4000

The bit in Close to the Edge where the keyboard solo comes in over that repeating bass figure. That just sends me, man. Seriously, I adore it. The 8-string breaks in Manowar's Battle Hymn ("To the battle we ride" etc) and March For Revenge By the Soldiers of Death ("Fallen brother etc"). Oh, and the solo coming in on Sign of the Hammer. The first few notes of the guitar solo on a live version of Green Manalishi by Fleetwood Mac. Peter Green, what a player he was. Hairs on the back of the neck stuff. And this, particularly the sequence that starts around 2:17; for all I know in classical terms she's the equivalent of Britney Spears but I really don't care. It moves me to tears pretty much every time I hear it. I could have done without the version of Bohemian Rhapsody though.... [media]http://www.youtube.com/watch?v=qAbG4zxLTFs[/media]

[quote name='Bilbo' timestamp='1329384597' post='1541462'] My point was that, when you break down all the details and have all the knowledge required, you still can't comprehend the magic. If the whole of English Literature is down to 26 letters placed in various orders, William Shakespeare is no better than Jeffrey Archer. But its the ideas behind the letters that count and, in this case, knowing the notes and the chord is only half the story. The arrangement is another part of it and then there is the question why did they chose to open the song like that'? Add those factors together and you have something that is pretty much unprecedented and unrepeateable. Its brilliant. [/quote] I can't argue with that either. The magic is always the important thing.

The intro to Shine On You Crazy Diamond by Pink Floyd. My older brother had just come back from Uni for the summer and had brought with him a selection of Prog & Heavy Rock LPs. I remember walking into the kitchen upon arriving home from school and hearing this MUSIC blasting out of the back room. I'd never heard anything that remotely compared (and probably haven't since). I couldn't believe that anyone could creat music that sounded like that; it was like the Sound of the Universe. It completely changed everything for me; my life, music, everything. On a lesser level there are some bits of Hawkwind (live You Shouldn't Do That off Roadhawks and their version of Motorhead spring to mind) where the sound comes together at certain points to become the most incredibly vast, dense, overwhelming din. I love that. Oh, and the bit where the organ really kicks in at the end of Awaken by Yes (I love the whole track but that's the bit for me); it reduces me to tears every time. Sadly Rick never played the low part when I saw them do it live. The low bass part in The Fish by Yes (my all-time favourite part; 2 notes!); I get really excited anticipating it coming in. Gilmour's majestic solo on Comfortably Numb. Andy Latimer's majestic solo on Lunar Sea. The opening chords and vocal parts on When I Kissed the Teacher by ABBA; again, I think that changed my life when I first heard it. On a can't-quite-believe-it-myself level, when Je Nais Pas Vingt Ans by Alizee starts kicking in. The first time I heard it I started dancing round the room like a loon, which I never, ever do. Hmm, will have to try and think of some more...

I would imagine they all vary depending on the piece of wood, although there may be periods where they were more consistent; I'll let others chime in about that. Can't speak for '60s Fenders but my Rickenbackers (13 or 14 so far) have all varied in weight by quite a bit, even where they've been from a similar period. My 2 current'72s weigh about the same, but I once played a'72 that weighed a ton.I've played '70s P basses that have varied from pretty light to incredibly heavy too.

[quote name='Lozz196' timestamp='1324074564' post='1470718'] If you liked the MIM 50s, try a Road Worn. Virtually the same bass, but much more comfortable due to the fake relicing. Just like those comfy old jogging bottoms that are knackered beyond belief, but feel so comfy. I`m not a fan of fake relicing, but I am a fan of these basses. [/quote] Strangely I preferred the MIM 50s Ps that I've played to the Roadworn Ps; I ahve no idea why but for seome reason they played and sounded better to me. Set-up maybe? My fave new Ps that I've played in recent years have all been MIM 50s. Have to say my favourite Ps full stop have always been lightweight '70s ones with maple necks and DiMarzios. Every one of those I've played (several) has rocked. If I ever get a P again (probably doubtful due to foream contour issues) it'll get a DiMarzio.

