Kiwi

I have a headless Shuker 6 string bass and a headless Shuker guitar with Steinberger parts. I've never owned a headless Status bass, but I can assure you the balance thing is a bonus for 5+ string basses.

I was listening to some Police in the car the other day and, compared to Fields of Gold, his voice has deepened since those days. Hopefully as the result of some singing lessons. It sounds to me that his untrained voice sounds like the air escaping from a hot air balloon because thats where it was strongest. I can sing in the original key sometimes, I've got a fairly high singing voice but the range is pretty limited.

Used to be, and with good reason. Basses don't depreciate as much as cars. Now I'm not sure, because I've upgraded the car and the basses value on paper is a lot more too but whether someone out there would be prepared to pay the theoretical value is another matter.

I'd have a 5'er if thats what they're going for, but not as a main bass. Steal of a price though.

Ha ha, Marks voice sounds really good! He did well to hit those high notes. The Heathrow inspired fills and groove are nostalgic too. The video is obviously lip syncing but hell, who cares. Its the thought that counts. Merry Christmas Mark and Heather.

[quote name='René_Julien' post='683180' date='Dec 13 2009, 06:07 PM']How about the MB2-500?[/quote] Wossat?!

+1 my band were part of the Bedford's promo reel on Youtube for a while.

depends on what sound you want. If you are looking for a mellow and warm sound with growl, all mahogany is hard to beat. If you're looking for a singing tone with lots of sustain then I'd suggest hard maple. Fingerboard material is very important as well, maple stains, rosewood can be eaten by roundwounds so I guess that leaves ebony, pau ferro or phenolic if you want to use rounds. If you prefer flats then rosewood should be fine.

My Wizards for the Shuker are on their way over as I type. Looking forward so much to trying them out. Have a set of Delano SBCs if anyone is interested?

I gigged for a long time with a GK RB700 1x15 wedge combo. My ears loved it but my back didn't. I would go back to one in a heartbeat if they made lightweight versions.

[quote name='Happy Jack' post='682001' date='Dec 12 2009, 11:23 AM']That's a fascinating instrument CK. Have you played it? That high-arched fingerboard looks like a bit of a monster to get used to ...[/quote] I played it acoustically as he was packing up after a gig at the time. The fingerboard was definitely different and the radius meant that someone who looked at their neck all night might find seeing the G string a bit of a challenge. It was a very versatile instrument though.

Also found they do a bass version of the cello... ...or is that a cello version of the bass? [url="http://www.nedsteinberger.com/instruments/omnibass.php"]http://www.nedsteinberger.com/instruments/omnibass.php[/url] Anyway, 34" scale also.

How about a double bass that can be played like a bass guitar? My recommendation would be an NS electric cello, it has a 34" scale, comes with a shoulder strap and is small enough to be played like a bass guitar. I have a friend with one and its every bit as good as the electric uprights but in a more portable package. [url="http://www.nedsteinberger.com/instruments/cello.php"]http://www.nedsteinberger.com/instruments/cello.php[/url] Oh yes, it comes in 4, 5 and 6 string versions too!

Sell me the green one.

[quote name='Sean' post='679877' date='Dec 10 2009, 07:58 AM']Are they 34s, Steve?[/quote] Yes, I believe they're both 34" scale.

These are my two current NS5CRs: [attachment=38044:DSC02843.JPG] and the Euro 6 I sold earlier this year. [attachment=38045:DSC01715_1.jpg]

[quote name='Sean' post='678761' date='Dec 9 2009, 09:19 AM']Yep. They're back out, though. Nice pickups but very different from what I wanted. I thought they'd be perfect for someone's Ibanez SR or Lakland 55-01 especially if they took advantage of the coil taps. Shame I haven't got anything to transplant them into.[/quote] If I find a third NS5CR at the right price, I'll have them off you.

There are issues of trust as well. The trust has to be earned from everyone in the band, not just a favoured few who are percieved to be the power base. The consequence is that people start projecting their fears onto a situation given no evidence to the contrary (and god knows I've seen that happen in other situations as well). No substitute for working in an open and transparent way, these days.

Have you fitted those Wizard soapbars Sean?

I've discovered over the years that I find it very difficult to work with people who don't have much experience in collaboration. Last example was the percussionist in my band who basically treated the band as his business of which he was the boss. By default he treated us like employees which lead to all sorts of personal tensions building up which then developed into cliques and eventually a subtle form of alienation. the ironic thing was that he probably had the best of intentions for everyone but the project became too much of his personal mission. I've heard its common with bands though. The big regret I have is that it started off as a group of friends wanting to share something and ended up as a business with a demanding and overly commercial approach which people were given the stark choice of either opting in or out of.