Fat Rich

[quote name='thisnameistaken' timestamp='1332511294' post='1589397'] I'm not a big fan of figured wood tops though, don't think I'd find a used S2 that I'd like. [/quote] Status figured tops are generally a bit more understated than some, but often topped off with a load of LEDs usually pushing the price up. BassDirect seem to get a fair few come through, although they don't have any at the moment: [url="http://www.bassdirect.co.uk/bass_guitar_specialists/Second_hand_Ex_demo_Bass_Guitars.html"]http://www.bassdirect.co.uk/bass_guitar_specialists/Second_hand_Ex_demo_Bass_Guitars.html[/url]

[quote name='thisnameistaken' timestamp='1332504140' post='1589206'] Cheers for the info Rich. Out of interest what is that fiver worth do you reckon? I don't think I'll be shopping for one any time soon but I do need to make a change at some point - not sure how much longer my wrist can cope with my beloved Thumb. [/quote] Good question, as you say they don't come up very often and the prices seem to vary wildly. Probably between £500- £800 is my guess, prices probably reflect sentimental value more than anything else. It's a mean sounding bass but to be honest I prefer the current S2 Classics (approx £1200 for a used 5 string), they sound a little less in your face and are more versatile with a much improved EQ. Also beware most headed basses are 34 3/4" scale length and can often be on the heavy side, you might be swapping wrist pain for back pain!

[quote name='mercuryl' timestamp='1332434615' post='1588375'] I like my holes on the top. That's where they should be. They come out less easily from there I find. [/quote] Plus with the plug sticking out the front it doesn't get damaged if you sit on a sofa.

I asked Sheldon Dingwall about an unlined fretless, even he looked a bit doubtful! I've had a quick go on a couple of Dingwalls and liked them, but not enough to swap my existing gear.

[quote name='aboyandhisbass' timestamp='1332422335' post='1588063'] Hey guys, thanks a ton for all of your advice. I'm the sort of person that likes to jump straight into ideas but all of your feedback has given me a better idea of what I should be doing to improve myself as a musicians first, than just diving in at the deep end and making myself look unprofessional. I too had lessons at the very beginning but all he did was send me away with some tabs and for £27 it really wasn't worth it. It didn't help that he also had about 5 other students at the same time all playing different instruments.. Any tips on any good theory books or websites I could look at/study? I'm not really in a position to go to college/uni so the internet/books are the best bet for the moment. [/quote] I just did a google search for "online bass lesssons" and got pages full... most I've never heard of (and some I definitely don't like the look of!) but it's worth checking out [url="http://scottsbasslessons.com/"]http://scottsbasslessons.com/[/url] he's also on Basschat and is probably the kind of teaching level you should be aspiring to, although it might take a while to get there. There's also The Major's bootcamp right here: [url="http://basschat.co.uk/topic/74284-the-majors-bass-boot-camp-session-index-1-36/"]http://basschat.co.u...ion-index-1-36/[/url] I've found learning theory with a view to teaching it to someone else is a great way of getting it to stick, basically everything you learn from any source see if you can find a way of explaining it in a simpler way. Think of new examples that demonstrate the theory or technique, also maybe songs that you already play that make learning fun. It won't prepare you for the occasional leftfield question from a student that make your brain zigzag for a few seconds but that just comes with experience. You may need to expand your musical horizons too, for example I now have no idea what kids these days are listening to and they may have no interest in the kind of stuff I play Good luck! Edit: Doddy's way ahead of me, as usual!

[quote name='eude' timestamp='1332416690' post='1587908'] I'm not sure the scale length is the only way to achieve a good low B, both my current basses and have 33" scale length and the low B on both is fantastic, in fact it wipes the floor with other low B's I've tried on basses I won't name here, ranging from 34" to 36" in scale length. The additional length of course plays a part, and is obviously the [i]easy[/i] way to get a good low B, but a super stiff stable neck and body construction, plus some additional luthier voodoo can get you there too. Eude [/quote] Fair enough although that's not been my experience, although I agree neck stiffness is a factor. Had a listen to the tracks you did for Hoochie Fig and your 33" sounds great, very nice playing too!

The best thing about the Dingwall seems to be that the low B has the same tone and character as the other strings due to it's immense scale length, a lot of normal (34") scale length 5 stringers the low B sounds a bit dull and lifeless compared to the other 4 strings. Then when you actually use the lower range it really sounds like the bottom has dropped out of the song, although having very fresh strings helps fix this problem. I play Status S2 classic 5s, mine are all headed and have a longer scale length (34 3/4") and the graphite neck really brings the low B to life and makes it sound like it more like the other strings. They have very slim stable necks thanks to the graphite, however they have a modern tone that's a world away from the more classic sounding Dingwall so they might not be to your taste. A lot of Status players seem like a really twangy tone and super light strings but the basses are actually capable of all sorts of sounds. Don't be put off by what you hear on Youtube, might be worth trying one out if you can.

