Wolverinebass

[quote name='E sharp' timestamp='1433021339' post='2787216'] Well Mark King has had more signature basses , I reckon . [/quote] It seems to do well for Rob Green. Only 9 Kingbass varieties so far. See you next year for the new version with some pointlessly ludicrous miniscule twist. In Adam Clayton's case, why is he doing it?! He doesn't need money and it's certainly not for prestige or something like that. He's one of the most famous bass players in the world. He could buy any bass ever made. Any amp ever made. It's just bonkers to put your name to something that you could buy so easily and disavow when the next NAMM show is on to pose with the next "shiny, "shiny." I suppose I'm old school in this regard in that I find it wholly distasteful. I couldn't put my name to something and then turn around and sign up for something else in such a calculated, cynical fashion if I've given someone my word. Even more so if I was already rich beyond measure.

[quote name='HazBeen' timestamp='1432741137' post='2784480'] 12 string Hamer funk! Must see [/quote] Yeah, well ironically I did do some slap on my 12 string on one of my band's last ep. That was a challenge actually and one I really enjoyed. However, I'd imagine that neither Mark King, Stanley Clarke or Flea would have been worried....

I suppose it's all relative really. Most of the "great" players wouldn't necessarily work in different contexts but I think that is something which is true for most people as nobody is good at everything. Not Jaco, Mark King, John Entwistle or whomever your idol might be would work in a different situation. Whilst they all are great at what they do, none of them would work that well in a different genre. Even the best session musicians in the world whether that be Nathan East or Pino can't do everything well. Pino's destruction of the Who as a live entity being a prime example. He's ruined that band. Whilst I agree with JTUK's comments per se they do read as being quite bitter in some context, which I'm sure wasn't the intent. For my own part, I can do maybe 2 things very well. The John Entwistle style (double hand tapping) and the usual nonsense that entails in that sort of "lead bass" style. The other being a style more in line with Justin Chancellor which is more in the progressive metal type vein which lends itself to the odd time meters and heavily polyrythymic playing (which I truly love). Would I fit in a funk band? Not really. Then again, I have no interest in being in a band like that. Everyone concentrates on what they need for what they do. It's just logic really. So to criticise someone shouting "one trick pony" is merely oneself looking at one's own proficiency in the mirror.

Definitely Rita Ora.

As a 12 string player, this is genius. It's worth noting that I can't stand single cuts, but this bass defies that rule. Top quality work squire!

[quote name='Conan' timestamp='1430980306' post='2766412'] Oh? What does he use? [/quote] Markbass, I believe.

A 4x12 with adjustable frequency for the crossover. I appreciate that I've just described the mesa boogie powerhouse 4x12 there, but it's on the wish list and I do remember talking to you about it at the south east bass bash a year ago before the gen 3s came out.

[quote name='Wayne Firefly' timestamp='1429706317' post='2754126'] Its not about room acoustics or the actual PA system, just the attitudes of some engineers. Some are friendly and on it, like I said, I usually go over with a smile and introduce myself in a friendly manner but sometimes it dosent matter what you do, you cant avoid A holes. We played up in Gateshead a few years back and WERE TOLD TO GET THERE FOR 5PM TO LOAD IN AT ANY COST so we bust our balls to get there at 5pm, which we did, only to sit outside till 7PM until the sound engineer came to open up. To which I asked him where the effin hell he'd been.... to which he replied it was our own fault for getting there too early then no bass in the PA. I learned an important lesson that night. [/quote] So would he if that'd happened to me. It would have been "don't act like a tool if you don't have dental insurance." For me it's an attitude thing as well. If someone is willing to at least listen to what you want then that's great. It's when they won't that problems arise.

[quote name='NancyJohnson' timestamp='1428852707' post='2745259'] I'm still not sure whether it's actually even on sale yet. [/quote] It's not yet. Nobody has one and I heard an interview with pinnick last week where he said there were a couple of things to get tweaked still before it went out. I'd bet August.

This is just stupid. You know that amp will be great, but 2 things concern me. Firstly, it's class D. I have now come to the belief that they don't have the same bass response as solid state amps. Your own experience may differ. I noticed when I switched from a peavey ipr1600 to my Yamaha, the bass response was much, much more obvious. It certainly wasn't the 100w difference. Secondly and most importantly, what are they doing with the price? That's so having a laugh! 2 grand? Jog on.

[quote name='Bassassin' timestamp='1428672780' post='2743655'] I don't get too much GAS these days but that LP Recording copy is dragging me back towards the rabbit hole... J. [/quote] I must admit, I was seriously tempted to get one too.

