Henrythe8

I guess the Oasis will be the opportunity to see the live version of the album as Alex Skolnick will be there too.

Up for this year's edition. 🙂 I attended last year's and it was A BLAST. Really enjoyed it. Hours of bass playing and especially for me a lifelong dream as I played on stage with Stu - and the mighty Mattias Eklundh. I encourage you to come this year, the other "big names" being Mohini Dey and Alex Skolnick. It's a week full of fun and bass. jams in some local bars are also a great way to play and enjoy yourself. We were about 7 or 8 attending last year making this experience a truly "insider" experience with the professionals. Plus Estonia is really cool. 🙂

I confirm, it's a 98 Boiré. One of the last. The Bartolini/Boiré were the early ones (89/early 90ies). The body was also a tad thinner on the early ones.

https://www.emp-online.fr/p/Chemise-à-fronces-et-à-laçage/364697XXL.html I changed the black shoelace for a white one, though.

Foolishly sold all the 4-strings. The Boiré4 was most probably one of the best basses I had.

Don't you hate it when your job takes too much time and doesn't allow you to play properly ? I do. I've been able to take the Patchwork for a little drive around the music room, and especially playing it against my TM5 Hardcore Aged. First impressions - that I will corrpborate later with some clips and verified facts : The Patchwork is significantly heavier than the Yellow. Not absurd for a 5er, and still lighter than my Dolphin. The neck feels chunkier. It is not according to rough measurements made. Sound wise they are of course in the same ballpark (especially for me, as I think all bass sound "boom boom" in the end). The Patchwork however has a distinct quality that I have difficulties transcribing into words. The first qualificative that popped in my mind was that it sounded more authoritative. Tighter and punchier comes to mind, too. Of course the electronics makes it easy to find a sweet spot whatever your style is, but the "Classic Passive P-Tone that is easily found on the Yellow selecting only the neck pickup is not found on the Patchwork, that gives it a modern quality. I really believe the very special construction increases the stiffness of the instrument, giving it a very particular, commanding tone. Of course for the ToneWoods afficionado, this concept of bass is a vast piffley gobbledegook, however my beliefs have been reinforced by this bass. I have been proven that two identical instruments made of the same wood from the same tree will sound differently if the wood comes from the top or the bottom of the tree. Same applies here where it's not the essence of the woods that will produce the tone but the overall density and construction. More to come. 🙂

TL/DR : I bought a bass. I have been on the hunt for a Warwick Buzzard 5 strings for a long time and finally bought one about a year ago. It took me a few months to realize I couldn't quite get used to it, the string spacing was too narrow. I finally traded it againt a Sandberg TM5, custom made for Fernando Mainer, bassist for the Spanish metal band Mägo de Oz. At first I din't quite like it, the neck was not an immediate match. But the sound, the wide array of tones that you can get out of this bass and the sheer coolness of the Hardcore Aged treatment, mixed with 10 years of professional playing made me stick to it. And I finally end up playing this bass a lot. To the point where I thought of ordering a custom made one. And, browsing through the wonderful ads we have in this Parrish, I stumbled accross this one, proposed by the great @Fettsman I've seen the bass for sale by the BassCenter, but missed it (and of course, being located in the distant and exotic country of France, transport and taxes just killed me) Intereste'd, I was. But needed to find a way to let this bass escape the UK to come to me. I have a few friends in London, but alas too far from the bass. Thanks to this wonderfull forum spirit, I was quickly helped by @walshy, that already used the service of a trusted "Man In A Van". I contacted Tim, the Man in the Van, that offered to deliver the bass directly to France at my door. The fee was not ininteresting, especially when factoring the taxes and VAT costs. So the bass traveled a bit through the UK, crossed the channel, traveled to the south of France, and then back in the NOrth where Tim The Man In The Van droppe dit at 2AM (yes, he kind of had a rough traffic and had to be on the Ferry at 7 in the morning so we managed a drop-off in my garage). And this morning, I experienced the only real annoyance of this transaction, as the pack Fettsman made was really difficult to open. 🙂 But then the bass was there, in my hands, still perfectly set up and IN TUNE 🙂 And then came the second annoying thing, I had to go to work so I'll play it tonight. I wanted to thank Fettsman, Walshy, and the very good spirit of this forum to make this happen. You already have photos in the ad so I'll post some more when I'm able to properly review this bass.

I bought a bass from Andrew and communicatiopn was smooth, and friendly. We found a way to transport the bass to the distant and Exotic Country of France that was a bit peculiar and he was kind enough to adapt. Recommended BassChatter 🙂

A bit disappointed as there was no reply form Sandberg to my eMails, and they did not respond to the distributor I sent a request, too. On th other hand, that's not a big deal, I'm all out of Money. 🙂

Highly philosophical. I'd play semantics and say that there are more successful artists than others. Artist that are better sellers than others. Musicians that are more famous than others. If we say it's a competition, you need to find a metric to measure performance. ANd as an artistic form, music has no clear metric and when you don't pay for music (like all the streams that are counted today are not a commitment froim a fan, like @tauzero mentioned, people buying CDs had a commitment toward an artist. But the people just streaming an artist are not commited. The most album sold is a metric, but that doesn't make a better artist, it's just a better fame/distribution/time continuum. What contemporary artist is going to sell more recordings than the Beatles (still selling after all these years...) now that music is not sold anymore. I'd go further saying that now more than ever, a musician is a marketing product but the music is not what is sold. I'd play on words saying music is competitive, but not a competition. As even if you loose in a way eg records selling), you can still be a champion in another recognition, musical genius, legendary performer...).

Also interested as the traditional EUB have a longer scale length, so I'm always lost. BTW, checked on Thomann, the Omni bass is now over 1800€, it was around 1000 in 2019 when I bought mine...

Warmoth ?

I already had he pleasure to discuss with Mark, unfortunately being located in France kind of makes the point moot. thanks for your help ! OK, I sent an eMail and located a nearby distributor if needed. Do any of you fellow Sandbergers know is they do custom orders ? Like with a change in the pickup configuration/placement ? (I asked but I like to discusss this 😉 )