Kiwi

I've asked myself the same. In an idealogical world I'd only own 4's for recording classic bass tones. But reality double hits in that I don't record very much AND I have three other basses (Alembic, Steinberger XL25A, Pangborn) that are collected and have no real role to play in a working bass arsenal anyway. So there's no room for ideology really, only the satisfaction of ownership...and I LIKE being able to play different basses as the mood takes me. So what the hell. I'll probably keep all the fours until I've both made my perfect bass (not too far off) and I find something non-bass related that is more satisfying to own (like a classic car).

I remember admiring his taste in basses when he was with Paul Simon - Alembics and Sadowskys.

An Alembic Series II graphite 5 string like Jimmy Johnsons. [url="http://www.youtube.com/watch?v=zR2gMAf13Gs"]http://www.youtube.com/watch?v=zR2gMAf13Gs[/url]

[quote name='Dr.Dave' timestamp='1382948145' post='2258162'] I'm sure any number of people could stand there and play the notes but that's not the point. [/quote] I respect your perspective Dave but will also point out that it was good enough for Toto (Mike Pocaro), Journey (hip replacement for Steve Perry), AC/DC (post mortem), Rolling Stones (post mortem), Metallica (post mortem) and The Who (post mortem x2) amongst others. I suggest there's no black and white position based on precedent.

Lee Sklar or Pino could always stand in...but lets hope he has a speed recovery.

[quote name='alyctes' timestamp='1382893652' post='2257656'] I agree. I've dealt with John; he's a nice guy and I don't think he deserves this sort of sniping. [/quote] [i]Admin hat/off[/i] It seems very unfair to me. [i]Admin hat/on[/i]

I love how tight they are although they're so tight with the stabs at times its bordering on OCD. I think they will gain more respect doing their own material than rehashing other songs because not all the songs they've played fit into their playing style. I wish the bass was fatter in the mix because the keyboards and drums seem to dominate everything which is a shame because Henrik is doing some interesting stuff..

[quote name='drTStingray' timestamp='1382601000' post='2254072'] The mute rubbers they used on pre EBs used to fall off - [/quote] The foam mutes on my '78 were a gungy mess - they'd rotted.

Ridiculously talented...what's not to love about her funky stuff. She's a bit like a jazzier Erykah Badu on bass.

[quote name='Bassman Steve' timestamp='1382274575' post='2249895'] I was using Acoustic throughout the 80's and converted to Boogie in 1989. That said I was using a Peavey 1820 cab (18 and 2 x 10). Great idea but the sound disappeared completely around the middle register of the bass!! [/quote] Their 410TX cab had the same issue. I thought it might be because the drivers were wired to be out of phase.

Alembics with graphite necks. Pangborns with graphite necks. 5 string Steinberger cricket bats.

Looks like a Tune Bass Maniac.

Sorry, I had planned to go up there last week but work committments kept me here. Jon's also having some work done on his house so I suspect something may happen closer to Christmas.

Fingerboard can influence fret noise for sure and a thick board helps keep the neck straight if softer woods are used for tonal reasons. I'm not sure about how much it contributes beyond that.

[quote name='Annoying Twit' timestamp='1382259780' post='2249697'] What could they use for the fretboard? Is the native field maple hard enough for a fretboard? The body would be easy, with alder, linden, and ash being commonly used woods, as well as woods such as oak and walnut. [/quote] I made enquiries about it with Jon Shuker in the past. Supply of woods is very inconsistent...often they are acquired on an accidental basis if sourced outside the commercial supply chain. 'Found woods' also need time to dry. Architectural salvage yards may be the best source of stable woods but provenance would be hard to establish. I have a stash of crab apple back in NZ I am planning to use at some point...if it dries without cracking. Sycamore for the fingerboard BTW, field maple is a slightly different species.

I've just done a bit of reading up on the matrix of sensors used in the fingerboard of the DG 20 and it sounds in principle a lot like the system Steve Chick uses...although his is resistance based rather than pressure based. Oh well...

I had an idea yesterday which is basically to take the Casiotone DG20, fit the tech into a more traditional body and include all those bass synth patches from the Akai SB1 which noone else seems to have nailed in other pedals yet. The lack of any need for pitch to MIDI should take care of lag. The only downside would be that it wouldn't be possible to get the sound of a real bass guitar with it but for most pop, techno or electronica songs where keyboards would otherwise be used in the studio, I don't think that would be an issue.

Zackly.

[quote name='krispn' timestamp='1371724404' post='2117324'] I honestly think everyone on TB [/quote] *COUGH*

I started playing bass in 1986...my first amp was a NZ made Jansen 1x15 combo that was as big as a small fridge and put out 50w. I then swapped to a Peavey TNT150 but didn't like the lack of focus in the mids so then changed to a Trace Elliot AH250 series 6 with a Peavey 410TX cab but didn't like the lack of warmth from the amp, or the complete absence of mids from the cab. In the 90's I saved up for went for an SWR Basic 350 and Triad which was much more my thing. I had that set up for quite a few years.

Andrew McKinney is the bassist and he's a member.

I still have mine. I bought it for 90 quid in 2003. It tracks better than anything short of Steve Chicks revamped Industrial Radio MIDI synth system...particularly loves single pickup basses such as P's or stingrays. However a potential competitor is the Chunk Systems Octavius Squeezer although I have not bought one yet and have been discouraged by a two knob interface and no USB programmability. The SB1 was never overhyped by Akai - it has a limited range of sounds but most of those sounds can be slotted straight into a song that someone has recorded in the past and they sound warm and fat. This makes the pedal UTTERLY fantastic for function bands and funk/disco covers. I Feel Love ? Right there. Rubber bandy synth bass from a Chicane tune? It's right there. Is it worth 700 quid? No, absolutely not, it's stupid money and I'd happily sell mine for that given its more than an Octavius Squeezer now. But I haven't tried a Squeezer yet to know how it stacks up to a Deep Impact to make that choice. So in the meantime, it's still a great pedal. I think Akai should do a re-release. I think Eventide could use the tech in their Pitchfactor pedal to do a pedal that is better.