4000

[quote name='Bilbo' timestamp='1324460205' post='1474352'] I had one of these I wish I hadn't got rid of. [/quote] I wish it had come to me! Niiiiice. Always had a soft spot for those. I miss my Alembic Triple O dreadfully. I sold it because of back & neck problems (mine, not the bass's!). I'd waited 20 years to get it, and I loved it to bits. It was incredible. I keep thinking if I could get the money together (as if) I'd approach the guy I sold it to and see if he wanted to sell it back, but the back problem would still be exactly that, a problem. If I ever came into sufficient money though, it'd probably be the first thing I bought, assuming he'd sell. I miss my old Pedulla MVP somewhat, although having played another recently and not being keen I do wonder if there's an element of the rose-tinted spectacles about it (unless mine was simply better). Often the case of course; there's usually a reason why we part with these things after all. I miss my recently sold Sei Flamboyant 5 rather more, but it had to go to pay for my '72 Azure Ric, sadly. Wish the timing had been different as only a few months earlier I'd sold a rare 21 fret Ric I didn't get on with which would have paid for the '72. Unfortunately I'd already spent that by the time the Azure came round. I also miss my old Buckeye Sei 4 (now owned by another BC-er)a great deal. That's another I'd probably try and get back if I had the money; in fcat given that it would cost half as much and I could actually play it, in reality I'd probably be more likely to go after that than the Alembic. Oh, and I regret selling my Wal for £599 in '96/'97 simply because of how much they're worth now, although the friend who bought it loves it to bits so at least it had a happy ending of sorts. And last but not least, I really regret selling my chambered Epi LP Custom Plus, which was arguably the best-sounding LP I've ever played, for £200. I once took it into a guitar shop and it dusted every Gibson & high-end Tokai in the place. The finish wasn't the best and the hardware was pants (easily replaced of course), but boy did it sound good.

[quote name='achknalligewelt' timestamp='1323877293' post='1468129'] Why does everyone get so excited about John Entwistle? Overplayed and intrusive. Then again, I don't really like Chris Squire, either. Or Geddy Lee. Let the bass serve the song, because that's what anyone in a band is there to do. All the players I admire and try to let influence me are of the non-heroic stripe. Colin Greenwood, Glen Matlock, Krist Noviselic, Trevor Bolder, all great band players. Leave the preening heroics to the berk with the microphone. [/quote] There's always one isn't there? There I was, quite happy to see who influenced who, regardless of whether it bears any resemblance to who influenced me, and somebody has to question the viability of someone else's choices. Because they're right, and others are wrong, obviously. FWIW, we all have a different idea of what serves the song. Deal with it.

[quote name='LukeFRC' timestamp='1323682730' post='1465619'] I don't think, unless you are lucky, you can go into a shop and find 'the one'. [/quote] That's exactly what I did. I once owned a '76 Ric, which was better than my by-then-stolen '80. I thought that was a fantastic bass. In 1993 I walked into A1 Music in Manchester and my now-current'72 was in there. I thought, "ooh, nice, never played a really old one before (it had/has checkered binding, toaster pickups, full-width crushed pearl inlays and walnut headstock wings)", so I picked it up. It was like being touched by God. The neck was perfect, and completely different to any other Ric (or anything else) I'd played at the time. It was light and comfortable, and looked the biz. But the sound....oh, the sound. It was to my '76 what the LOTR trilogy is to Krull. I knew, there and then. I didn't have the money to buy it, so walked away thinking "that was the best bass I've ever played, and will likely be the best bass I ever will play"(and I play everything I can get my hands on; always have). A year later I went back to A1 to buy a new amp and it was still there, but on sale. I bought it. I still have it. It's still my favourite of all the basses that I've ever played, and I've played hundreds, possibly thousands of basses. I've been through dozens of others since; Warwicks, Wals, Fenders, Seis (2 custom built), Alembics (1 custom built), all sorts, and nothing has touched it. Of course there are situations where it may not be the best bass. But if I could only have one bass for the rest of my life, it would be that one. Other people have played it and not really liked it, but to me, it just doesn't get any better. I pick it up and it feels like home, but not just because of familiarity; it did from the very first instant I picked it up. How did I choose it? I didn't. It chose me.

