spector is great. I'm not usually too fussed about neck specs as I can get on with most things but the Spector is just great for me. Most people would say it's closer to a P than a J, and definitely on the fatter side as far as necks go.

I love the sound it makes. It's perhaps a little difficult to comment on the preamp specifically because I've not the tried the bass with anything else. I knew that the EMG sound was my go-to for a Spector though, having played Spectors in the last with EMG pickups and preamp. I do also like the Tonepump, for what it's worth. The output is hot and lively, as you would expect. The tone is bright and clear with loads of headroom and articulation. Probably the best low B I've ever heard on a wooden bass. There is a little bit of growl available from the low action should you want it. Cut and boost is clean and it's very flexible. It just does it's job and doesn't get in my way.

Sounds fair. I paid about the same for this one (after taxes) a couple of years ago. It's the dream-spec Spector for me, having dot inlays, EMG's, all maple construction and 34" scale. They don't really command a premium over other Euro models but if you want the solid maple body and 34" scale then you won't find much else to suit that isn't American made. Mine happens to have to lowest action of any bass I've ever played, it's a total slap machine. Just buy one!

Great story and a great bass! You got lucky there, I've always loved the look of Warrior basses and I imagine I'd get on well with one but I've never even seen one in the flesh.

When I was speaking with John he did mentioned the inflationary effect of the great luthiers retiring and the effect this was having on asking prices (I had mentioned that I had a Pedulla and I'd watched the asking prices for those balloon after Mike Pedulla retired). John cited Wal as an example of ballooning asking prices. This was before I'd seen the £12,500 Wal, and I mentioned that I didn't think they were all that. I like them but I don't think they're worth what they cost anymore. I don't think anything with a huge heel like the MK1 and MK2 models should be anything more then £1000! 😂 Of course, this is partly coloured by my memory of Wal basses being relatively cheap. I have friends who remember when they were out of fashion and considered distinctly naff (and they still do have a bit of the stale whiff of the 80's about them; Spandau Ballet and Bow Wow Wow etc). That too keeps me grounded, though I do think some of the MK3 models are a bit cooler. Of course, you might find the price of £12,500 for a Wal ridiculous. Try and find another fretless six string MK3 though. You can name your price, effectively.

After many years of wanting to go, I was finally able to go to The Gallery in Camden this morning to gaze upon their wares. As luck would (not) have it, I'm down in Hemel Hempstead this week for a course with work. I found out last night that despite what I had been told, the course has been moved to Wednesday and Thursday so it left me and a colleague with a day to kill. Naturally, we went to check out The Gallery. Luckily, I knocked after finding their front door locked (smart practice, I think). The wares inside are stunning. A gorgeous Maruszczyk near the door that was quite Esh-esque in spec. A Moon in Larry Graham white with a matching Maruszczyk tribute hanging across from it. I had a chat with John Chapman who seems a very nice dude and was happy to entertain some conversation on bass. Down at the far end of the store I was absolutely drawn in by the Alembic Stanley Clarke they had in at £6500. The finish on that has to be seen to be believed. Even more rare was the bass next to it, a Wal fretless six string on hold pending sale at £12,500. Looking at it, I was wondering if it had been the one that Littleeal of this parish used to own. There can't be many of those around. Whilst I don't think Wal are 'all that', it was really cool to see such a rare item in store.

I actually love those Spector controls most of all. They look great and feel great to use (the smaller circumference gives them a really accurate, low-geared feel). I always thought Anthony Jackson's 'Career Girl' jazz bass was much improved by the Spector knobs it had on it.

I thought I had posted my 1993 NS-5CR here but apparently I hadn't. I actually got this one in from the Black Sea region of Russia in 2021 (obviously you couldn't do that now). I was half looking for a Spector at the time when I saw this one and I had to have it. Pretty much the dream spec for me - black and gold, dot inlays, EMG soapbars and BTS circuit, solid maple wings and 34" scale. I was quite pleased when it turned up as it sounds absolutely great. It also has the lowest and cleanest action of any bass I've ever played. It almost feels like a touch guitar, so little effort is needed to get a note out of it.

