Fat Rich

[quote name='witterth' timestamp='1347089189' post='1796785'] The Fretless MM stingray is what he was known for at the time, and he used to "slap it up" a bit too! wouldn't touch a Precision back then. How times change. [/quote] It looks like it has a Status graphite neck in the Top of the Pops clip? Pino and his big hair were in my way when I went to see Doug Wimbish at the Bass Centre many years ago but I didn't really feel I could say "Oi, mush! Move yer barnet". That's pretty much my only claim to fame.

I contacted Ian about buying some longer Fender bridge screws he'd tracked down, he sent some over to me next day free of charge. Then a week or two later, unprompted he sent some more that were an even better match! It's thanks to the generosity and helpfulness of people like Ian that makes Basschat a great place to be.

Just got back from buying a P bass off Chris, he couldn't have been more helpful. Also he showed me around Plymouth while I was there and provided a curry! I wouldn't normally make the trip from London but Chris provided really good pictures of the bass, detailed shots of the pots, neck stamp and plate, as well as giving the weight of the bass and a clear description. Speedy communications too. Many thanks Chris.

The Empathy is no longer made but is very similar to the S2 Classic. The early Empathy had a simpler preamp with just bass and treble (IIRC) and a totally rigid neck with no truss rod. Later ones got the semi parametric designed for John Entwhistle, bass, treble, mid frequency sweep and a 3 way mid switch giving +6db boost/flat/-6db cut. This preamp is now used on the S2 Classics and is really useful, it gives you 3 slightly different sounds at the flick of a switch. They also got an adjustable neck with a truss rod and the newer lay back headstock if headed. The other main difference is the Empathy had fancy wood facings on the back as well as the front, you can order this as on option on a new S2 Classic if you want.

What you want to avoid doing is showing up to a lesson without having even looked at the stuff you were given the week / fortnight before because of other commitments. Your teacher will have two choices in that situation, make you practice the previous lessons stuff (while charging you £25+) or move on to another aspect of playing knowing that you'll then have two lessons worth of practising to do. You'll either get fed up because you're paying top money but just struggling through the same stuff each lesson and not really progressing, or you'll soon end up with a daunting amount of stuff to work through and it'll get you down. I'd say aim for weekly or fortnightly. Leave it 3 weeks or a month and you might find you're not practising at all until a few days before the lesson.

[quote name='wishface' timestamp='1346830626' post='1793641'] .......My left thumb doesn't come over and is centred. However when I move up the neck the thumb moves into a more horizontal position pointing toward the headstock and is further from the fretting fingers because that's the only way my fingers can access the neck at that height. I can't really see how anyone could play otherwise unless they had a very unusual shaped hand! I'm not sure how to display this. [/quote] Your thumb placements look OK, I actually aim to have my thumb pointing up towards the headstock playing all positions on the neck, it's a more relaxed position for your hands and puts less strain on your tendons IMO. Difficult to be sure from the pics but I reckon the action could probably go a little lower. Could you try a little test? Fret the E string at the first fret with your left hand, also fret it at the 24th fret with your right hand. What is the action like at the 12th fret? It should be around a millimetre, probably a bit less.... if it's still really high, or if the string is on the 12th fret that'll tell us the truss rod needs adjusting.

[quote name='thisnameistaken' timestamp='1346680119' post='1791842'] Totally O/T but I was watching Match of the Day 2 last night and it struck me how much you look like Dion Dublin! [/quote] I think you need a new telly! Thanks for another great lesson Scott, really useful!

[quote name='TRBboy' timestamp='1346759676' post='1792713'] It's not even places where the paint would wear off!? Gross. [/quote] And the neck and fingerboard look like they've just come out of the factory. I like the way they've half arsedly rounded the top of the EMGs off, but not where you'd wear them out if you'd played them.

[quote name='bubinga5' timestamp='1346699710' post='1792147'] that pickup is in the 60's position.. you can tell by its position with the tone knob... 70's position is in line with it, 60's is slighty further forward.. [/quote] Yup, you're right, I need to get my eyes tested! So it could be a late 60s with a 70s bridge, or maybe just a bitsa?

'Orrible! Gives relicing a bad name. Or rather, a worse name than it's already got (I mean reliciing isn't even a real word )

[quote name='ikay' timestamp='1346678765' post='1791814'] Assuming it's all original and not some sort of reliced reissue, on the evidence of the pics alone I'd say it's a '70 or '71, possibly an early '72. Reasoning as follows: - it has single groove saddles which puts it at 1970 or later - it has lower thumb rest which puts it at pre-1974 - it has 60's bridge pickup positioning which puts it at pre-1972 [/quote] It's this, although I think the bridge pickup is in the 70s position but it's the bridge is further back on the body than on the 74 and later. (which is why I needed extra long intonation screws, thanks again ikay!) [IMG]http://i751.photobucket.com/albums/xx159/richardmatthews_photos/forum%20stuff/Linedup.jpg[/IMG] Something about the body finish and the control plate looks a bit odd, like it's been scoured. It's probably OK but I'd check the dates on the pots and neck stamp just to be certain.