[quote name='tauzero' timestamp='1428713491' post='2744077'] Just to put Fodera's bass pricing in perspective: I have just acquired a Warwick Buzzard via this very site. I realised when I got it home that I hadn't entirely thought it through, as I didn't have a suitable stand (I do have wall hangers, but I might be looked on askance if I took a wall to a gig) and the Hercules grab stand is marginally too short. So I gwgled, and found a chap who hand-makes a stand for Buzzards and similarly wonky and long instruments (Explorers and Alembic Dragonwings for example). I emailed him to ask the price of his stands (steel tubing tripod, two legs forward and one back, neck holder like a Stagg stand) and was slightly surprised to find that they were $599 plus $100 shipping. That is the correct number of 9s after the 5. So, buy one of his stands for $699 plus whatever HMRC wants to extract from me, or buy a Hercules stand and a lump of wood a couple of inches thick to stand it on. Call me a philistine who doesn't appreciate craftsmanship, but I've just ordered a Hercules stand. [/quote] Yeah, I know exactly who you mean. I was of the same opinion Which kind of resembles "get lost." Not that I'd put my buzzard on a stand anywhere except my own studio so it was a moot point anyway. As for the whole point of the thread. If I had the money and felt a bass was worth it, I'd get it. On the other hand, I feel that nothing should really cost more than £6k. After that I just don't know quite what esoteric features you're paying for. I have played a Fodera and whilst it was very nice, I thought it wasn't for me soundwise. Not that I had ever really entertained the notion of buying one before. I just wanted to see what the fuss was about.

[quote name='cameltoe' timestamp='1426881010' post='2723165'] I've had the frets levelled on on every bass I've had to get the action as low as possible. I also like minimal relief, almost a straight neck, so the action is close to the same across the whole neck. There is nothing I hate more than a bass with increasing action the closer you get to the bridge- as soon as you get up to fret 10 or so the action is double what it was on fret 3 or 4. [/quote] I agree with this totally. My 12 has the problem you describe though it's not too high until the 15th fret. I seriously need to get a new nut made as the nut end is amazingly low. Thankfully all the rest of my basses are less than 1mm at the 12th fret. Sod digging in. I'd like my hands to work properly in 20 years.

[quote name='disssa' timestamp='1426244774' post='2716035'] My Trace Elliots: [/quote] That's just obscene!! Love it.

That's the 212.

I have an Italian one and it's 15kg. Unless they've changed the spec for the new ones it only has one handle on the right hand side.

I'd never been before. Really enjoyed it. I saw that harvest red bag. My mate pointed it out to me and drooled. I said "yeah, that does look great if you want a gig bag that looks like a fire engine." Enough said really. I very nearly bought an Enfield Black Raven. Nearly. Had it not been finished in satin things could have went very differently. Luckily enough it was enough for me to "step away from the vehicle...." Still, Martin was a very nice guy and I enjoyed chatting to him. Also had a chat with the lady on Enfield stand (I'm presuming it was Martin's wife?) she asked what I thought. I said I thought they should charge more. That bass had the nicest neck profile I've ever played. Perfect in all honesty. For me at least. I didn't see very many basschatters actually only going on the Sunday. Was good to catch up with Bluejay again (thanks for the lanyard!!) and I did notice Dood floating about, but since I've never met him I didn't want to pop over just as I knew who he is. As it turned out I just grabbed a Harvest strap and a few leads. When I got home I related to Mrs Wolverine that I was this close (holds up fingers an inch apart) to buying a bass for 2 grand. She thought it was hilariously silly, but such is the atmosphere around the show I guess. Leave your cards at home please. I am sad that I didn't see ACG as I'd have really liked to have met Alan. One of the most hilarious things happened just as I was leaving. My mate didn't like Stu Hamm's performance. Really hated it and I mentioned that regardless of whether you liked it or not, there's always something useful to be learned from it. So we're waiting at the lift and my mate is still saying how much he thought it was awful cringeworthingly self indulgent. Stu Hamm walks up behind him just he's finished speaking to wait for the lift. He hasn't heard what's been said. I thought I might die it was so funny especially as I pointed out to my friend he was behind him. Nobody really believes that when folk say it do they? When my friend realised what had happened as we got into the lift he was of course somewhat embarrassed. Properly silly. I didn't think I'd like Lee Rocker, but he was very good. My mate loved Billy Sheehan though he'd never heard of him before I said we should see him. A top day out though I did think there would be more stands. Not that it matters. All good fun.

[quote name='blue' timestamp='1425850971' post='2711517'] My response would be; [i]Cool, do you have paying gigs booked?[/i] Blue [/quote] Genius. I love it.

The psa is better. I've used one for 5 years and it's brilliant.

[quote name='bassmayhem' timestamp='1419512318' post='2640523'] My new H115 cabs, one with horn one without. 14 kg a piece... [/quote] Those look like very rich chocolate. Lovely.

[quote name='Oopsdabassist' timestamp='1416386607' post='2609554'] A clock theme on the pickguard [URL=http://s1107.photobucket.com/user/Mkul0/media/pickguard_zps80e980bb.jpg.html][IMG]http://i1107.photobucket.com/albums/h391/Mkul0/pickguard_zps80e980bb.jpg[/IMG][/URL] [/quote] Where did you get that?! That's fantastic!

