Kiwi

Maybe I need a few pointers then Shep. I bought it for the arp function primarily - its the only pedal on the market which offers full arp but bafflingly, Eventide didn't provide access to full programmability! So if I want to replicate an arp setting off a song and run my Deep Impact through it, I'm screwed. The other annoying thing is that the pedal is being marketed squarely at guitarists if the patches are any indication. So this takes more fiddling about than should be necessary (for example - pitchshifting intervals). I took it up with Eventide a year ago, who said they'll discuss it at their next roundtable but I've heard nothing back, despite chasing. Left me feeling a little disappointed to be honest. The ironic thing is that this pedal's arpeggiator CAN be programmed via MIDI cc messages according to one of the users on the Eventide forum. So it appears this pedal has so much potential for bass that THE DESIGNERS haven't realised yet. That's just slack in my book. It doesn't do the job I bought it for so I'm in two minds about whether to sell. Will make my mind up once I get my hands on it again.

And the other purchase last week from member 'James' was a lovely 1975 Fender Jazz. In 27 years of playing, this is the first Fender I've ever owned. I'm no expert on them but this one seems light compared to others I've played, the neck appears to fit snugly and is very straight. I have managed to set it up now for very low action although I think a couple of frets at the dusty end could do with a bit of a re-seating. The instrument is all original apart from a badass bridge. The body appears to be four piece (there's a small piece of extra wood sandwiched in on the lower bout) and it has a 4 ply pickguard. The bass so far sounds fairly miller-ish - more so than my Celinder after the pickups were swapped for more vintagey sounding versions. Kind of wish I had my EBS Microbass II with me so I could play around with some settings. Then...finally...I collected this off Old Horse Murpy yesterday. A minty EBS Session 60 combo. Does the business very nicely for practice purposes. Practice combos have come a LONG way since I took up bass. Back in the 80's an amp of this quality and price would have been the stuff of futuristic fantasy. So the collection (across two continents) currently stands at: 1979 Alembic Series 1 (graphite neck) 1996 Celinder J Update (Ol' No. 2) 2002 Celinder P Classic (with a factory installed J neck) 1975 Fender Jazz 1979 Musicman Stingray 1985 Pangborn Warlord (graphite neck) 1993 Pedulla Pentabuzz 2009 Shuker Headless 6 (with Graphtec MIDI) 1998 Spector NS5CR (34" scale) 2000 Spector NS5CR (35" scale) 1985 Steinberger XL25A Pedals: EBS Microbass II Akai UB1 Unibass Akai SB1 Deep Impact Eventide Pitchfactor Backline: Genz Benz Shuttle 6 Trace Elliot V8 Burman Pro1000HD (late 70's, road rashed) Burman Pro1000HD (1984, mint condition) Rack 1: Lexicon MPXG2, TL Audio 4 band parametric valve eq, Peavey DPC750 power amp Rack 2: Axon AX100 pitch to MIDI convertor, Roland JV1080, MIDIman 16 channel mixer (which can be plugged into Rack 1 via the MPXG2 effects loop) EBS Neo212 x2 I'm also in the process of booking some course time with Jon Shuker for a very, very special build later this year which will result in two more basses but of my own design (fretless and fretted 5 string headlesses). At that point, I might be considering a little rationalisation of the backline at least...not sure I need all the refinement of a rack when it's easier to take the GB Shuttle and something like a Zoom B3. I'm still on the hunt for a pair of lightweight, tiltback cabs though.

OK its been a while since I've updated this. Sure enough, return to the UK has resulted in being hit by GAS again. First purchase was opportunistic - Ashley Pangborn Warlord with a graphite neck. As you can see, it's seen better days but the issues are only cosmetic. The finish is extremely thick in places and has clearly cracked due to temperature fluctuations (apparently it had been stored in a shed at one point). The neck is precision-y in profile and has an ebony fingerboard. The finish is a black tint on some kind of lightweight wood...not sure what. Could be swamp ash I guess. The grain is too distinctive to be basswood or alder. Sound is very much like a mid 80's Status Series II on the bridge, a little warmer and unfocussed on the neck. The pickups were made by Kent Armstrong who I understand may have made the original GMT versions for Status. The electronics work great and the mid control is dialled in perfectly on the honk of the bridge pickup. I personally like wide bodied basses very much and this one is extremely comfortable. The neck profile, screw in logo and aluminium fittings suggest it might be a later version (circa 1985/86) and the lack of exotic top and brass hardware suggests it might have been built to a budget rather than an aspiration. So, all in all its a bit like the bastard love child of Jaydee and Status. Needs refinishing though - any suggestions on colour? I was thinking pearl white at one point...but CAR might be nice too.