Some better pics of the 5 string: [IMG]http://i751.photobucket.com/albums/xx159/richardmatthews_photos/forum%20stuff/Blue502.jpg[/IMG] [IMG]http://i751.photobucket.com/albums/xx159/richardmatthews_photos/forum%20stuff/Blue503.jpg[/IMG] [IMG]http://i751.photobucket.com/albums/xx159/richardmatthews_photos/forum%20stuff/Blue501.jpg[/IMG]

"Matrix" was the name for the headed versions of the Series 1 and Empathy before becoming known as a model in it's own right. The first headed Series 1s came out in March '92, I have two prototypes. They do come up for sale sometimes, usually fairly cheap. A lot of Status players seem to like a twangy sound because of Mark King but the basses are capable of sounding however you want it to. [IMG]http://i751.photobucket.com/albums/xx159/richardmatthews_photos/forum%20stuff/P1000219.jpg[/IMG]

[quote name='andybassdoyle' timestamp='1332285662' post='1586272'] Is that a dingwallwall? [/quote] Before it was redecorated it was a dingeddingwallwall. Probably.

[quote name='Happy Jack' timestamp='1332252257' post='1585574'] OK, so "loewe" is German for "lion", let's add a stylised lion to our basses. Hmmmm. .......... [/quote] Exactly, far too literal. Imagine if Leo Fender had put big chrome fenders on his basses over the pickups....... oh.....hang on a minute.

[quote name='Johnston' timestamp='1332251826' post='1585560'] [b]Operation[/b] [color=#282828][font=helvetica, arial, sans-serif][size=3]The Muppeteer or Muppet master always holds the Muppet above his head or in front of his body, with one hand operating the head and mouth and the other manipulating the hands and arms, either with two separate control rods or by "wearing" the hands like gloves. One consequence of this design is that most Muppets are left-handed as the puppeteer uses his right hand to operate the head while operating the arm rod with his left hand. There are many other common designs and means of operation. In advanced Muppets, several Muppeteers may control a single character; the performer who controls the mouth usually provides the voice for the character. As technology has evolved, the Jim Henson team and other puppeteers have developed an enormous variety of means to operate Muppets for film and television, including the use of suspended rigs, internal motors, remote radio control, and computer enhanced and superimposed images. Creative use of a mix of technologies has allowed for scenes in which Muppets appear to be riding a bicycle, rowing a boat, and even dancing on-stage with no puppeteer in sight.[/size][/font][/color] [/quote] At last, some useful information on Basschat

[quote name='flyfisher' timestamp='1332253935' post='1585604'] But only some. The whole premise of the thread is nonsense. Why should someone with "something to say" be any more 'authentic' than someone only interested in fame and fortune? Besides, an awful lot of people with "something to say" just spout rubbish - which, of course, is fine because it's their rubbish and they are sincere in their message. In practice, of course, people will tend to admire people with "something to say" if they agree with what they're saying and then consider them to be 'authentic'. But why should, say, Billy Bragg be more 'authentic' than, say, Nick Griffin. Both are surely 'the real thing' in terms of having "something to say" and fervently believing in it. All of which is personal, subjective opinion and you'll either agree or disagree - but it won't change anything. [/quote] You're probably right, and I only said "part of whether an artist is "authentic"". And I put "authentic" in quotes because I'm not sure it's the appropriate term for music or artists. I'm less interested in music where someone's pushing an agenda, I'm more interested in something with a groove

[quote name='leftyhook' timestamp='1332200365' post='1584872'] ...........I'm sure whoever played guitar in Sooty's band was L/H........ [/quote] Same in Mongels:[b] (Oops, not suitable for work)[/b] [media]http://www.youtube.com/watch?v=72zLHGCOm-0[/media]

[quote name='thepurpleblob' timestamp='1332249480' post='1585497'] Are you suggesting that Led Zep were less interested in fame than Jedward? I don't have any idea but I don't think you can assume that. I can't believe that people pay money for Jedward's output but presumably they do and it must be relevant to them... even if they are ten years old. Can you be authentic to a ten year old... don't see why not. [/quote] That's why I said have more to say than Jedwood (most musicians have imo) , I think Led Zep copied an older style of music and were probably partly motivated by fame judging by their lifestyle when they made it big. And the poor quality of their later albums!