[quote name='Linus27' timestamp='1329341670' post='1541090'] I might get the Crossroads DVD also now if its just as good if not better. [/quote] The commercially available Crossroads dvd doesn't have the whole set, only a couple of numbers or so IIRC. The full set is only available as a bootleg, or was when I bought it! From a Tal perspective I definitely prefer it.

I saw them in Manchester too (and met them both; she was absolutely lovely!). She was great, although her sound wasn't very clear from where I was; very toppy-bottomy and not much else. Ironically I saw Lenny Kravitz the following night and the low-tech bass there (Fenders - probably with flats - and Ashdown) was clear as a bell. Jeff was pretty much as at Ronnie's. FWIW I have footage of Jeff's full Crossroads set and I think she comes across much better on that than the Ronnie Scotts dvd. Her sound is much better IMO (not keen on the RS footage bass sound, no real substance) and she really plays her arse off.

[quote name='BigRedX' timestamp='1329310550' post='1540384'] IMO what makes a good bass tone is that it fits with the instruments. Lusting after someone else's tone is all very well but it will only really work if the rest of your band sound like the rest of their band. [/quote] Big +1 to that!

[quote name='thepurpleblob' timestamp='1329304525' post='1540226'] I like the way she's actually quite geeky (for want of a better word). Too many successful female bass players are suspiciously supermodel-esque. [/quote] Yep, Tal's right up my street in every possible way....and I absolutely love her playing too. If I had her gig I'd happily have her replace me! Beck I have utmost respect for as a player whilst not actually being overly keen on much of his playing or music, if that makes sense.

Joey used to play modified Rics (and an EB3, s well as his Veilette-Citron 8 string)but as the Talkbass thing says, I think this is complete custom (there's an 8 string as well). He sold a lot of his old stuff; sadly I didn't get any of it. I've met him a couple of times and he sent me a tape once (which I still have) in response to a letter I sent him asking about his gear, influences etc. Great bloke actually, and far more normal than his image suggests. FWIW, I love Manowar. First went to see them in '84, thinking they'd be hilarious so would be worth a watch. They were absolutely awesome. In the 80s his sring gauges were 40, 50, 60, 70. At the time he played a lot like I did (or rather vice versa). I'm a bit slower these days!

If I don't think a bass looks cool in some way or other, I won't buy it. I'll try it, but as Neepheid says, it could be the best bass in the world but if I don't like the look of it it'll stay in the shop. It took me 17 years to finally get hold of a '72 Rickenbacker in Azure (very rare for that period). Luckily for me it's fantastic, but I was intent on getting one regardless. Of course I have to like the sound, feel and how it plays, but looks are the first thing for me.

[quote name='Johngh' timestamp='1329074978' post='1536864'] I sat with it on my knee. I didn't wear it as such, I can't remember much about the action, the bass weighed about the same as mine from memory, and I have no idea about the woods. I think John only built Mark one Starchild, but I may be wrong. I also played one of Entwhistles Buzzards at the Status factory one time, That had an action so low it was mad. Rob Green told me John liked them low and clanky [/quote] Only one so far as I'm aware too, although there have been copies (more or less) since. Yep, I've heard about John's action before, although never had it confirmed. Lower than my/your Sei then? I knew I needed to lower it. Rob famously set John's first Buzzard up as low as he thought it should be and John walked in, took a look and said " it'll go much lower than that!". Lowest I've ever had was my old Ric 4000. I once had that 1mm @ 12th fret all across the neck, and it still played & sounded great. Wish I hadn't sold It! Still don't think it was as low as that Jaydee I mentioned though.

[quote name='Johngh' timestamp='1329067875' post='1536723'] I had a JD Mark King back in the day, it was great. I have a lot of time for Mr Diggins. I had an issue with one of the pups, I phoned John up and went to the factory. He put me 2 new pups in it, no questions asked. When I was there he had Mark Kings Starchild JD in the workshop and let me have a tinkle on it, pure magic. Tony Iommi's JD guitar was in as well at the same time, also had a tinkle on that. I've always had serious GAS for a 6 string Mark King Starchild, now that would be something [/quote] John changed the pickups in my first JD no questions asked too. Unfortunately I hadn't asked him to and I preferred the originals! I sold it soon after. So what was MK's action like then John? And how heavy was the bass (it was walnut instead of mahogany)?