[quote name='MiltyG565' timestamp='1371310682' post='2112461'] You don't really have to follow those rules in music, BUT, we are talking about design, not music, and design has many rules. [/quote] There are design principles (such as form follows function) but they're not rules. With design, the process is just as important as the outcome. So the principles can be side tracked if there is enough justification. Basschatters might be justified in asking 'what sort of process did Warwick follow in developing this instrument'? The additional context might help them understand how Warwick arrived at the outcome they did.

LOL Luckily you didn't hurt the amp. Good on Dawsons for following through though.

[quote name='White Cloud' timestamp='1371290849' post='2112170'] We will all have our own opinions on this bass but the bottom line is that music is creative art and therefore there are no rules. [/quote] Of course there are rules in music... sonatas, movements, madrigals, ANY piece by Bach, three minute pop song, intro/verse/verse/chorus/verse/chorus/bridge/solo/verse/chorus/repeat and fade, root fourth fifth, first third fifth....bottom line is this is a piece of industrial design not a specific genre of music that deliberately avoids riules such as avante garde jazz.

I think it's just a pants wettingly intimidating piece of machinery - just coming to terms with how something so big can defy gravity was my first challenge when I saw one at Farnborough many years ago. For those who haven't already visited, the air museum at Duxford has one on display (as well as a concord). I can just touch the wing when I stand under it. Its an absolute shame that XH588 WILL get retired eventually. So catch her while you can and donate! [url="http://www.vulcantothesky.org/news/468/82/We-launch-Operation-2015.html"]http://www.vulcantot...ation-2015.html[/url]

1) My Spector NS5CR through almost any kind of Class D amp into my EBS 212 neo cabs. Enough warmth to sound full without being overwhelmingly boomy, shedloads of midrange growl. 2) Pedulla Pentabuzz through some kind of chorus into two GK RB700 combos, loud enough so that the strings start being sustained by feedback.

Rich bought my SWR Triad cab when I lived in Plymouth and recommended I check out Bassworld. The remaining 10 years have been a blur. But Rich also recommended I get an Akai SB1 when they were still 90 quid. So not all bad.

Are you sure you aren't over generalising just a bit there ff?

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.

Yeah I used one at a gig once and it doesn't really sound neutral to my ears. But thanks very much for the suggestions, I'll go with the EBS Session Combo.

I bought James's 75 Jazz and it was an outstanding transaction. He answered every single question I had openly and promptly and even came down to London on the train to personaliy deliver the bass. He was in London for about 25 min and then had to catch the train back - over 2 hours either way. The bass is in fantastic condition and has no issues, including a snugly fitting neck pocket! I can't describe how grateful I am for the effort he went to. Thank you so much James.

I'm turning into a bit of an EBS endorsee at the moment - two 2x12 cabs and Microbass II are soon to be joined by an EBS Session 60 combo...

[quote name='Dingus' timestamp='1370790015' post='2105526'] If Mrs Dingus had taken that attitude when I decided to put the kids up for adoption then we wouldn't have amount of free time and disposable income we both enjoy nowadays . What worries me is that instead of eggs it could just as easily have been some nutcase throwing a hand grenade . Oh well... [/quote] Well, y'see what's wrong there? Too many nutcases in the world. Get rid of them, I say! Let's throw hand grenades at them.

I believe Stanley Clarke once played alongside Lalo Schifrin and said it was one of the most challenging gigs he'd ever had to do.

[quote name='mamayo' timestamp='1370616055' post='2103526'] Hi there, been reading the posts for a while - it's cool here! I'm a London-based Bass Player working in the industry as a session player since 1990. Thought it's time I joined. Will share what I'm up to with you all in case there's any interest :-) Doing some Jam sessions based in London and recording an album. Just recentlly become a Mayones endorsee and with Aguilar for 1 year now. Cheers! [/quote] Yolanda! We've never met but have sort of conversed many years ago on FB. I know there are MANY players on here who appreciate and respect your work. I hope you'll stick around and enjoy being part of the community. PS: Mr Weller lives down the road from me apparently...

Alembic...5 string models apart from the Series basses (e.g. Spoiler, Distillate, Elan) are less common but good value. very narrow across the nut indeed.

Oh well done, Sir! I had Aaron Armstrong rewind new pickups on Ol No.2 along a more vintage spec and I can't tell the difference from a 70's Jazz now (although it doesn't have the Marcus Miller edge yours does). Super oomphy though. Glad the Skarbee bass is back in ol' Blighty though.

Its been a long time since I've shopped for a practice combo. Budget is flexible at the moment but other criteria include: Neutral sound, i.e. no colour, must sound good with more than just fender designs. Compact - Speaker should be no more than a 12" cone and an easy one hand carry over a 10 minute walk but capable of going down to 50Hz Wedge tiltback - so I don't have to elevate the amp to hear it. Let me know what you think?

Nile said he was feeling really sick that night, but the audience helped him through. Sounds like with the Bristol gig doing an acapella version of Get Lucky, his time in the UK has been very uplifting so far.