4000

[quote name='LukeFRC' timestamp='1327598890' post='1514047'] A story: A printer had a large and old printing press on which the business depended. You know the production line things the size of buildings. One day the press broke down, and try as they could they couldn't work out where it had broken down. In desperation they phoned up the previous manager of the print shop, he had worked there years, risen to the top and then retired when the company was bought out. They convinced him to work for them and he came in, walked around the machine for 15 minutes as they tried to get it going. Every so often he would lean up and listen to it. After a while he pulled a bit of chalk out of his pocket and marked an X on the side of the machine. "thats where the problem is" and sure enough when they opened it up there they found the problem. Well a few days later the old man bills them for his work for $5000. The manager was amazed at the cost and wrote back asking for an itemised bill so he could understand the cost better. The next day he got the itemised bill: One small chalk cross $1, knowing exactly where to put the chalk cross $4999 [/quote] Genius.

I love the look of the Fodera Matt Garrison - probably my favourite singlecut design and one of my all-time faves regardless - but I've never played one. Based on the other Foderas I've played I'd choose a nice old P Bass (probably a lightweight early 70s one like my old one; I seem to prefer the necks), assuming I could still get on with the body contour; it's been a while now since I played one. I know the Jazz doesn't work for me (pain!) but of course the top countour is different. Of course if anyone wants to lend me an MG to check out it'll be gratefully received! Assuming I could get the MG to work for me that may be my first choice, but there are other basses out there I'd sooner have than either, unless the MG turns out to be significantly better (IMO) than the other Foderas I've tried; as individual basses of all types vary this is quite possible.

[quote name='BottomE' timestamp='1327591584' post='1513885'] Me, i love a nice chop from a bassist (read any muso) if it is [b]context[/b]. I haven't seen this word used yet in this thread which surprises me a bit. [/quote] You obviously didn't read my post.

[quote name='oldslapper' timestamp='1327567892' post='1513338'] Serve the song.........does the bass line serve the song? I would take a hazardous guess that, no matter how lauded a bass player me be here or any other bass site, there will be a song they have played on where their bass playing hasn't served the song.....even (insert your name here). Can't stand Level 42, but their bass player seems to serve their songs with his approach.....mostly? Can't stand U2, but their man on bass seems to do the same, serve the song that is.......mostly? Correct me if I'm wrong, but they appear to have slightly different techniques from one another. Whatever.......... [/quote] This. The bassists I love range from guys like Cliff Williams & Jah Wobble through John McVie and Rutger Gunnarson through Lemmy and JJB through Chris Squire and the Ox through Stanley Clarke, Matt Garrison and Richard Bona. I like the players that I like, simple as. As someone else said, it's about the notes they choose and the sound they make (and this is very important) within the context of the music they're playing. Chris Squire, in the context of the music he plays, is arguably my favourite player, but I reckon he'd have sucked big time in Chic (I love Bernard too FWIW). The above examples or Mark King and Adam Clayton are very good ones. I think they're both great. What I find irritating is that Mark King gets stick for playing too much / being slaptastic and Adam Clayton gets stick for playing too little, as if there has to be some sort of middle ground of note frequency that is optimimum. When it comes to the perfect part, there is no right or wrong, only what is your preference (or arguably the consensus preference) within the music. Harrison famously thought McCartney was too busy, as I believe did Elvis Costello with Bruce Thomas. Are they? You decide. As an aside, arguably my favourite recorded live performance ever is "The Meeting of the Spirits" (McLaughlin / De Lucia / Coryell). But the reason I love it so much is not the technique on show, amazing though it is, but because to me (YMMV) it is emotionally transcendant. In that performance McLaughlin and De Lucia (poor Larry!) are on another plane entirely. I don't sit there and watch it and think "wow, that (insert mode of choice) scale was so fast"; the music and playing make the hairs on the back of my neck stand up. They take me to another place. My point is that technique can be exceptional (and exceptionally busy!) and still create something that is emotionally moving. Of course whether or not it will be moving to everyone is a different thing entirely. One man's meat etc. FWIW I don't believe there's such a thing as actual good or bad taste. There are too many issues involved in what defines it; cultural, personal etc. And now I'm stopping typing because it hurts!