Most of the boutiques I've had have had necks that move a lot (some an awful lot), and most of them have had ebony boards.

[quote name='Chlo_treacher' timestamp='1323623624' post='1465134'] I get what your saying however I think it differs from player to player, If I were to try and force myself to daily practise the stuff like scales and modes that I dont really like it would drive me up the wall and probably just make me want to stop playing all together. Its useful to know scales and modes, yeah this is undeniable. but PLAYING is the most important, to remember why you do it and why you love it. No aspect of music should be a chore, music is basically a way of celebration and expression which people do because they love it. So why make yourself do things that stop you feeling or thinking that way? To be more educational? In my own personal experience the brain just shuts off, stops taking any information in and then you get frustrated and give up trying to do what you set out to do. Its like saying to an painter the only way you can get better at painting is by daily writing down explanations of what brush strokes you need to learn and how to make various colors and stretching canvas' and the theory behind painting but never touching paint brush to paper when actually all you want to do is paint a picture! From teaching I also have to say getting my students to just find music that gets them excited to learn has been far more effective. Of course all of my students are taught the basics of reading notation, playing with proper technique so they dont injure themselves, a technique for ear training the notes on the fret board, how to lock in with a drummer etc etc but all of it is done from playing songs. The information they learn that is 'theory' based is allowed to seep into their brain at their own pace (all the information and 'answers' are there on the page, they just get used to seeing it more often) but all they have to do is play a song that they like. Everything else comes after. You'll be amazed at how little problems I have getting my students to practise too, compared with a lot of teachers I know merely because I dont force a regime on them. [/quote] Nice to see that someone understands what it's really all about. If the analysing comes before the music, you've got it the wrong way round IMO(and I believe Armand Sabal-Lecco and Richard Bona would agree with me). FWIW, when I started on bass it never occurred to me that I wouldn't be able to play things other people could. I'd always been lucky enough to be very good at most of the things I tried my hand at growing up (wish that was still the case, I seem to be incompetent at almost everything nowadays), so I always thought it would come pretty naturally. Strangely enough, it did, possibly because I thought it would. Although having said that I used to play for hours every day, which doubtless helped. Of course there are always going to be certain types of lines people find difficult (in the early days I could play the hell out of Stanley Clarke but occasionally struggled with Steve Harris for some reason!), due to particular coordination issues.

Hi Jaymi, long time no speak. I see the collection is building up again. Interesting that you're also now using Jaydees. How are you finding them (had a couple myself over the years)? Cheers Shaun

Thanks Ian. I've been trying to get some time with it this week, but still haven't got my rig back together yet (a long story involving a dodgy plumbing job and a flooded new house). Shame I couldn't have made it down at the same time as you; I could've brought my Fireglo '72 for you to try. Would have loved to have tried your fretless too, although I'm pretty poor on fretless. It's something I've never had but would love to own. I started playing in 1980 and in the early '80s it seemed everyone was playing fretless so I stupidly shied away from it, but whenever I've tried one recently I've enjoyed it at least as much as fretted, probably more.

Looks and sounds lovely (my fave is the blend I think). Congrats! Mine arrived last Friday but we've got an awful lot on at the mo so I haven't had much chance to let rip, other than briefly through an Ashdown Five Fifteen (?) combo in our rehearsal room last night.

[quote name='4 Strings' timestamp='1322594486' post='1453350'] As Lance Armstrong said, 'Its not about the bike' (the statement carrying its weight as he was given the best the world could produce). My point was that for hobbyists it often is. [/quote] Often pros have less money to spend.

