zigmondo

My my..omg, you got that one, did you! And you spot the diff with the walnut centreblock even with the neck-through? (I remember having mine with both walnut centre and back wings and thought then that walnut had one of the most noticeable impacts on tone...and I know there are many who think this is some kind of mythic "placebo" effect). Thanks for pm'ing me to share your joy: I have to say, it looks very well on you, and that top(er, the bass's) is so good as to be almost ridiculously exquisite. I can only imagine that Mr G. was delighted and flattered that after such deliberation you chose this model. Delighted as I am with my AC, the separation-pangs from the S2 have just stuck a fork in me innards and given 'em a wee twist... Beats me how Rob can excel and recreate anew each time he does these. I've said before and will do so again: if anything deserves a design award it's a babby like this. Many congrats and happy playing...would you keep us posted with your thoughts on tonal diffs with this one?

A late chime in from me. Yep, I snaffled the one in Camden some days ago, even sending my Status S2 to Greece in order to do so. [attachment=17240:Harlotfull.jpg] This is the Harlot that was there. In terms of handling, this bass seems to effortlessly mould itself to my standing playing position and from the bass-eye view the aesthetic works even better than it does looking at it in the garden! Prior to my playing one of Alan's basses, had anyone asked whether I'd consider a set-neck single-cutaway I'd have invoked all manner of epithets pertaining to daftness. Someone has already mentioned the "asymmetric" position one's hand is in when playing au naturel...the neck profile seems to be just the right shape to assist the playing process. In terms of "customer service" I find Alan to be as bespoke as his instruments: I didn't even buy the bass from him yet he's invariably answered my enquiries with patience and generosity. I'm quite convinced that were you to set your heart on an AC, you'd get an instrument made with a fine and rare degree of skill, and one in which you'd be included in every step of the build. For recording purposes I've always only D.I.'d a bass through either a Sansamp or a Pod...I was so impressed with my Harlot that I had to buy it a decent amp the week after!

I think I'm right in saying that it was the bassline that was the prime mover for the track being born in the first place. I can also say that the bassline is not original and is from a song of around 15-20 years earlier...blowed if I know which one though! S' OK: hose me down in napalm if I'm in error.

Interesting. I've just stepped into a whole new world here. I have a limited yet probably quite polarised experience, in that I've been a dyed-in-the-wool afficianado of the "Status" boost/cut/parametric middle until 3 days ago, whereupon I'm now the jaw-dropped and dribbling owner of an AC Harlot(broken in, as they say, by our own GreeneKing, who has been of paramount help in my securing this wonderful instrument). For me, it's a quantum-leap in terms of approach to sound concoction, yet the AC preamp seems so "infinitely" configurable it would be an easy thing to smother the sound that the bass intrinsically wants to make: there's all manner of woody resonances and interplay going on that add up to a different experience than the Status, even before it gets produced(to use the term alluded to by GreeneKing). I feel I have to presently be a little careful in not superimposing the tones I wish to produce with the AC preamp in the AC bass...though it's nice to able to dial in pretty much anything I could dream of, of course. What I mean is, that there are enough disireable tones within the Harlot, as to warrant a mere "tweak" rather than a full-on "produce", if you see what I mean. And by the same token I could say, with the misty eyes of parted company, that the belter of an S2 that I ousted to make room for the Harlot may well have greatly benefitted from more "producing" and filter-based shaping... ....If anyone out there has fitted an AC preamp into a Status, I for one would be most interested to see how that combo works...devastating, I'd guess. I'm really quite arrested at present though with the blending possibilities: no mere panning of pickup balance as much as an actual layering of textures and sound strata. For me to be able to have(and ON BOARD at the front end..phee-ew!) unmuddied layers of sub-dub emerging uncompressed from a growly middle..and hear the bounce and resonance of woods that work together: well, this is now a whole new ball-game. Whether it's the Harlot, or the pre-amp, or both, I can safely say that in the past few days my whole approach to how I use a bass in my music has been challenged and taken apart. It's going to be fun for me to lsiten and watch it all settle into a totally different form, I reckon!

My experience of Wizard pickups is that they are skilfully and thoughtfully crafted. Not as advertised(hyped?) as, say, BKPs but at least their equal. I have had Wizards in one of my recording guitars for a number of years now and am exceedingly happy with them.