I think some people struggle with the body shape of the Kingbass 1, the revised Kingbass 2 shape addressed some of those problems. I still find all Kingbasses too small, I prefer the classic Status shape of the S2 Classic. But that may be because I have chimp arms. The necks should all feel pretty similar as I believe they are all based off the same moulds, the Stealth and particularly the Streamline will be pretty light. The wooden basses can vary in weight quite a lot.... for example one my my S2 Classics (headed 5 string) weighs nearly 12lbs, another near identical spec weighs 8lbs.

I'm having the same problem trying to find scruffy pickguard screws and 70 Jazz pickup screws. If anyone has any going space please drop me a PM. Hope I'm not hijacking your thread too much surfguy!

[quote name='cocco' timestamp='1346510833' post='1790094'] [url="http://imageshack.us/photo/my-images/230/dsc00077kd2.jpg/"]http://imageshack.us...sc00077kd2.jpg/[/url] this is the pic I was given for reference. [/quote] I think that one has the active circuit that gives a pleasing bass boost all the time, with adjustable treble cut or boost. With the graphite neck it should be a good 'un!

[quote name='cocco' timestamp='1346508934' post='1790054'] Sounds promising so far. How do they feel to play? Are they sculpted or slab bodies? Also being walnut are they heavy? [/quote] Walnut bodied ones are usually quite light and have a sweet warm sound, plus the bite, note definition and sustain of the graphite neck. Should have a very slim neck like a 60s Jazz bass, nice and fast to play. The early Energy Matrix had the standard classic Status body shape, the later ones had a slightly more rounded shape but both are comfortable to play. The only area the Energy Matrix was maybe lacking was in the preamp department, not sure what yours will have as the circuitry varied over the years. Should be a great bass!

[quote name='MarriedTheBassist' timestamp='1346309926' post='1787643'] Thanks all- the barnet store is not so far away so we can go there for a play. I originally searched denmark street in google and found this forum by clicking on a link to an old thread (2008) completely slating one particular bass shop! We had visited it before now but just for a browse so no experience of the service- which judging by the posts at the time of the thread seemed very poor. might visit the shops closer to home first. [/quote] Denmark Street was terrible for a while, things seem to be slowly improving. Wunjo are very helpful though and they've recently opened a bass only shop so they've now got a lot more choice. Also, don't be afraid to haggle / ask for a discount... particularly in the West End as some of their prices are rather high compared to online shops. If you're fairly close to Barnet you're probably fairly close to Electrohill in Palmers Green, they don't have a great selection but they're mostly in your price range and can be found here: [url="http://www.electrohill.co.uk/acatalog/GuitarsBassGuitars.html"]http://www.electrohill.co.uk/acatalog/GuitarsBassGuitars.html[/url]

Wow, that's the sparkliest red sparkle I've ever seen. In the pictures it almost looks furry!

Maurice Micklewhite anybody? Or Reg Dwight?

[quote name='allotabass' timestamp='1345897094' post='1782853'] It's whats left of a '69 Jazz. I bought in 1982 and it hasn't left my side since. Except for a few other basses I have owned and used live, this bass has handled roughly 95% of everything I have done. I always say I'm going to retire it but then I get a new mod like the Status neck, she gets more stage time. [/quote] Through body strung Badass Done really badly too Love it though, space age neck on a vintage bass, very cool.

[quote name='Mabrothrax' timestamp='1346182397' post='1786267'] Surely there's a silly stagename generator somewhere? .......... [/quote] Is it the Beckhams?

The 70s necks were a little deeper than the 60s ones, plus the string spacing was very slightly tighter at the nut probably to accommodate the bindings round the edge of the fingerboard. The chubbier neck always used to put me off 70s Fenders but I'm now finding I can play a little faster on them than the slim 60s profile. The Japanese 70s reissues might be worth a look too.

I find Chromes a bit too bright, but experimenting with different strings is probably the best way to change your sound.... trouble is it's expensive and time consuming if you do proper back to back tests.

Good stuff! Your left hand looks relaxed and your positioning and shifting is good. One way to avoid fret buzz is to fret the string nice and close to the fret, not halfway between frets. If you fret directly on the fret you'll mute the string somewhat so you need to be just a little behind it. But don't get too hung up on it at this stage, but it's something to aim for as you progress. It takes time and practice to build accuracy but it means you'll need less pressure to get a clean note, less strain on your hands and more speed, plus if you venture onto a fretless bass you'll have a head start However on your right hand you're only playing with one finger, really need to get them walking! Maybe practice some scales using strict alternate fingers, that'll also help with muting as you can bring your right hand into play as well as your fretting hand. Good luck! You're making really good progress.

[quote name='clashcityrocker' timestamp='1345977455' post='1783661'] Yeah mate that's looks sweet. My only concern is black and baby blue not looking as good. Will have to get the electrical tape out first to mock the blocks up, also the p neck will be up for sale soon,its a mighty mite one anyone got an idea of value?cheers [/quote] Yup, I reckon white bindings and MOP.

Long term, what produces a better all round bass player? 1) Someone who has studied the extremes of the instrument, realised they've overplayed and used judgement to get back to something tasteful that suits the song or 2) Some lazy, useless plodder like me who can only play simple stuff and has to search around in my empty brain whenever I want to play something vaguely interesting