[quote name='tks.se' timestamp='1418919739' post='2634878'] Glad to hear you like them, but sorry, no plans on either. Is the EAD equipped with a 6"? Trying to recall seeing a picture of something like that. That kind of design (if executed in a good way) has a lot of benefits, and can be found in the S2126 and 2126, which might see quite similar if you only look at the speaker sizes, but do things a bit differently. The S2126 being louder and the 2126 extending further down in the low frequencies as well as having more top end and slightly better mid range dispersion, also being able to handle more power. [/quote] That's a pity. I would have really liked a 4x12. The EAD has a 6.5" driver. http://www.extendedaudiodesign.co.uk/ However, these aren't made any more. My main query is that whatever cabs should be able to handle the treble content of a 12 string (triple coursed bass). My Markbass cabs are okay, but I think I can do better in the top end response due to the piezo tweeters. It's fine for a 4 string, but my 12 is a bit hit/miss. Would the mid range driver be better?

[quote name='bassmayhem' timestamp='1417473689' post='2620868'] A little porn with some British flavour... [IMG]http://i225.photobucket.com/albums/dd169/bassmayhem/A20140613_180357_zpsa91f98e5.jpg[/IMG] My two 2126 with my now sold TE AH1000-12... [/quote] That looks fantastic. Just for the records, is the 6 driver attenuable like the optional tweeter? Just I don't see many back panel photos going on.

[quote name='VTypeV4' timestamp='1417489508' post='2620960'] A comment on previous page about 'you're sticking a mic on this' would go down like lead balloon with me (and most engineers -good and bad- that I know) because it's not always the best option. Does the musicain know and understand the room? Do they know what the system is capable of? Do they know how to mix their own group? Probably a 'no' on all counts so being so arrogant as to assume they know best simply shows the short sightedness of some and the root of many problem. [/quote] A perfectly reasonable point. However, from my own experience, I'll ask what the situation is and will always be met with a "DI before amp" reply which will be repeated ad infinitum regardless of what's happening/size of venue/size of stage/number of band members/style of music. It's infallable. If I'm playing a 4 string in a clean sound I'll go as far as to taking a post EQ DI and generally that sounds fine, but anything with delays or modulations then that's not always possible nor does it quite sound right all the time. One engineer once tried to say to me (this isn't made up - really!!) "If you give me your effects I'll run it into the desk once I have your bass DI." Meaning, he'd control my Pod from the desk. Really? I was amazed, but then again maybe he was a mind reader. This has been great fun when I went through a particular phase of using the bass more like a synth with all sorts of effects going on to try and explain why I didn't want a DI. If I'm using a 12 or an 8 the cab has to be mic'd as I'm using crossovers and signal splitting to get a sound with the lows clean and the treble distorted a bit as an example. Generally from experience the post fx DI doesn't sound as good, but it depends. I enjoyed using a pod when the engineer knew how to plug it in but mostly I got the "I'm not putting that through the PA, it'll blow it up with that - give me your DI. We don't put bass straight into the PA" nonsense I described earlier. On the other hand when they started doing frequency pans on me/muting my playing in the stage monitors that was when I realised getting an amp was probably a bit better for my sanity as at least I'd get to hear myself.

[quote name='Lozz196' timestamp='1417265374' post='2618686'] And how the hell do you make a Stingray a muddy mushy mess - prizes for achieving the virtually unachievable there I reckon. [/quote] Easy. Same way as you make any bass, good or bad sound like a piece of crap. Just Low pass everything under 400Hz cutting all the mids and treble. That's the standard soundman context I've encountered. Ever heard an Alembic reduced to a "blurruurrp" when it should be twang galore with the filters wide open? I could have played a plank of mdf for all the difference it's made on certain evenings. [quote name='spacey' timestamp='1417468853' post='2620746'] Bass players have had their bollox cut off by sound engineers to make it easy for sound engineers. Just DI the bass straight in the desk, where there is no compression and very poor limited EQ. All that drive and warmth you spent years creating as your sound is gone from your showcase of the big gig. If they tried this with guitarists they would be a riot, it is our own fault, make them mic up the amp, insist, demand to have your sound, compare it, get on his back until its done and they might just start to take us seriously. Same in studios, just DI and we will use the warbilater to cut all the mid and you out of the mix, again those yesteryear iconic sounds were mic up cabs. DI has its place, but getting your sound to be replicated elsewhere is never going to happen with a bass DI straight in to a desk. Make them go fetch a mic, just like they have to for the guitar. [/quote] Sound guys are generally idiots to bass players. In 15 years of gigging in London I've come across 3 good ones that respected the sound I wanted to achieve and why I needed to use it to be heard in the mix of the band. The rest? Not so much shall we say. The most hilarious one was playing the Water Rats where I ended up having to play through an Ashdown Perfect Ten which the engineer refused to mic ("The bass will spill all over the stage if I do that" - total crap, the previous band had 2 guitarists both using 4x12's!!) nor did he let me use my pod into the pa. Naturally because I became irritated, he deliberately cut the bass into the monitors to mess me up so I couldn't hear myself at all. All this DI before the amp stuff? Er, no. You're mic'ing the cab sunshine. I take no crap with this these days as I play to enjoy myself not to subsidise the fact that some muppet is deliberately screwing with me because he doesn't have a clue how to mix a band properly.