GreeneKing

Just a thought, how often do we let a note ring long enough for any increase in sustain to be significant? If you increase sustain it usually is at the expense of attack. How often to we use the sustain gained and are we prepared to lose attack? I'd like to thank Jim Fleeting for the above info btw. Personally having fitted 3 or 4 Badass II's I'd say the difference almost imperceptable in a gigging situation.

I was getting really enthusiastic until the word 'relic' came along. Each to their own of course but how about using it for a few years and the relicing will be. 1. Genuine 2. Free Just a thought.

[quote]I think Chris May, Martin Petersen, the people at Alembic, Fodera, Mike Tobias etc etc would probably argue that point.[/quote] I think that's a very fair comment but, the two luthiers I've spoken to on the subject give the wood about a 10 to 15% influence on the 'tone' as a maximum. So maybe it does have a small effect, and if you're shelling out for a custom instrument then 15% would be significant. When combined with wood mass, neck construction, pickups, strings and pre-amp it will become considerably significant. Then going back to the argument that most punters don't know their 4 string P from their 6 string Yamaha it's only likely to be us who care anyway. As I've said before, coffee table woods have their uses:

Personally I need to understand whats going on musically to be able to play. But I know a lot of people out there who gig regularly, play far better than me and have a great time without being able to read music or academically understand chord structure. So I'd suspect that the Berlin stuff is a narrow viewpoint, valid only if you are of that ilk. I think that if you are going to take playing to the nth degree then it becomes progressively more important too.

This is where Joe comes in and tells us that removal of wood is the perfect answer to a good tone

Good to see the 'Bird' in such good company

Ditto, errr... Oops me too!

Another Veggie here! I may have a Comfort style strap for sale in a day or two. A Bass Collection (see thread on broken strap) replacement (I would advise using cable ties just in case!). I've also the repaired one going really cheap at £5 plus P&P.

[quote]Wood and it being the cause of tone is rubbish...[/quote] That's not quite the way Jim Fleeting would put it Seriously, go with what looks good to you - full stop.

Very nice bunch of basses. All very distinctive tonally I guess. Very traditional. Very stunning for being so. I'd have to say that one of the plus's of my Harlot particularly is it's multi trick pony aspect. Other than that it's beautiful (in my eyes) and made to measure. I know that traditionally basses like P's, J's and Rays have their 'sound' but I wonder if it isn't time we moved onto something that can do it all (see my sig ). Of course playing the Harlot in a blues band might not look right Peter

Nice one WoT and good to see some good news today. All the best for the future and new beginnings mate. Peter

[quote]but will stick in in my pocket.[/quote] I don't think it'll work that way, it needs to be plugged into the bass methinks.

I know Al'll be along later but I went down and it was a great night. Great boozer too, I wish I had one like that a short walk away Actually its maybe just as well I don't. Nick Carey did a couple of numbers on bass too. Very enjoyable and NGE will be sadly missed in these parts.

I just did a search for Marvel straplocks following finding them attached to my Overwater. I'm a fan, and very reasonably priced too. The locking mechanism only prevents the male slipping out of the female bit (macho fnaa comments go in here) and isn't load bearing as suggested above. I thought they'd be far more expensive. I'd also vote for Comfort Strapps as opposed to Brooklyn Gear in that Brooklyn gear, and the Bass Collection derivative have been known to fail at the plastic links. To the guy that chops the end off to prevent the buckle digging in, do you realise that both the holes are meant to be used?