BassBod

It was a while ago, but I'm sure I paid somethng like £26-8 for the Pyramid Golds. Exchange rates have changed etc..but check Thomman? Anyway..they are very smooth, fairly supple but the E string feels big and fat, even though the guages are supposed to be standard 45-105 ish. Not as hard work to play as LaBellas. The other odd things are the outer wraps stop abruptly after the nut (on a regular Fender P or J) so there's little in the way of spare string, only the core goes round the tuner..and the ball ends are smaller than most. One bass (can't remember, but I think it was a Fender re-issue bridge?) can't use them as the ball ends pull through the bridge holes. I suppose you could fix this with small washers, but it was a bit of a shock. BB

My experiences with flats to date: Rotos - felt very stiff, put a lot of tension on the neck but didn't sound good to me. Thomastik - sound great, but the floppiness can get annoying (move the action up and they are easier to play). LaBella - tried the expensive black plastic ones - fantastic sound, heavy guages but don't feel like hard work to play. I think they'd probably last longer than I've got left on the planet. But my favourite so far has been Pyramid Gold (another old German company). Slightly higher tension than most rounds (but hardly) and a good "old" sound straight away. Makes you feel warm and cosy and ever so slightly melodic. They are stupidly expensive in the USA, but only normal expensive in Europe. BB

I've used my Clifton for ten years now - I'm not exactly happy with my abilities...but I'm still very happy with the bass! Do contact Mo if you need any advice about the bass. Like most makers he's always improving designs/trying new pickups/strings etc so can let you know what may work best for your needs. BB

I'm near Bath...just off the A420..and short of gigs...and 40 something. I may just be in touch! BB

I don't think there's much between them really! Assuming the Eminence is a fair bit less ££, then I'd go for that. The only thing I would add, is carefully think how far you'll go with the upright - my Clifton EUB plays and feels very much like a full scale acoustic. Good because I can move to an acoustic without any drastic changes/shocks...but the downside is I need to play and practise regularly to maintain any sort of dignity! I've only played one Eminence and only for a minute or two, but it was set up with the "feel" of a regular acoustic - my guess is that really dropping the action would compromise the sound? Obviously strings and specific set make a big difference etc If you want somethng that demands less physical effort, then I'd go for something like the NS basses which can sound good with a lower action? Just my thoughts.... BB

Recently sold a bridge to Paul - easy transaction with good communication.

That's really interesting - thanks. I've always liked the idea of the Turner basses, but I hadn't thought of them as fragile. Maybe I'll actually get to play one eventually! I'd discounted the Godin, but largely on the experiences of a few guitar playing friends who'd all tried earlier versions but moved them on after a short while. Recently I've worked with a guitarist who plays the nylon/classical version and it really does sound good (much better than I remember the others sounding). Thanks again for the review (ps what do you think of the 1x12?)

I've used the Korean (?) made Kent Armstrong ones that WD sell. They're pretty good for the money, the only criticism I had was they could be a bit "clangy". However, I can't remember whether I had the alnico or ceramic magnets... I know it all depends on the bass etc, but these days I'd get a used set from a "better" range such as Seymour Duncan or DiMarzio for around the same money...or go for the Wizards or Aaron Armstrong. BB

If you're in a hurry, get Hiscox standard sized. They're tough and light, so easy to cart around if you have to. The Bass safe doesn't fit around all gig bags...so it can hit or miss...and like Ck said, they can open if not closed carefully (usual for airport securitiy?) Good luck BB

I used them a few years ago - nice strings. More like Thomastik Spirocores...but good strings. I think the standard Steinberger strings are a variant of these?

I'm not entirely sure they'll fit...but the Innovation (made by Picato) strings are great on my Clifton. There are a few types, but they use a synthetic core, and give a good "old fashioned" sound (lots of thump and less sustain/growl) compared to steel cored strings. They can be had for around £80. My only complaint is that the outer windings can slip a bit on the core, which can feel a bit strange...but I've never actually had one fall apart! Good luck - there's a lot of choices BB

Made by a bass maker...but a bit smaller [attachment=21942:DSCN0463.JPG] I've also got a solidbody/electric made by John Marlowe under the stairs..anybody want to buy it? BB

Shame about the light - I remember (maybe wrongly) it was only the newer 200 that was getting the complaints. What seemed to hack people off was moving from a reliable b100 up to the new higher wattage version and then having to deal with unexpected cabinet problems. Sounded like early production problems? Anyone got one recently? How heavy are they (really?)

I thought about getting one...but was put off by reports (on the interweb only..) about bad cabinet rattles and poor construction. Not the best way to evaluate an amp, I know, but it was enough at the time.

I used to love Martin Turner's sound - but looks like there are rival versions of WA these days?? Shame people can't get on..... Hope you enjoy the gig. Andy Powell always comes across as a nice bloke.

I mainly use Euphonic Audio. 500 head with one or two 1x10s, or a 1x12 if I want a "deeper" sound. If I'm feeling lazy or its a tiny gig/difficult parking and loading then its a GK MB150 combo. If there is a decent PA I'll always DI so I don't have to use the amp beyond a stage monitor. It all depends on circumstances - the small modern stuff is fantastic for my "stealth" work, where weight and size vs sound quality is always a consideration. If was touring, or playing louder music then my old big heavy SWR set up would nearly always go instead.

Thanks for the comment....it really is a great set up. I've pretty much gone lightweight (Euphonic Audio) for most of my work, and when I think about it the basic sound of this old SWR gear is pretty similar to the "flat" sound of EA, as long as you don't go mad with the aural enhancer. And there is something about the sound of a heavy 4x10/poweramp that the "digital" stuff doesn't do....even though the power levels are roughly equivalent. One scary thing. I was having a clearout a few days ago, and found an SWR leaflet/pricelist from 10 years ago when Rotosound were the UK distributors - this lot retailed for something over £2K (although the Tone Controls never had an official retail price?). I'm so glad it became unfashionable...and I could afford it used.

This is my current SWR complement....including the Raven Labs posh DI. Now I just need a decent gig, so its worth lugging it all around! [attachment=21215:DSCN1247.JPG][attachment=21216:DSCN1248.JPG] BB

Mo Clifton's site is www.cliftonbasses.co.uk . Not sure of his current prices, but £1200 springs to mind - but a lot depends on pickup and circuit choice and the (high) cost of the headless hardware (german ABM on mine). Mo is cheaper than most UK luthiers for a couple of reasons - he's a one man operation, so doesn't charge VAT, only does basic oil finishes etc Bad news if you must have a vintage nitro job, but good news if you want a "working" bass made for your needs.... BB

So, how do the different pickups sound?

Go with the sound guy - minimum stage volume and let him stress about the limiter. With a small rig you won't be throwing loads of lows around, which gives him a much better starting point. The questiion is, can the other members of your band understand the situation...and act accordingly? Good luck BB