Crikey Zig, I never found any of my Seis lacking when it came to tonal range, but then I get a whole load of tones out of 2 40 year old passive basses. Be interested to hear that Chronos. One thing I have noticed, I just got a Sei in trade for my Rim and have found the KAs it has to be better than the Barts I've had in my others, much more versatile. Russ, I remember your bass well; played it several times in the Gallery. Haven't seen it in ages though.

I just want some Tunnocks.

[quote name='mcgraham' timestamp='1327509252' post='1512599'] I know you've been having trouble man, but I didn't realise quite how tough you've been having it. FWIW, I'm really sorry to hear the above. I don't know whether you've thought about this or how you'd even feel about such a suggestion, but have you considered taking up an alternative instrument? e.g. singing, harmonica, piano, something that isn't load bearing or the like? I tore my lower back in my mid teens, and that taught me how much I missed being able to do stuff. I then got into fitness and have maintained it since. You've got to keep it in shape, but you also can't overdo it/do it wrong, or you'll end up in a bad way as well. [/quote] Ah, tip of the iceberg to be honest. Thanks for the thoughts though. I do sing, although am rather rusty (sang at the Marquee once! I bet they were sorry ). I also play guitar and write generally but of course my main instruments are all ones that you play with your arms. Unfortunately sitting isn't going to help either as due to my shoulder problems some of the nerve problems appear to be positional, i.e. related to how I hold my arms & shoulders, given that my shoulders don't currently work properly. Going to have more tests and then suspect I'll have a lot of work to do unfortunately.

Rotos should help.... FWIW without outboard help I've always struggled to get those sort of tones with "newer posher gear" too. Which is why a lot of "newer posher gear" doesn't work for a fair chunk of what I've done historically.

[quote name='Mylkinut' timestamp='1327499408' post='1512343'] If I as a consumer could set prices, I'd have bought my Precision with some Monopoly money and a packet of biscuits. However, that would have made me a prize bellend, because the chaps who made it wouldn't have food to eat (except for the biscuits). [/quote] Were they Tunnocks? I like those.

[quote name='Happy Jack' timestamp='1327495727' post='1512221'] Until I first hit serious back problems (three years ago now) I had absolutely no understanding of just how debilitating they are. One second you're fine, the next you're crippled, and years later you're still mindful that it could go again at any time. Not something that occurs to many 20-somethings or 30-somethings, but it's waiting for you, guys ... [/quote] Yup, and it ain't fun....

[quote name='JTUK' timestamp='1325345285' post='1482350'] You've had that medical attention and no one has pointed out how you can manage your back for the future..?? I am not sure I would want to be in their care, tbh...!! [/quote] This has been pretty much my experience too, for the past 15-16 years. Same goers for everyone else I know with such problems. Sounds like you've been lucky. Maybe it's a regional thing. FWIW, I used to do loads of weights, aikido etc and then everything went pretty much at once ('96). I'm currently unable to play properly due to ulnar nerve entrapment and have this morning been diagnosed with unstable shoulder joints, so sometimes it's about a little more than simple exercise.

[quote name='Faithless' timestamp='1327147799' post='1506936'] [b] [media]http://www.youtube.com/watch?v=AcFvt1sLpis[/media][/b] Some wicked playing from the band... and it's all ladies in the house, mind you... And check out that synth bass, the sound is just out of control.. enjoy, Laimis [/quote] That actually made one of my least favourite songs ever recorded pretty listenable, so it must have been good! Not a big fan of most of Beyonce's records (that's an understatement to be honest) but I enjoyed that performance. And it as to be said she's pretty fine, even more so done down as here. Sorry, I'm a bloke.