[quote name='4 Strings' timestamp='1322575347' post='1452871'] So does an artist only use paintbrushes or pencils which have been beautifully carved from the finest and most expensive materials with the latest carbon fibre finger pads? Or is the art the output of these basic tools in the hands of an artist? If designing and producing such pencils and paintbrushes for artists is a wonderful new and untapped business opportunity do you think it will be because professional artists will buy them, or well-off amateurs? [/quote] Speaking personally I use the best brushes and paints I can afford, but that's not really the point. Your post is still about the end result, with the brush as a tool, however nice. Why can't the brush itself be a beautiful, beautifully made object? To me a musical instrument should be, as I've said before, functional art. If that's not how you see it, then that's my point exactly. We all see it differently.

[quote name='4 Strings' timestamp='1322489376' post='1451378'] Perhaps to bring this back to the OP question, there's no doubt the quality of workmanship in these instruments, some of it is breathtaking, but is it necessary? Do we benefit from such lush finishes, exotic materials, perfection in shaping etc when the vast majority (and some of the best) music that uses a bass guitar was played on a mass produced instrument with a bolt on neck? No matter how perfect the neck joint I cannot play like Jamerson or Pastorius. No perfection in craftsmanship, no matter how beautiful, no improved neck stabilising design will help me play like Seth Govan, nor even my mate, Sam who always sound and play much better than me and use basses with a painted finish and bolted construction. [/quote] Is that all a musical instrument should be? A functional tool? Not to me. IMO it should be a work of art in itself. Playability matters a great deal to me (although as BRX quite rightly states, playability is different things to different people; at the Moffat bash several people struggled with my Sei as the action was too low for them, because they play differently than me.) I believe that a musical instrument should inspire on all levels, sonically, ergonomically, aesthetically. Obviously different people have different requirements for each of those categories; one may like the sound/feel/look of a Fender over that of an Alembic, while another may feel the opposite. Some may like both. My personal favourites are Alembic and Rickenbacker but many here don't like either. IME, there is no "better" bass, and over 30+ years I've played a lot, at all price points. There is only the best bass for YOU. It could be cheap, mid-priced, or hugely expensive. What you will get as you go higher up the price bracket is better fit and finish, more expensive woods, more expensive electronics. It may be that none of this is relevant to you, or you're unable to perceive any of the "advantages". It may even simply be certain basses don't fit your music or style. A guitarist friend, a former US Fender/PRS/US Hamer player, once walked into a local guitar shop to buy a Strat and came out with a Squire, because "it sounded more like a Strat than the others". Generally speaking I'm happiest with fairly up-market through-necked basses, but I've played cheap basses that in practical terms have matched many of them. The thing is, for many it's not just about "practical terms". Otherwise, why do we play music at all? What point is there in art? Again, it comes down to individual perspective.

[quote name='silddx' timestamp='1318346585' post='1400934'] I agree they feel and sound awful, but the 4001 looks gorgeous - not in sunburst of course (twatglo I think it's called), but the white ones and the black ones look ace. I would buy one to hang on the wall if it was cheap. But they are stupidly expensive and not that well made. [/quote] Yeah, I'm selling both of mine and buying a chrome Warwick instead.....(sadly at work I can't put a wink after this).

Loz, I still have to see yours in the flesh, but it's about as nice as it gets in pictures! Considering the Orion is a low-end Alembic, if you'll excuse the pun, you'd never guess it looking at Retroman's. Really lovely and as Loz says, gorgeous multiple laminates.

[quote name='jazzyvee' timestamp='1321215191' post='1436642'] I'd go for Lozbass's Stanley Clark style Series II Alembic. Jazzyvee [/quote] +1 here, followed by my old Sei 4 (Moonbassalpha) and Sei 5 (Ziggydolphinboy). There may be others I can't remember..... BTW, I'm actually happy with what I've got, although if I could have anything it would be my old Alembic Triple O back!

I've tried to buy them over the phone several times and only been successful once. Shame, because I'd like to try the round core set.

Good luck Zig!