[quote name='M-N-Y' timestamp='1328989225' post='1535830'] Another of my favourite tracks is called 'Take for example this' from a Billy Childs album recorded in the late 80's early 90's. Awesome stuff. check out this video of JJ playing with Lee Ritenour, great groove and a very nice solo around 2.20. I love his bass sound it has a really zingy feel to it. [media]http://www.youtube.com/watch?v=LIqY9Ivntfo&feature=related[/media] [/quote] Great sound. Typical Alembic IMO. Saw Jimmy with Holdsworth a few years back; must admit as much as I admire Holdsworth I'm not a huge fan of the music, but Jimmy was great.

I've definitely played a few "rogues', all from the same period. However I've played several great ones too. In fact arguably the most incredible action I've ever come across on a bass was on a Jaydee that was in the Gallery once; quilt maple top with a trans brown finish IIRC. Anyone who knows me knows I usually like low action, (12th fret G about 1-2mm, depending on bass); this was possibly too low even for me. Be interested to hear if anyone got that bass. FWIW I still crave a Starchild-derived bass. Given current physical issues though not sure I'd be able to play it!

Any of them from the first 2 or 3 albums, and I always loved it when the bass comes in on Walk On By.

[quote name='99mustang' timestamp='1329056236' post='1536537'] I don't, I fantasise about driving through the Swiss Alps in a 1968 Ford Mustang [/quote] If I drove, this would be my choice too. This or an AC Cobra. You can keep all the other fancy stuff.

[quote name='Happy Jack' timestamp='1328978535' post='1535596'] Amended slightly - and yes, I clocked the Overwater. I've spent years trying to love Jazz basses, and I've failed miserably. I've had standard Jazzes, vintage Jazzes, super-Jazzes, and they just don't do it for me. Precisions now, ah well, that's a different kettle of fish, get my drift, know what I mean? Nowt to do with Fenders, it's just the type of bass that I don't get on with. Maybe the same for you? [/quote] +1. Thing is, and this is something I've never really understood, many people seem to think that because x amount of people like bass y, they must like it too. If they don't, there's obviously something wrong with the bass or everyone else who does like it. There are people at work I get on with really well that no-one else does, and vice versa. It's the combination of the two. Same goes here. I once had a Tokai Jazz Bass that felt all wrong to me and that when I played it sounded awful. I'll never forget taking it into the Gallery for a set up and someone there (I forget who) playing it. It sounded fantastic, and I couldn't get that tone out of it in a million years. It wasn't me. It wasn't the bass. It was the combination of me and the bass that didn't work. The other thing I would say is, have you tried the Jazz in a band situation? Not that it made any difference with mine (in fact it confirmed how I couldn't get on with them) but I've had loads of basses that have been fantastic at home and useless in a band situation and vice versa once again.

Weight may affect tone but it won't make it better or worse, because that depends on your preference. Most of the basses I love the tone of are really light. All the best sounding Fenders I've played have been light; I don't tend to like the sound of the heavy ones.

[quote name='wombatboter' timestamp='1328979288' post='1535616'] In the eighties I saved all my money to get a Jaydee.. It took me years to get that money since I didn't have a lot of money and hardly had anything left. Finally I made the trip to the bass center in Wapping and bought a white Jaydee.. It was a nightmare, the neck was absolutely no good.. I had it set up in a shop and by the time I got home it was curled again. Send it back to John Diggins, the bass got lost during the transport back home, I finally got it back heavily damaged and the neck was the same as before..I wasted on my money on that bass, still angry about that and the way they made these badly build basses.. [/quote] IIRC John was sold a bad batch of wood in the '80s. Not all his basses have dodgy necks, and it's a bit strange to infer that they do, especially give that other posters have already stated theirs are fine. How many have you played? The first JD I had someone had shaved the neck mercilessly and yes, it was iffy. The second was fantastic; it was just too heavy.

I regret somebody else selling it! It was a 1980 Rickenbacker 4001 (s/n TC915 IIRC) and was stolen from our van in '86.

The only Genz Benz I've ever tried was with a W&T through some Bergs at Bass Day and I hated the sound; it had no body whatsoever.