Kiwi

[quote name='E sharp' post='846749' date='May 24 2010, 05:50 PM']Early graphite necks could warp , as graphite has a memory . Steve Smith , who used to work with Bernie Goodfellow , fretted the Stingray for me (it was originally a fretless Modulus neck) , and told me that molecular memory was the reason why a few early carbon necks warped .[/quote] Molecular memory applies to something that has been bent into a form that is different from its original state. A graphite neck is molded out of a resin/fabric composite. There isn't preexisting state for the molecules to bend back into. The fabric conforms to whatever shape the mold is and gets held in place by wet resin. The only exceptions to this form of construction are some of the Moses necks which are made mostly out of carbon dust impregnated resin and can be subject to movement with temperature extremes. But they're still formed from a mold like the other necks. (The Moses Steinberger necks are pretty good though, much stiffer.) I understood that calculating the right recipe for sufficient stiffness in the phenolic fingerboard was tricky. Mistakes don't become apparent until long after the bass has been set up and sold. Status, Modulus, Alembic and Musicman have all had well documented issues with this. Yes...even Rob Green is human!

[quote name='Shaggy' post='846328' date='May 24 2010, 09:47 AM']Any info on the long-term stability of graphite? [/quote] My old Alembic was amongst the first basses ever made with a graphite neck. Seems to be holding up ok

I bite, I claw, I savage, I go for blood, nothing gets in the way of me and my creativity. Unless you have honey roasted cashew nuts.

Never felt neck dive on the Kramers I played.

because they're cold to the touch? I've played a few in my time and agree about the sound though, very warm and clean.

[quote name='duke of prunes' post='845237' date='May 22 2010, 05:48 PM']Hiya. bassist from Cambridge MA USA. found your sight through Happy Jack. hope you don't mind a Yank hanging out.[/quote] Nope, so long as the prunes keep you regular. Welcome to the hive.

You can always run a bit of 1200 grit wet n dry over the back of them like you might with a wooden neck.

Saying wood is better is like slagging off mobile phones in the 80s for being too big and cumbersome. The technology hasn't been refined enough yet. FWIW all my favourite instruments are made from nothing but maple. But I still think graphite is better.

Ahem... ...not necessarily more stable, it depends on the construction. Graphite necks generally do have a snappier tone but body wood plays a greater part in which frequencies are dampened. I refer the honourable member to the statement I made previously... [url="http://wiki.basschat.co.uk/info:tech:use_of_composites_graphite_necks_in_bass_guitar_design"]http://wiki.basschat.co.uk/info:tech:use_o...s_guitar_design[/url]

He's a very cool guy too. Has this screen saver on his PC at home full of photos of friends giving him the finger. Also runs a '23 Ford T-Bucket with a twin turbo V8 and nitrous putting out about 1200bhp.

[quote name='urb' post='843808' date='May 21 2010, 07:30 AM']It's alright I called him yesterday to let him know - he told me he'd just subscribed to Jazzwise - it's amazing how some people can change... [/quote] LOL

Thats fantastic! Congrats mike!

I'd go for a through neck, active, stereo, broomstick neck, wide body, narrow string spacing, humbucking soapbars, ebony fingerboard and hand made. [quote name='Wil' post='841571' date='May 18 2010, 10:42 PM']If Status put some decent looking pickguards on those vintage basses, or left them off entirely, then phwoar. As they are, no thanks.[/quote] you can always ask for the pickguard to be left off.

I chose the Shuttle over the Mark Bass LM1, it was more articulate and less boomy.

Hi and welcome, which functions band are you with?

I have 1200 messages in my inbox and I'm happy to share...

[quote name='Wil' post='839640' date='May 17 2010, 10:59 AM']I think of each beat as a cyclical form - imagine a clock where the second hand completes a full circle every beat, with the beat dead on 12. Playing ahead of the beat would be hitting a note at say, 10 o'clock. Playing behind would be hitting it at 2 o'clock. Obviously the exact point you hit the note would vary depending on the feel you wanted to go for in the song.[/quote] Good god man, have you been reading my posts? The way I see it, there's a 'pocket' which is however far in front or behind the beat you can get away with without totally ballsing up the rest of the band. I tend to play on the beat but prefer to play behind. Forcing yourself to stay as far behind as possible is bloody difficult to do consistently. As challenging as any widdling exercise (IMO).

I think you might be right. Would be fairly easy to get that sound with his Yammie 1010.

Get out.

OK I've disabled the flood control.

Interesting, looks like she manages to make it over to London every couple of years then?