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bassaussie

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  1. I like the way you've gone into so much detail about the pros and cons of the bass. Too often we see ads with "62 Jazz" (or whatever), and the description is optimistic at best, with very little detail about the "non-62" parts. Wish more sellers were like you.👍 GLWTS.
  2. Yes, spot on. It's not often I see custom basses that manage to give a nod to a couple of legendary builders, and also end up looking good, but that's a cracking bass. Absolutely beautiful.
  3. That was the name on one of the basses I saw in real life. It stood out to me as I'd never seen the name before, and also because it was a really English sounding name - a lot of the Japanese instruments tend to have Japanese inspired names.
  4. I like to think I'm quite familiar with most brands associated with bass, but I can honestly say I have never heard of Frunt before. Completely new name to me, and I love hearing about stuff like this, it's so interesting to read up on. Where they a big brand in the UK? They sort of look look Acoustic or Sunn amplifiers, but I'm simply going on appearance. That's a great photo.
  5. Yeah, I knew these guys were a big influence around the same time, and someone else mentioned Mick Karn. No disrespect intended with the solitary mention of Jaco.
  6. Thanks for the info Bassassin. I find this period of manufacture so fascinating, but it's a little like trying to research some parts of ancient history - there's these gaps in information that'll never be uncovered. I actually have a friend locally who's also really into this sort of investigation, and a while back he said "wouldn't it be great to write a book on this", and I remember thinking "sure ..... if you want to go insane"!!!
  7. I've seen a few of these basses, both in real life and on the interwebs. One thing I always noticed was that the pickups are very rounded on the corners, and I remember that this shape was the same as the shape that some of the earlierr Cimar basses had. I don't know if this gives any hint to the origin of the instruments, as it's possible that different companies sourced their pickups from a single supplier, but I thought it was worth mentioning. I'd love to own one of these. The first time I ever saw one, the instrument was offered to me for sale, however, the effects weren't working at all, and the seller said something like "oh, I'm sure it's an easy fix, probably just a wire needs to be re-soldered", and I thought what I always think in situations like that - "if it's so easy, why didn't you do that yourself"?!!!! So I passed on the sale, but always hoped I might come across another.
  8. Thanks for that. You're right, it's not 100% conclusive, but it certainly gives a feel for what they were doing. And they were definitely doing a good proportion of fretless basses.
  9. Hi all, I've been fascinated in watching a number of Wal fretless basses pop up in the classifieds area, and it got me thinking. What proportion of Wal basses were fretless? I'm talking about that late 70s, early 80s period. I don't know how accessible this information would be, but thought maybe there might be someone on here who'd have an idea. Part of the reason I ask was my experience with an Australian brand, Maton (obviously from my name, I'm Australian). Back in the late 70s and 80s, they made a bass called the JB4. I think all up, they made about 1000 instruments, but the interesting part was that around 40% of these (possibly slightly more) were fretless. I think this was a comment about what was happening in the bass world at that time - Jaco had hit the scene, and a lot of good fretless players were appearing, and these smaller companies were making good quality instruments in response to that. When I look at Wal, they remind me of Maton - not the instrument itself, but that they were a smaller company responding to the need for good quality, yet local instruments.
  10. I thought the same thing. It was so expensive to get their gear in Australia. I ended up getting a Mark V AH250 and a 4x10, and they were incredible. Never had a Status until many years later, and I had the priveledge to own fretted and fretless Series II basses from the 80s. Amazing basses, but I foolishly let the fretted one through my fingers - I could live without the fretless, I'm rubbish at fretless, but I should've kept the fretted one.
  11. I forgot about him! I remember seeing him in another video, and he was using a Fender P, and I thought "what's he thinking?!!!!" In my mind, at that time, if you had a Status bass there was no reason to use anything else. After I put that post before, I decided to look up "Love Like Blood", and there's Raven with his Status in front of the classic Trace stack - AH500,, 2 quad boxes and 2 15s. The mightiest rig.
  12. Mate, I was exactly the same! Henry Thomas and his cool basses! I always remember when they had Larry Graham on, explaining the funk. Absolute God. I think by the time I got to see the series (this is in Australia, mind you), a few years had passed since it had been made. So by that time. I'd already discovered and fallen in love with Status basses. I remember the episode seeing the Status guitar, and I was absolutely gobsmacked. This was after years of gluing my nose to the TV every time the video of Tears for Fears "Shout" came on, which had some of the best shots of a Status bass ever in a music video. Or Killing Joke's "Love Like Blood", with Raven rocking a Status Series II. God the 80s had some cool bass gear!
  13. If you want to see one of these in action, try to find some episodes of a BBC show called "Rock School". It's from the early 80s. It was a tutorial sort of series, I think there was only about 6 episodes made. Anyway, in at least one episode the female guitarist used a Status guitar. I did some research on these at some point, and if I remember correctly, there were only a handful made. OK ..... so being the OCD person I am, I found the video on Youtube! Go to about 2:00 for a good view.
  14. I used a 3 band eq live for a long time, and I think there was always a temptation to use the mid control to cut that part of the sound when it wasn't necessary. It's what I call "the bedroom sound" - a bass can sound amazing in the bedroom when you're just playing by yourself, but in a band scenario, a lot of the bandwith you tend to cut in the solo scenario is exactly the bandwith you need to be heard when playing with a band.
  15. I agree with this. The 3 band eq is a great bass, no question. But if you think "nah, this is not for me", don't write Stingrays off until you at least try a 2 band, as it's a different animal. The same basic sound is there, but there's something about the 2 band eq that seems to have more oomph than the 3 band. Having said that, another poster above suggested that maybe it's just not for you, which is also a possibility. Nothing wrong with that, that's why the bass market is full of so many great options.
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