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A very special bass.....


GreeneKing
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I collected my ACG Harlot from Alan in Moffat today. It’s my 2nd Harlot, my 1st being a 5 string. I’m a late starter into the world of playing bass and a 4 string makes life easier for me and it does all I need and more besides. I tried playing a 5 but it didn't work out.

I love the type S single cut style of the Harlot and carried it over to the 4. This is the 1st single cut 4 that Alan has created. Zigmondo now owns the 5.

I’d 1st like to stress that Alan’s creations are 1st and foremost working tools (I know that Alan would agree here), instruments for the creation of the low end. These basses are designed 1st and foremost to be used. Design wise he dares to be different and if you ask him to make you a Jazz he’s likely to point you back in the direction from which you came. I personally love the flowing lines and perfect balance that both my ACG’s have had. I also like to be a bit different.

I’m not a disciple of the ‘tone wood’ gospel and I think that bass/amp/string etc. manufacture has more than its fair share of b*llshit in a b*llshit laden world. I do think you have a choice, use any functional wood and paint it or use something that has its own unique ascetics, lacquer it and celebrate its beauty.

I don’t understand any of this ‘coffee table’ comment crap either, each to their own (I have both and appreciate them all), this bass is a ergonomic delight being tiny and light, has a superbly comfortable asymmetric neck and just about the lowest action I’ve ever experienced.

Alan carefully chooses his pickups that are made entirely to his specification with magnet type and windings to suit positions on the instrument and to complement his double low pass filter pre amp. This is another example of Alan’s commitment to instruments that provide a huge variety of real world tones. The tonal range is so wide that these basses can’t imo be categorised in terms of tone at all.

So having stressed the fact that ACG’s are not simply exotic wood artefacts but are remarkable musical instruments that celebrate a natural phenomenon in a quite unique way and that having a say in the crafting of such an instrument is a real pleasure here’s some photos of my new bass. I can’t wait to let it loose in anger.











Peter

Edited by GreeneKing
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Holy Crap Peter!
That bass is gorgeous!

I got a squint at it last time I visited Alan as it was hanging on the wall, it looked good enough then but bloomin' 'ell that is so gorgeous now it's done!

Congratulations mate,
Eude

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[quote name='GreeneKing' post='373389' date='Jan 7 2009, 07:11 PM']I collected my ACG Harlot from Alan in Moffat today. It’s my 2nd Harlot, my 1st being a 5 string. I’m a late starter into the world of playing bass and a 4 string makes life easier for me and it does all I need and more besides. I tried playing a 5 but it didn't work out.

I love the type S single cut style of the Harlot and carried it over to the 4. This is the 1st single cut 4 that Alan has created. Zigmondo now owns the 5.

I’d 1st like to stress that Alan’s creations are 1st and foremost working tools (I know that Alan would agree here), instruments for the creation of the low end. These basses are designed 1st and foremost to be used. Design wise he dares to be different and if you ask him to make you a Jazz he’s likely to point you back in the direction from which you came. I personally love the flowing lines and perfect balance that both my ACG’s have had. I also like to be a bit different.

I’m not a disciple of the ‘tone wood’ gospel and I think that bass/amp/string etc. manufacture has more than its fair share of b*llshit in a b*llshit laden world. I do think you have a choice, use any functional wood and paint it or use something that has its own unique ascetics, lacquer it and celebrate its beauty.

I don’t understand any of this ‘coffee table’ comment crap either, each to their own (I have both and appreciate them all), this bass is a ergonomic delight being tiny and light, has a superbly comfortable asymmetric neck and just about the lowest action I’ve ever experienced.

Alan carefully chooses his pickups that are made entirely to his specification with magnet type and windings to suit positions on the instrument and to complement his double low pass filter pre amp. This is another example of Alan’s commitment to instruments that provide a huge variety of real world tones. The tonal range is so wide that these basses can’t imo be categorised in terms of tone at all.

So having stressed the fact that ACG’s are not simply exotic wood artefacts but are remarkable musical instruments that celebrate a natural phenomenon in a quite unique way and that having a say in the crafting of such an instrument is a real pleasure here’s some photos of my new bass. I can’t wait to let it loose in anger.

Peter[/quote]

The woods and the build quality look exceptional Peter - congratulations! Very nicely worded post too if I may say so...

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Now that sir is a stunning bass! Looks like the wood selection is similar to something I've been weighing up too, even down to the different rear facings. What's the weight like? I'm now selling my Alembic Triple Omega due to back problems so am weighing up viable options (another Sei currently leading the pack if the Alembic does go). The only thing I did find playing a Harlot at Bass Day was that I couldn't really play it fingerstyle as the steep cutaway of the upper bout really hurt my wrist.

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Weight wise it's very reasonable although I haven't put it on any scales. It's actually quite small too. By fingerstyle to you mean tapping with the LH?

Alan does have several designs and will adjust them to suit the customers requirements. IMO the only way to buy an ACG is to call in and spend 3 hrs going through his stock and talking about your needs. Therapy in it's purest sense :)

Peter

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Definately :)

I first went to see Alan a good while ago now and even though I wasn't ready to buy a bass he was more than happy to show me round. No pressure, just talking about the stuff he was building and was going to build. That first visit kinda stayed in my head, I kept contact with Alan and come bass-buying time again ACG was in the picture.

With the 9, I wrote to a lot of luthiers who had experience of building the large (and some might say silly) instruments. Some of them e-mailed me back and some of them didn't!! When Alan told me that ACG 9 number 1 was in the works, we talked in some detail about what I was after and ACG had another customer.

The way Alan works, always with an openness for customer input was great for me and I think that goes for all ACG customers. It's a bit like having a fine suit made. We all want basically the same thing, but someone might want loud stripes instead of a fine pin-stripe. :huh:




PS: Moffat also has a superb cafe and a fantastic sweet/toffee/whisky shop.

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[quote name='GreeneKing' post='373672' date='Jan 7 2009, 11:27 PM']Weight wise it's very reasonable although I haven't put it on any scales. It's actually quite small too. By fingerstyle to you mean tapping with the LH?

Alan does have several designs and will adjust them to suit the customers requirements. IMO the only way to buy an ACG is to call in and spend 3 hrs going through his stock and talking about your needs. Therapy in it's purest sense :)

Peter[/quote]

By fingerstyle I actually meant simply playing with my right hand fingers (i.e. as opposed to a plectrum). I have a similar (but far worse) problem with the classic Status shape . The shape of the upper body bout means I can't play for more than a couple of minutes without experiencing excruciating pain in my right wrist/forearm. Thing is, i think I like the Harlot shape best of Alan's designs, but not completely sure it likes me...

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I think I understand. I don't rest my arm on the upper bout but rake my thumb down the strings/place it atop a pup so the upper bout is only there for decoration for me.

I too think the Harlot is definately the most appealing shape.

The one? You know it could be, it does everything. I may make the Yorkshire bash :)

Anyone fancy an ACG pre demo?

Peter

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