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Guy Pratt new signature bass


Guest markinthegreen
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Alembic did it in the late 60's and it was a fairly elegant solution using brass rails...almost steampunk in its aesthetic.



They did on in 1978 as well - much more modern and neater execution of the brass rails idea.


Gibson, Westone and Spalt have all had their own take on the idea as well with varying degrees of success. I've often thought about better solutions and I've managed to come up with one that doesn't require any hole.

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Given all the discussion we have on here about finding that elusive tone (whatever 'that' actually is), I'm rather surprised that 99% of the comments are all about the aesthetics of the thing.

Anyone outside the bass fraternity could be forgiven for thinking that all we really care about is what a bass looks like, not what it sounds like.

Could it be that GP, as an internationally renowned professional bass player is bucking the basschat trend by being more concerned about tone than looks? Indeed could that be [u]why [/u]he's an internationally renowned professional bass player in the first place?

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Looks interesting, but as sliding pickups go it's all about the Westone Rail bass... [url="http://2.bp.blogspot.com/_TfBq85K3pdo/TGKPxhA7RdI/AAAAAAAAALo/8-gwKCjPX0A/s1600/Westone+R+1.jpg"]http://2.bp.blogspot.com/_TfBq85K3pdo/TGKPxhA7RdI/AAAAAAAAALo/8-gwKCjPX0A/s1600/Westone+R+1.jpg[/url]

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I like it, hole and all. looks like the rail is notched, so finding the positions for a song in a giging situation wouldn't be so tough. The spectrum of tones achieved by shifting the pups in that vid is pretty impressive, although I guess that Guy's fingers were helping a lot to make it sound good. Will have to check out the other 'rail basses' mentioned in this thread. I remember BRX having one in his weird and wonderful bass thread that was a little less conventional looking (and more aesthetically pleasing because of it). I feel a GAS attack coming on, but I guess that warwicks price tag for this will alleviate the symptoms.

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[quote name='Kiwi' timestamp='1371153407' post='2110682']
Alembic did it in the late 60's and it was a fairly elegant solution using brass rails...almost steampunk in its aesthetic. Gibson, Westone and Spalt have all had their own take on the idea as well with varying degrees of success. I've often thought about better solutions and I've managed to come up with one that doesn't require any hole.
[/quote]

Ah! The Westone Rail and The Spalt VViper!
And I managed a design with 4 separate units (like the Japanese Atlansia ones) that were totally concealed by the top/ a ramp, and adjusted from behind.

Isn't there an example of a bass with motorised pick-ups and presets out there. Out did I imagine it?

If he doesn't want his salmon pink Jazz, I'll look after it for him....

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[quote name='flyfisher' timestamp='1371158403' post='2110775']
Given all the discussion we have on here about finding that elusive tone (whatever 'that' actually is), I'm rather surprised that 99% of the comments are all about the aesthetics of the thing.

Anyone outside the bass fraternity could be forgiven for thinking that all we really care about is what a bass looks like, not what it sounds like.

Could it be that GP, as an internationally renowned professional bass player is bucking the basschat trend by being more concerned about tone than looks? Indeed could that be [u]why [/u]he's an internationally renowned professional bass player in the first place?
[/quote]

Well given the finish on it, I imagine GP cares about looks too, that's why he's has refins in the past. The fact is it's got more tonal options that the average bass, but then, you can more or less achieve that with active electronics. It's not an innovation, it has practical difficulties in that you'll have to remember where those pups were placed to attempt tone replication in the future (strip of tape and a chinagraph above that hole?) Beyond the first month I bet those pups get set and left where they are. So for that reason, I see it more as a development tool that allows one to find the perfect pickup position, then you get the good looking version routed to your preference without needing your new bass to look like a filthy squat bath tub.

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He's getting some nice sounds out of that but the hole looks silly.

Why not put a thin ramp like structure over both pickups and the hole with just a bit of the bottom of the pickups sticking out so you can slide them? Would give you lots of choice about where you place your fingers, not just on top of a pickup that's never in the same place twice.

It's not rocket science.

Edited by Fat Rich
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