No Bass? I'm with you on Adagio Bilbo. I've also fallen utterly in love with Martin Simpson's playing recently; Rose of Allendale or She Slips Away would be prime examples. Simon & Garfunkel Scarborough Fair/Canticle, KT Tunstall "Alchemy" & "Scarlet Tulip", Kate Bush "The Man With The Child In His Eyes", and loads of others that I'll have to think about (it's late and I've had wine!). My all-time favourite bit of music is the start of Shine On You Crazy Diamond by Pink Floyd, the fade-in keyboard single note with all the tinkly stuff behind. Nothing has ever come close to approaching that for me. It's like the Sound of the Universe! To be honest most of the music I listen to at the moment is fairly haunting, hypnotic, repetitive stuff, played on acoustic guitar and with no bass whatsoever. If I could play guitar like Martin Simpson I'd probably give up bass entirely. Here's KT: [media]http://www.youtube.com/watch?v=mQKKRhYmkEI[/media]

[quote name='nick' timestamp='1321101595' post='1435370'] +1000 to all of above - bang on correct. [/quote] The above is obviously a no-brainer, but isn't it fun to give / see examples of people's favourite tones? I think so.

What bothers me is that his P doesn't sound the same, particularly in the upper register, on other recordings i've heard. It's normally drier and a bit clunkier, but hey, that could just be the recording. If he could confirm either way I could finally sleep at night! Regardless, it's a blinding rock tone. Must admit that until I got my '72 Ric I could get closer with my old early 70s P than with my previous Rics ('80 and '76). Chris is my main man; glad to hear they were great. They usually are.

[quote name='acidbass' timestamp='1179870550' post='4753'] Mine is KT Tunstall - Suddenly I See. Anyone else think this song has one of the best recorded bass sounds ever? I was listening to it earlier - the album version, and thought what a GREAT bass tone the guy gets. I looked him up online, some dude called Arnulf Lindner, but I couldn't find any information about his equipment unfortunately. I have it on good information that he plays a Jazz though? I'd love to be able to get this sound in the studio or indeed live. It surprised me too that he used a hell of a lot of reverb in the recording, something which is strange for bassists a lot of the time. So....anyone else got any songs that they just love to listen to because of the bass tone? [/quote] The guy she had in her previous touring band (not the most recent one) who I assume is the same guy on the record, played a vintagey-looking Jazz live (and a double bass). That's probably what's on the record, nicely overdriven. The most recent guy used a variety of basses first time I saw him and then a Ric 4001CS last time. I love KT to bits, she's my celebrity crush. Met her twice and she's absolutely lovely (and hilarious). Saw her last week and she was fabulous. As far as bass tones go, anything by Chris Squire, but a special mention goes to Long Distance Runaround. The first few Stranglers albums. The first 3 Jamiroquai albums but particularly Didjital Vibtrations. Most Leigh Gorman of Bow Wow Wow (including Hippy Chick by Soho) but especially Mile High Club. Most 70s Stanley Clarke. Made in Europe (Glenn Hughes). Entwistle Alembic period. Lemmy. John McVie on Fleetwood Mac, Rumours and Tusk (Brown Eyes and Sisters of the Moon are standouts). Geezer Butler on most things but Heaven & Hell (partic Die Young) and Mob Rules especially. The sound I'm aiming for is somewhere between all those.

[quote name='analog kid' timestamp='1321033335' post='1434704'] Well off to see Yes shortly at Birmingham Symphony Hall and to worship at the alter of Chris Squire and then next Tuesday Glenn Hughes acoustic show at Brum Glee Club where he will personally sign copies of his autobiography! Thats 2 of my all time top 4 Bass heroes i will be seeing in 5 days.......sorry just had to share im just so excited! [/quote] Can you do me a favour and ask Glenn to confirm whether it was the Ric or the P-Bass on Made in Europe? I believe it was actually the P despite the cover photos (and some distinctly Ric like upper-register tones), but I need to know! I've been fretting over this for years. FWIW, 2 of my faves too.