I've not had great experience with Creative drivers though their audio converters seem well-specc'ed My experience of M-Audio has been that their cards are reliable. I'm growing out of the inbuilt soft-limiting some M-Audio cards have. For mega-serious stuff I'd not use USB-anything, but for just getting going I'd personally go for the Line 2 or M-Audio of the ones you've referred to.

Well, as a "live specimen" of someone who is primarily a player of the, er, smaller-stringed variety(and by all means click on my sig for full proof of weak effeminacy), my attitude about bass players is that the ones I've met and worked with are more musical, creative, reliable, discerning, relaxed and less egocentric than we guitarists. It was until this post at least(arf!) I was only opining yesterday, to a fellow BCer who warmly invited me into his home to play his collection, that I've frequently found other guitarists to often manifest something akin to jealousy and to musically talk more than listen, and thus what a refreshingly encouraging and personable bunch I've found bass players to be. ...which is partly why I'm aiming to become one also. I'm sure this is not universally the case, but I've generally found the tenet among bassists to be "inclusion", whereas exclusion has often shown itself in many guitarists I've shared with. I promise I won't rearrange "exception" and "rule" to make a well-known phrase or saying.

Omygawsh. Totally agree. These really do deserve an award. Design meets function. Outstanding. I've no button on my keyboard for an intake of breath couple with a glottal stop.

Fascinating(apologies readers for going OT). Y'know, I reckon it must be the "limiting"/ compression thang(...?...) I'm able to get into that "organic" territory more now I've lowered the pups and turned down the internal trim pot. Definitely, Bassbus! I've no qualms losing my backline and relying on the BD and the P.A....nor losing my back, for the same reason. Hmm..I'd better not think down the CIJ road; that's how I ended up with 6 or 7 guitars in the first place. You're going to tell me how cheap they are next, aren't you...?...I can sense the glee from here....

No Rich. I remember feeling that an appearance by me wouldn't actually help me to ascertain just what "home sound" I'd actually get...also that the bass I'd had before that was also a Status(Series 2000) and I could safely buy unseen. "Generally OK but beware the occasional duffer" was, and has been, always a caveat I've carried with even the highest-end guitars(except Fender Japan in my experience)...but never once with Status bass: a fact or finding I still testify to. To be honest, I thought at the time that if I did go over to Colchester, I'd be winding myself up something chronic and end up with forking out for all manner of flashing lights and landing gear..and being really a grunt guitarist just wanted a bass tool that would never let me down in a gig or need shielding away from lighting circuits, etc; for recording. My whole, er, "rig" has consisted really of the S2 and a Sansamp Bass Driver. I still want that "Jeff Berlin meets Tal W. for a cup of Sainsbury's Red Label" tone, however...

Gentlemen....as a fresh-faced innocent, I ahve to say I've rarely encountered quite as many people who apply the terms for woods and finishes(and even the most innocent of flora) as though they were massaging exotic unguents in a sauna; I mean, why is this the first time I've seen the word "campanula" written with what is a decidedly suggestive leer! Mama...what are they doing to me...

That's it then, I'm sorted now: I'll just ask Rob G. for a retro in MDF with a fotoflame QMT. No tonal difference between 18mm and 23mm you reckon?

Blessya Rich(right with you regards the Sad. tone you're after...just that springy woodiness: ya know, the only way I can even approach that tone with the S2 is to lower the pups and roll off the circuitboard trim pot...still not quite there either: I think it must be the maple board...in conjunction with everything else i suppose..) Here's 3 more disgusting yet pouting pics... [attachment=16288:S2back_new.jpg] [attachment=16289:S2bod3_new.jpg] [attachment=16290:S2bod4_new.jpg]

Am learning much from this, thanks all. Some really useful observations for me on the JO ta Pete.

I'm quite surprised walnut is not used even more often, though I'm sure I come from a guitarist's perspective somewhat. I had my Status S2 Classic 5 made with walnut back and centre; I feel with the rest of the material(maple top) it's warmed and woodified things up a wee smidge, getting the lower mids through nicely. I appreciate this may not be that discerning a reply given the Status' neck and active circuitry, but I find it a lovely if aesthetically understated wood.