[quote name='Chris2112' timestamp='1327365294' post='1510219'] Not that I disagree with that, Fodera have many great fusion players on their books (and maybe some not-so-great ones like Janek Gwizdala ). As much as I love Fodera though, I don't feel the craftsmanship is quite up there with Alembic. I find some Alembic guitars and basses a little fussy and ornate, but their ability to produce something that is absolutely flawless in every minute detail is spectacular. [/quote] I'd say Janek is my favourite Fodera player, along with Matt. He and Matt also have by far my favourite Fodera tones. I agree about the Alembic thing though!

I remember the first time I played my Wal live, the stage was pretty dark and I couldn't see the markers, side or front. Because it sat differently than what I was used to I had a tendency to be slightly out so I really had to concentrate on what I was doing far more than usual. If your side markers are really clear (LEDS work for me!) then fair enough; same if you never look at your markers, or if you always play a similar type of bass that more or less sits in the same place. I do look at my markers and find front markers useful in most instances (I can see them BTW; not keen on basses that sit away from me so I can't). I used to change basses every other gig and the reference helped.

[quote name='Count Bassy' timestamp='1325438184' post='1483146'] I have a Westone Quantum (32" headless) with the 'Magnflux' pick ups. Staggering output level - equal to my active basses, and an excellent range of tones from two pick-ups, two volumes and a shared tone control. Probably the favourite tone of all my basses. [/quote] I used one of thiose for a few years early on. Sold an early 70s P top get it(a very nice bass too). It was awesome; played great, sounded great, felt great (although I had a tendency to turn the knobs off due to their close proximity to my picking hand - had to tape them all up!). You know, in the years I had it I never realised it was a medium scale. Explains a lot!

[quote name='Musicman20' timestamp='1327320443' post='1509159'] Looking through the Talkbass thread, it seems almost as if Fodera ultimate high end bass in terms of attention to detail and cost. [/quote] This is what bothers me. I haven't noticed anything incredible in terms of build quality and attention to detail. I haven't seen one that comes close to my custom Alembic (or any of the others I've seen for that matter). At the last Bass Day I went to I actually thought the build quality of the Everson I played (local luthier) edged the Fodera I tried there, and his bass was about a 6th of the price! Still, each to their own. I do love the MG shape, and I'd certainly like to try one.

Stuart Zender. Again. Likewise Leigh Gorman.

[quote name='KevB' timestamp='1327319518' post='1509140'] Hats off to anyone who gets a tone they like out of an Ashdown ABM . I seem to have tried several in music shops and rehearsal rooms over the years and never got on with any of them. I was particularly interested in Ashdown when they first started as I'd used and liked Trace gear and the company was set up by ex Trace people. Lots of pros use them so I guess I've been unlucky but I haven't found an Ashdown I liked yet. But then plenty of people can't stand Trace stuff so it's horses for courses as usual. [/quote] I love mine. I bought an Epifani at one point and sold it because I preferred the Ashdown for most things. I had the same problem as you in music shops and using loaners for gigs; I thought they were poor. It wasn't until I actually got one myself and realy started fiddling with it that I got some great tones. FWIW I can get a tone that's very similar to my old Traces (yes I love them too) but with a bit more grit.

I love Matt and I love his basses, but that's so much money and I've yet to play a Fodera that I like remotely as much as the Seis, Alembics or Rim that I've had, although I'll admit I've yet to play a MG.

[quote name='ziggydolphinboy' timestamp='1327171656' post='1507450'] hey fella played the 5 last night i must admit it gives my chronos 5 a run for its money, its the same as my other two seis awesome thank you for youre ehelp in me getting the bass you and John ate both on the list if i ever need to sell it . kindest regards ziggy. [/quote] Hey, no probs Zig. Just glad it went to someone who appreciates it! BTW, that Chronos must be some bass.....