Kiwi

Spectors aren't particularly narrow. Delberthot is right about the mid 80's Yammie 5000's, and Steinberger XL25A's were similar, converted from a 4 string. Many 5's from around the mid 80's have similar design approaches.

IIRC 8x10 cabs tend to be highly sensitive with ratings around 103dB. The SWR amp I've owned plus others I've tried had scoopy colouring so that might work with the colouring of an 8x10 nicely I guess.

I don't believe its possible to design pickups for fretless, the laws of physics don't allow the mid frequencies to be targeted without losing other things as well. Just get a set of pickups that are as neutral as possible, they will allow the mids to come through. Also look at getting a flexible eq with mid sweep so you can manage the mids easily if you suspect you will need an upright sound for one song and something parpy for another.

These were coming up all the time on Ebay about 5-7 years and not selling, even for that price.

Sell the jazz 4, p bass and 2002 ray, keep the pre-EB ray and SR5, get a custom Jazz 5 string. Job done. Unless you're doing motown covers, the jazz will make a p-bass-ish enough sound for gigging esp. if you get a parametric eq installed.

Heh. I went from hero (in my own teenage mind) to zero. Had rudimentary lessons from a multi instrumentalist but it wasn't until I went to a specialist teacher with a passion for the instrument that my world really opened up. My first lesson with him was the same week Jaco died, and the second session I had started with the newspaper clipping of his death and so, out of respect, he introduced me to Portrait of Tracey which still remains one of the most musically phenomenal tracks I've ever heard.

I just remembered these people too: [url="http://fibersonixx.com/"]http://fibersonixx.com/[/url]

Thanks Eric, I've PM'd Phatmonkey. He may need more information from you.

There was a time about 5 or 6 years ago where you could easily pick up a used TRB Mk1 thru neck for 600 quid on Ebay. I knew then they were being undervalued and would have had one were it not for the width.

I think the injection molding approach produces a better sounding result anyway. The fibres are suspended in epoxy resin around layers in a wooden core before the resin-fibre mix is injected. The core can also be tuned for rigidity prior to injection as it still plays a structural role, unlike the monocoque construction method. Fabric isn't needed, the process is more like fibre reinforced cement although the trick is to ensure the fibres are evenly distributed throughout the mold. It's a much quicker way of producing a warmer sounding neck. The same approach for a whole bass would result in a massively heavy instrument though. My Steiny weighs more than my Alembic

[quote name='henry norton' post='1328356' date='Aug 5 2011, 10:08 AM']Wasn't the original Steinberger one-piece carbon fibre moulding?[/quote] It was but resin based injection rather than monocoque layering.

I've had a long and more or less fruitless search looking for the ideal compressor. I just need something to take the edge off the bass without altering the dynamics. I've found that just having a valve in the signal chain somewhere more or less does the trick for live work.

Had a similar conversation on Facebook recently - I'm lost as to the differences now. Fantastic sounding instruments even if the string spacing is wider than I'm comfortable on.

I won't buy anything else other than Wizards now if I need new pickups. I wanted to get a set of 74s for my Celinder but they won't fit the routs. I've had about 4 pairs of soapbars from him in the past though.

Gus Guitars could do one for you by hand laying a shell over a wooden core. Alternatively there's Miller in Germany but I don't think they get a lot of business given they've diversified into other things.

[quote]You'd be better off just listening rather than watching the videos. As soon as you see the bassist\'s haircut you\'ll be wanting to punch him in the face because of his stupid haircut! Nice tone though.[/quote] Hey, that's an extended range hair cut. BTW it's not jazz, its pffy funk. FFWD to 1:15. I challenge anyone to convince me that the bassist doesn't go 'PFF' at the end of the run.

Hmmm, I think his comments are more about the player and less about the bass...don't believe the hype...maybe even, don't go blowing a load on an instrument if you think it will make you sound like him!

[quote name='Beer of the Bass' post='1327543' date='Aug 4 2011, 06:06 PM']My brother is a classical guitar maker who is trying to offer sustainable woods wherever possible, so it's something we've chatted about before. While it's harder to find quality examples of the traditional hardwoods like rosewood etc, there are any number of alternative, more sustainable woods which would do the job equally well [i]if customers can be persuaded to accept them[/i]. The area where it is more worrying is with softwoods like spruce for acoustic intruments. Quality spruce and cedar pretty much have to come from old-growth forests in high altitude or northern areas as the slower growth and shorter growing season gives them the required tight grain. Plantation grown softwoods have much wider grain and are not as suitable, apparently. The sustainable solution would be for musicians to maximise the lifespan of instruments by choosing used instruments and repairing rather than replacing them, but this is probably not too palatable to the big guitar companies.[/quote] +1 I can't add anything to this. I've been hunting for sexy looking NZ native woods over the last few weeks. Not only is the old growth stuff hard to come by now (and it breaks my heart when I see a stunning piece of 100 year old native broadleaf that was used as a house pile and is now borer ridden) but the source of these timbers is totally unreliable and inconsistent. Guitar makers literally have to be opportunists and take what they can get as and when they find it. I'd never be able to offer native woods consistently on a line of basses, there's just not enough of it available at the quality expected.

[quote name='phil.i.stein' post='1321686' date='Jul 30 2011, 08:47 PM']and he can play xylophone at the same time with his feet.[/quote] Three note chords too. But seriously... [url="http://www.gigwise.com/photos/47655/3/The-Greatest-Rock-N-Roll-Myths"]http://www.gigwise.com/photos/47655/3/The-...ck-N-Roll-Myths[/url] Seeing Prince at two aftershow parties was a life changing experience for me, he's an astounding band leader. He manages to get his musicians to achieve amazing levels of team work when they're improvising. The people who work with him show a huge amount of respect even after they've been booted out of his band. There were rumours on one of the fan sites that he had been accused of taking credit for Wendy and Lisa's work while collaborating on Under the Cherry Moon soundtrack amongst others. There's some support for that on their [url="http://en.wikipedia.org/wiki/Wendy_%26_Lisa"]wiki page[/url] which also mentions they later on fell out with Trevor Horn in a big way, too.

Lovely old girl, not quite as beaten up as mine but oodles of character nonetheless. [quote name='Ou7shined' post='1320995' date='Jul 30 2011, 12:53 AM']They used to do the odd Jazz neck if you specifically asked for one. £1500 seems pretty fair for a '79.[/quote] Really? Interesting, I wonder if mine has one too.

Someone should ask him whether the instrument is US made... lol

[url="http://cgi.ebay.com/IBANEZ-STANLEY-CLARK-BASS-GUITAR-/360364020203?pt=Guitar&hash=item53e75e91eb"]http://cgi.ebay.com/IBANEZ-STANLEY-CLARK-B...=item53e75e91eb[/url]