Kiwi

[quote name='Stylon Pilson' post='406017' date='Feb 11 2009, 09:42 AM']Maybe you could get a little groove routed into the top that could form a boundary round the clusters of related controls. If it was only a fraction of a millimetre deep, it wouldn't be visible from the front, but from the player's perspective it would be just right.[/quote] That would be like relying on signage to help people get around a shopping mall rather than using logical organisation of shops, don't you think?

Fair points guys, I'd prefer a simply layout as well. I guess the thing I'm a little conscious of is not being able to remember whether the piezo volume is third or fourth knob along and stuff like that. Ideally what I wanted was a layout based on the design principles of the Yammie TRB and Fodera layouts where difference control knob sizes are used to imply function. [list]For example: [*]Large control knobs - master volume (+LED) and pan [*]Small control knobs - eq [*]Isolated cluster near MIDI socket - MIDI switches and volume [*]Isolated cluster near bridge - piezo volume+voicing and on/off switch [/list] Unfortunately the bass isn't big enough to provide all the space necessary to make these clusters distinct. But I could use three control knob sizes, with an extra small control knob for the piezo and MIDI volume.

[quote name='Rich' post='405365' date='Feb 10 2009, 02:19 PM']Well as you know, I'm a big fan of controls that follow the edge of the body... so how's this? [attachment=20039:kiwi6.jpg] The cyrillic characters are supposed to be switches... they're the closest things I could find in Word... [/quote] Thats not too far off one of Jon's suggestions too. But I sent him this tonight: [attachment=20073:Shuker_b...controls.jpg] I was going for something logical (believe it or not). There's also a MIDI volume control that might be useful too. I anticipate many of my patches will be normal bass under another instrument pitched an octave higher. BTW, "acoustic" refers to the piezo and the acoustic volume can be pulled for bright/dark voicings. [attachment=20081:alternat...l_layout.jpg] EDIT: I've done another that includes the MIDI volume but combines the LED on/off with the master volume.

[quote name='peted' post='405283' date='Feb 10 2009, 12:50 PM']Has this bass surfaced yet? Can't wait to see some photos of the finished product, some sound clips would be great too.[/quote] Jon sent me an email last night asking me for opinions on the control layout. There's something like 4 switches (three for MIDI control, one for the piezo) and 5 or 6 knobs. Some of what he had sketched wasn't clear so I'm waiting for him to come back to me before I make a decision. Its the last thing that needs doing, apparently.

I had a go on Ped's V-bass system the other weekend. Although it was still east to tell the difference between some sounds and the real thing, it probably wouldn't be noticed by the punters. The emulations also knocked the sounds from Line 6's Variax into a cocked hat. I wish I'd bought one a year or so ago, it would have saved me lugging three basses to gigs at one point.

Good on ya, it might be a bit of that stuff is collectable. People like DJ Joey Negro and DJ Dimitri have spent years listening through old 70's disco records looking for overlooked grooves and they've paid small fortunes for the rare stuff.

+1 Go toiga!

I've found Stevie Wonders bass lines to be uniquely challenging mainly because they weren't written for bass guitar. The fingerings take me all over the place and well outside the standard 1 finger per fret. Its also really interesting when the bass line is almost as complex as the melody in places. As for the singer, I can't add anything to what has already been said. Some good advice there and I can identify with your situation closely having just left my band this week for a whole host of good reasons. I'll still miss it though.

I kind of agree with the sentiment in Macdaddy's original post but think it also depends on what you're looking for in an instrument. The biggest difference I've noticed between budget and pro basses is the feel. But I do like low action and no fret buzz. The cheaper instruments are all made (obviously) to a budget but if a player tends to prefer high action then they're less likely to see the difference between good and bad fretwork. Sound doesn't bear a whole lot of relation to price beyond £1200 new I think. It's all relative.

[quote name='Mr. Foxen' post='403121' date='Feb 7 2009, 11:58 PM']Maybe if you stacked 2 on their sides.[/quote] end on end gives better on axis response...

I bet they're good mates.

looking at forums like this possibly gives them an idea of demand and market reaction. their websites would be able to tell them where links were clicked.

[quote name='alexclaber' post='402737' date='Feb 7 2009, 12:10 PM']But jazz basses have the pickups wired in phase.[/quote] whatever, the mid scoop sound wasn't there

Aren't they the same retailer who have been notching up the price of Hartke LH500 amps?

Very tight bass and drums but the slapping and keys make the band sound too much like early Level 42 to my ears. I still enjoyed the musicianship though.

[quote name='LWTAIT' post='402500' date='Feb 6 2009, 11:34 PM']I just feel that he has made so many much nicer looking, and much more original looking, basses than a blue jazz bass copy, and if you look at those links i put up, im sure youll agree with me. im not saying its an ugly bass, but its just a fender copy.[/quote] Maybe Jon was proud of it for other reasons?

Jon was told by some bloke at a trade fair that blue jazz was the nicest one they'd ever played. I tried it as well but Jon hasn't wired the pickups out of phase so it wasn't emitting classic scoopy jazz sounds.

Steady on chaps.

Alan Murphy - he made the most intricate phrasings look effortless and he was a master of controlling feedback Joe Satriani - not much to say on him that hasn't been said. A superb musician. Nile Rodgers - a jazzer at heart, but in such an accessible style John Williams - a master, I'm never going to fully appreciate all the nuances of his technique. Martin Taylor - I just love his feel and interpretation

The Basschat complaints department is poised for action as usual.

[quote name='7string' post='400586' date='Feb 5 2009, 12:36 AM']I don't really want to be a guinea pig. It's not that I believed that he wouldn't produce a spectacular instrument, but my thinking was that maybe there would be things he would improve next time around. For me, there would be no next time. Also, with the 20% rise in the price of Sei basses (which was made after I got my Sei) it was out of the question from a cost perspective anyway.[/quote] Couldn't agree more, this is what prompted me to go with Mr Shuker rather than a couple of other luthiers who expected me to fund their learning curve. [quote name='thisnameistaken' post='400626' date='Feb 5 2009, 04:58 AM']The "difference between M&S and Saville Row" analogy isn't quite right, because most people who go to a tailor for a suit will get a very well-fitted, non-flashy suit. Whereas most people who buy a custom bass go completely the opposite way and end up with something heinously graphic. And frankly - and I'm not picking on anybody here because I've never met any of you and I'm sorry if the generalisation upsets anyone, but - frankly it's often total anoraks who buy these basses, so you end up with a "cocktail dress" bass on a "train spotter" bassist.[/quote] You're making a lot of generalisations there. Just look at the build diaries thread and you'll see a lot of positive comments on those 'heinously graphic' instruments.

[quote name='Pentode' post='400376' date='Feb 4 2009, 08:10 PM']Not everybodys' tone - but my SVT CL & 2 X 15" Classic cabs leave that little tell tale stain in the front of my pants every time! [/quote] Are you sure thats the amp, and not just old age?

Lovely job! I'd have a hard time keeping up with your drummer though. How do you manage it?