[quote name='Bilbo' timestamp='1332247029' post='1585427'] I am glad I am not the only one who thinks Alembics are designed by blind guys. Their custome jobs are almost universally gross. I think there are a couple of old Series 1 and 2 basses that I would play and the Stan Clarke model is not too bad but some of them.... Have a look at this freak show.... [url="http://www.alembic.com/info/fcvault.html"]http://www.alembic.c...fo/fcvault.html[/url] [/quote] 'Orrible! Take a look at this lot: [url="http://www.loewenherzbass.com/english/gallery.html"]http://www.loewenherzbass.com/english/gallery.html[/url] In the design meeting "It needs something...... just a little something extra..... A LION!....... yes!.......that's what it needs"

Yes, your fingers will soon soften up if you stop playing for a few days. Very uncomfortable.

For me part of whether an artist is "authentic" or not is whether they have something to say, be it lyrically or musically. Led Zep took blues and gave it a bit of a twist so have more to say than Jedwood who seem to perform whatever they're given and enjoy the ride. (It's possible that Jedwood do indeed have something to say but no one has ever been able to listen to them speak for more than 2 minutes before being driven mad). So for me authentic includes early rap highlighting life in the ghetto, people like Billy Bragg and Morrisey with more political and social type stuff, the old blues men singing about misery, probably most punk, probably singer songwriters like Adele. (I've realised I don't like most of these examples ) Less authentic are people only interested in fame, performing other peoples material with the help of Autotune, or more modern rap that's about bling and power. In the middle there are people like Madonna and Lady Gaga who have something to say but also cultivate a strong image and are media savvy. [i]Edited to make some sort of sense[/i]

[quote name='thisnameistaken' timestamp='1332239752' post='1585191'] I find the hard part is stopping my picking fingers from tripping over eachother. If you slow it down it will help a lot, then gradually build up the tempo. [/quote] Yup, it's the right hand that's the problem for me too. It's one of those lines that demands a bit of attention to alternate fingers and raking, there's some interesting stuff here that might help: [url="http://scottsbasslessons.com/technique/right-hand-technique-bass.html"]http://scottsbassles...nique-bass.html[/url] Edit: These look useful too: [url="http://scottsbasslessons.com/technique/build-speed-accuracy-on-the-bass-1.html"]http://scottsbasslessons.com/technique/build-speed-accuracy-on-the-bass-1.html[/url] [url="http://scottsbasslessons.com/technique/build-speed-accuracy-on-the-bass-2.html"]http://scottsbasslessons.com/technique/build-speed-accuracy-on-the-bass-2.html[/url] Good luck!

Nothing wrong with using tabs or youtube as long as you're also working other things out by ear. Do a search on "Ear training" and learn to identify intervals by their sound, that'll improve your ability to improvise no end and get you closer to just being able to play what you want without having to work it out first. As for Rhythm Stick, it's just practice. I can play it full pelt when I've been playing a lot, when I've not had a chance to play anything for a while it's a struggle. If you ever get to the point where you want to play it at a gig make sure you can play the line significantly faster than the original unless you really trust your band to get the tempo right

[quote name='Johngh' timestamp='1332107972' post='1583490'] Wronnngg!! ......... [/quote] +1 There are plenty of people who use Status basses for rock and a few well known ones like Chris Wotsisname from Muse, Guy Pratt from Floyd, Martin Blunt from Charlatans, Steve Firth from Embrace, Martin Glover and Pino Palladino (session) and Rhino as mentioned before. Pretty much the only famous player who slaps a Status is Mark King. They're great basses but people assume they're only good for slapping machine gun triplets and lighting up like Christmas trees.

[quote name='Gust0o' timestamp='1332071305' post='1582720'] Using a BC Rich for soul would totally suck. [media]http://www.youtube.com/watch?v=qeYk6mFSwIk&feature=related[/media] [/quote] Also, didn't Bernard Edwards use them for a while? And Jo Dworniak although I bet most people haven't heard of him!

I don't like singlecuts, pointy rocky basses or Pedulla Buzz shape basses, Ritters, Parker fly shaped things. It's great that Gus make a bass that breaks the mould but to me it looks like an accident in a sausage factory. I don't like headless basses or LEDs which makes get togethers with my mates on the Statii forum slightly awkward I don't like the feel of short scale basses, I've tried to get to grips with my 6 stringer but I just don't feel the need for that extra string, although I do like 5 stringers. I've never got on with Warwicks or Alembics, Jaydees or Ricks although I can understand why some people like them so much. Other than that, I'll play anything.

Had a scruffy '62 Jazz for a short while but sold it because my cheap MIJ Jazz sounded pretty much identical and felt the same after some work with some sandpaper. I sold the '62 for about £100 more than I paid for it so I shouldn't complain but it's the only bass I really regret selling. I'm still playing the MIJ Jazz some 20+ years later so that's some consolation.

Can't believe it's over a year since I started this nonsense, where did the time go? Some great replies on here though, keep them coming!