I haven't seen anyone saying anything other than positives here? Newcastle is mint and everyone knows it. If you walk along the Walker riverside you can actually see people looking over from Gateshead and Hebburn wishing they were in Newcastle.

Thanks to some favourable climate change it's pretty balmy here now. We had high 30's in the summer which was almost a bit much.

Great town but dangerous, full of violent yobs and drunken idiots. It is well renowned for it's nightlife but like most things, it ain't what it used to be. By the standards of most places in the UK it's one of the better nights out, if not the best overall, particularly because all of the nightlife in the city centre is fairly densely packed in. You don't have to go far to see a lot.

Good find!

Absolutely fantastic player. He has been consistently excellent for many years now. I always love watching and listening to him.

@tauzero I suppose I'd struggle to say because I've never really found a neck I couldn't get on with. There have been a few that haven't been to my preference, but because I tend to get on well with most things I can tend to overlook the finer detail in neck dimensions. Roughly speaking it's thinner than my Spector NS-5CR with a more pronounced 'D' shape with a flat back. It's a little thicker than my Bogart Blackstone. The flat fretboard is extremely comfortable to work with. The finish is extremely smooth and fast (I really don't like finished necks that feel tacky). Popping under the G string felt a little odd to me at first because of the scooped section of body there but I soon got used to it and I'm slapping all the bloody time on it now.

This picture may, to some degree, illustrate the issue I have with some of these single-pickup basses that are supposed to emulate the Stingray sound. I am always first drawn to look at the position of the bottom of the pickup relative to the bridge. Quite often the pickup appears to be too close to the neck. Not quite in the Precision position but it certainly looks further forward than on a Stingray. The Warwick Streamer Pro M on the other hand had the pickup in the right place, see below: Indeed, I love the sound of the 'Musicman sweet spot' and the looks, feel and playability of a Stingray was always my least favourite thing about it, so having options on that front is a great thing. There is still a gap for a really credible Stingray alternative since the ATK seems to have disappeared.

Basslab is surely the call to make when it comes to weight. I've had a number of these uniquely designed basses over the years. I had a Status Stealth 6 string years ago and it was extremely well balanced (it was the more attractive 'S1' first generation model). It was light but not a featherweight. Some of the other Status basses I've tried have tended towards being heavier, depending on the woods used. My old Series II had the full 'cricket bat' carbon fibre mid-section with wings glued on and that was pretty light. Not strictly full carbon fibre, but in the same sort of world, my Bogart Blackstone is fairly heavy for what it is. The Blackstone material is a composite resin 'foam' injected into a solid shell. It's meant to be an analogue to alder, designed to have the same sort of tone but with absolute uniformity. It sounds great but I think an alder body to the same proportions would be lighter. Heiko Hoepfinger's Basslab instruments have them all beat as far as weight goes. They're hollow, formed of composite resin with some carbon fibre support inside. You may notice a kevlar-esque weave in some parts of the paint. I can see a bit of that on my 2001 model which reminds me of a Ferrari F40 up close. In terms of weight, my 5 string L-bow must be about 3.5kg maximum. It feels like holding a feather. I bought it through Basslab as a used instrument and was in contact with Heiko via email to arrange the sale. He was great to deal with, being helpful and responsive to comms, so all round it was a great experience for me. I ended up with a bass that I love and buying it was stress free. The only consideration is that the looks aren't for everyone, but I love them. If I could get my hands on a fretless my Manne and Pedulla Pentabuzz would be in danger!

A missed opportunity as I'd be far more apy to play Rush on it than anything synth-stuff, but I have heard people using these with synth modules before (I suppose because the output signal is very clear across all registers).

You press down a string on the neck with your left hand and pluck it over the plastic blocks on the body and it makes a sound. String a few together and you've got music!