Beer of the Bass

Yeah, fair enough, Pete, and the input of MM collectors is probably useful in this case. I just found a few of the responses in this thread a bit ugly considering that the guy appears to have been going on the information he had available and has been willing to alter the listing as new information came to his attention.

Has anyone considered that the seller might genuinely have received that email from EBMM, and that somebody at EBMM made a mistake or didn't give the pictures more than a cursory glance? It is unlikely that every individual employee of EBMM will be fully versed in the minor details of basses that may have been made long before they joined the company. Answering queries from people who are neither existing nor potential customers is probably not high on any companies list of priorities, so perhaps someone in the office at EBMM just had a quick look at the photo, sent a reply along the lines of "yeah, looks like one of ours", before going on to the next task?

The pickups do look like Ibanez. If he was to list it as an Ibanez, with no mention of the R-word he could probably get a decent price, though less than the starting bid at the moment.

[quote name='lettsguitars' post='1253298' date='Jun 1 2011, 11:02 PM']looks like he's havin fun to me. what was he using?[/quote] I think it's a Yamaha DX7, atop some sort of grand piano. That [i]was[/i] what you meant, wasn't it?

Not sure about the John McLaughlin comment though. Early on (i.e. the Extrapolation album) he definitely swung, and if his rythmic feel changed later on it was probably a stylistic choice rather than a deficiency.

A friend of mine had one which used to hang around our rehearsal space. This one had been partly stripped, seemingly using a chisel (!), and was very definitely solid wood. It looked a bit like the rubberwood they use for chopping boards and cheap furniture, so I presume it's a mystery Asian hardwood. It was nice and light though, and sounded like a respectable p-bass once we'd put in a decent pickup.

Even with the same amp, it could have been down to that bassist's technique, strings or EQ rather than any specific property of the Kay bass. So you're unlikely to nail that sound just by finding the same model, but you might get close by playing with the variables above on pretty much any Precision style bass. Edit: i've just googled the K1-B, and it's the short scale, SG shaped one, right? So looking at other short scale basses might be a good start if that's the sound you're after.

It looks like a relative of this amp; [url="http://www.chambonino.com/work/miscguitar/misc18.html"]http://www.chambonino.com/work/miscguitar/misc18.html[/url] So I guess it might have been labelled Gem.

I bought a set of tuners from Chris. They were in excellent condition, he responded quickly to messages and I'd cheerfully buy from him again.

I had an Ibanez rick copy, from the Cross Salesroom in Glasgow for £80. Unfortunately a previous owner had pretty much trashed it. It had moved at the heel joint which someone had "repaired" by drilling in completely useless dowels, and a big crack near the nut, which had been glued with epoxy which also locked the over tightened truss rod in place! The back of it had been oversprayed to hide all of this. It self-destructed about a year later...

I'm thinking that the first one would look good with a really garish pickguard material like this: [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=260786670319&ssPageName=STRK:MEWAX:IT"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...e=STRK:MEWAX:IT[/url] A bit like the colour scheme on Prince's Hohner guitar.

I do play with a pick some of the time, but my pick style involves more wrist than elbow movement (i.e moving in a relatively small arc), so the position of the controls on my four string has never bothered me. I would probably have the contols slightly further back on the second option - the picture is just a rough mock-up. I'm thinking more of the aesthetic aspects of the two. The second option looks a bit less fender derivative, which could be a good thing. I tend not to like basses with plain wood fronts, as I feel like a pickguard or control plate of some sort can compliment the lines of the body and break up the coffee table look.

I'm about to embark on building a five string bass, using a swamp ash body blank and a maple neck which came from an OLP. I also have a pair of Jazz pickups from a Lakland Joe Osborn, and a set of Schaller tuners on the way. The bridge will be a generic Gotoh 201 lookalike from an eBay seller. In a couple of weeks, I'll drop in on my brother, who has a nice workshop with bandsaw and router etc. and cut out the body. I'm planning to finish it in Tru-oil, to keep the blonde look. I have built one instrument before, about 12 years ago, which I enjoy playing but it's somewhat crudely built and the weight (12 1/2 lbs) is starting to make my back ache after gigs and rehearsals. So the intention is to build something lighter - anywhere under 10 pounds will be fine. I've decided on my body shape, which will be based on my old four string but with rounded, jaguar style horns. I'm toying with the idea of using a little teardrop shaped control plate like my four string has, or a more fenderish pickguard and back routed controls. I've mocked up both configurations, and included a picture of my old four string for comparison. I'd be curious to see which people like better, the pickguard or control plate.

I modded a cheap precision copy to eight string a while ago, and used the existing bridge with additional grooves cut in the saddles. There are some pictures of it here: [url="http://basschat.co.uk/index.php?showtopic=98333&hl=eight"]http://basschat.co.uk/index.php?showtopic=98333&hl=eight[/url] Because of the position of the intonation adjusting screws, the strings have to travel at a bit of an angle behind the saddles, and I needed quite deep grooves to stop them from popping out. So the grooves in a threaded saddle may not be deep enough to work well. Admittedly mine was a bit of a zero budget, quick and dirty job just to see if it would work. The intonation is a bit rough higher up, but not totally unusable.

If you're into DIY, an OLC Flipster run in to a decent DI box is an option. It's quite limited, but does a pretty convincing job if you like its basic tone, and there's no mid scoop unless you crank the bass and treble controls all the way up.

I've not seen a schematic for the sound city, but on my old Carlsbro valve head, I changed the value of the bright cap (a capacitor across the master volume) to give me a bit more clarity, as the cab I use rolls off the highs quite low down. If everything else is healthy, it might be worth a shot, as it's about the single cheapest change you can make. It wouldn't make any difference if you're running the volume control most of the way up though.

I'd agree, for any kind of jazz, other than old swing or trad jazz, try Spirocores first. The Weich (soft) gauge will be easier on the hands, Mittel (medium) are a bit stiffer. Even if you decide further down the line that you want to try something else, you'll have a good reference point to go from, since pretty much every jazz bassist is familiar with them.

He comes across as being a lot more reasonable in that written interview than in the video in the first post. I wonder if he'd had a bad day with his students shortly before that? I like the comments about jazz and funk artists though. Though I love a lot of Jazz, and a lot of Funk, there are a fair few examples of Jazz-Funk which leave me cold!

Although Euphonic Audio make some good sounding cabs using what they consider to be a transmission line design. Whether they truly are a transmission line or just an alternative type of port, they are effective cabs.

Picato are cheap and generally OK too. Their stainless steel rounds feel and sound a lot like rotosound, only cheaper. I did get one duff string in a pack, but the shop were happy to replace that.

I've done this, so it's definitely acheivable. Mine was fender style silver cloth. Getting it reasonably tight wasn't too hard, mine is not absolutely perfect but is as good as many old fenders I've seen. I used a staple gun, started by securing the grille at the centre of the top and bottom sides, then did the centre of the left and right sides. I then worked outwards to the corners, using plenty of staples and stretching it tight as I went. Another pair of hands can help, as can a girlfriend who dabbles in upholstering! It also helps if you can use a synthetic cloth which will shrink and tighten when heated with a hot hairdryer.

I think what happened with McCoy Tyner was a major cock up on the part of the producers. If they had any familiarity at all with his performances (i.e. done their homework), they'd have known he wouldn't fit in to their 4-minute slot and structured the program accordingly. And if you dislike Jools Holland at the moment, try reading his autobiography and you'll like him even less!