ARGH

And I am not posting in a aggressive fashion If you want smileys go on MSN.

[quote name='alexclaber' post='436236' date='Mar 16 2009, 04:10 PM']Obviously construction (which includes wood choices) has to make a difference otherwise all those shopfuls of basses wearing similar roundwound strings would sound identical unplugged - and I've played enough basses to know that is no way the case! How much you'll hear those differences when plugged in depends on the honesty of the pickups and amplification. Alex[/quote] SO in that statement you admit that all the wood,and type of construction,means sh*t all when its plugged in...because you are hearing P/Us and strings...not the wood....hense,I win..YAYYYYYYYY..... Fact is this,I play a Jazz,its me playing a Jazz,I play a P.....guess what..its me again......I play a Warwick.....well this could go on.... The Carl Thompson interview I use is over scale...A man who knows a ton more about building instruments than you Alex,part of the Thompson sound to me is EMG P/Us,and scale.and the fact that wood is to abstract...like ways to describe sound,such as CT says in the interview......unlike pretty much metal as a substance,to clearly define its properties in tone creation or affection. Scale makes things brighter and clearer over greater length in the lows...thats science,a world ruled by facts not hearsay and alchemy....see a piano for details kids....but you dont get Bechstein or Bosendorfer arguing over the wood used in construction,because the the strings are anchored at each ends by parts made of metal....say thats like a bass isnt it....but they look nice dont they. Maybe stringthru body brings the wood into play a bit more,But I dont hear it,the killer for most vibration is the metal saddle,with an nth going into the body...we dont fit magnetic P/Us in the ass of our instruments..so maybe the Piezo users have more 'wood' than regular joes....in tone terms. Ive played pisslight EBMM's and Buttheavy EBMMs...they still sounded like Stingers to me,so the wood had nowt to do with it,and to say you can tell the difference is myth and lie. We dont buy an electric instrument to play it acoustically,thats madness.... Ive played Bright mahogany instruments,Ive played Dark and murky Maple instruments....the wood means very little...as I say,the player,the strings guage,scale,the P/U..the P/Us position,The Bridge,where the strings plucked....the electronics..Body shape....woods way down....dosent mean it does not affect tone at all,its just a very very very very small part and then before that theres the amp,cable,speakers..... ----- Prove ,without any doubt that X type of wood,ALWAYS sounds like X and I will believe you....but its untrue,you know it,buy the wood coz you like the look of it,but dont get all bogged down in the myth that wood IS the be all and end all of tone.

[quote name='chris_b' post='436172' date='Mar 16 2009, 03:07 PM']I know you're not feeling up to much today, but please put IMO when you are arbitrarily dismissing everyone else’s views out of hand.[/quote] Prove Im wrong and I might think about it.... Im not dismissing everyones views,some people agree with me,Wood does not govern tone,anymore than choice of nut or bridge material...The player,is the beginning....the rest is navel,frankly over discussed,and to be honest boring. What wood looks nice is different kettle of fish......Dr Dave rotten maple topped Shuker being one of my faves.

Ive realised the possible reason for the op... He may be young,and probably has not been on this site long....Sorry its just Ive seen it before. Talkbass I think has done this to death. Origins of tone is Alchemy......mixed with science,and then you throw taste and style of play on top....with technique poor,great or otherwise. Wood does not govern tone......

[quote name='dlloyd' post='436155' date='Mar 16 2009, 02:52 PM']Well, why are you reading it?[/quote] Because I can see it coming...its like a dead body,you shouldnt,but you unzip the fly......

Oh god,here we go again...another convo about wood,and all the whys and wherefor....then it degenerates into pro wood vs Paint..."COZ I DONT WANT MY BASS TO LOOK LIKE A TABLE" type posts.... Its dull,its like arguing over fretwire.....Move the P/U on any bass half an inch either way,and the whole instrument sounds totally different,change string guage...change brands within that guage..sounds different...pluck near the bridge...pluck near the neck...sounds totally different... I know of blurry horrid Maple Basses,I know of bright as a button Maple Basses.....

[quote name='Marky L' post='435873' date='Mar 16 2009, 10:40 AM']How do you get that lovely lovely so '80's fretless sound that Karn does on Music For Chameleons, the Alan Partridge track?? What effects are going on there??[/quote] The 'Karnivore' sound isnt chorus.....Its doubletracked with a slight split left/right to each side in the mix. Old strings,heavy handed....cranked Bi-amping too... Just Karn,he cant read a note,and does not know a note on the neck,but he 'hears' melody wonderfully....

[quote name='chris_b' post='435783' date='Mar 16 2009, 09:02 AM']Had a bad night?[/quote] Yes...

[quote name='Crazykiwi' post='435764' date='Mar 16 2009, 07:58 AM']this argument is so old and done to death.[/quote] But what wood do you like to look at?

Mick,I dont think is on lp with Gary...Thats Gary doing a very good Mick Karn impression..Mick toured..and I think its that Alan Partridge track you might have been confused over... [url="http://www.youtube.com/watch?v=RlhQ3iC54QM"]http://www.youtube.com/watch?v=RlhQ3iC54QM[/url]

Wood and it being the cause of tone is rubbish... Dont give it as much kudos to tone origin as people would like it to be...The P/U and scale are far higher in affection of sound. Throw string choice and how and where its played..wood is wayyyyy down the chain...very little in effect of tone creation. But the question is what woods do I like... OLIVE LIMBA TULIPWOOD WALNUT PURPLEHEART MASSACARR EBONY ZEBRAWOOD all look nice,or most of these breeds do...but dont get to bogged down on the 'What wood sounds best?' arguement....its like a serpent chasing its tail.

I bought it,I paid for it...No you cant use it... DI is the only thing lent out,and then only to a trusted friend....Its all Im taking to London gigs after instruments. NEVER a Bass,NEVER a Head,NEVER a cab.

[quote name='bass_ferret' post='433257' date='Mar 13 2009, 09:00 AM']But do they let you play the 9 ?[/quote] Yes..Ive already retuned them,Scott wants 2 tracks from it at least..and the next lp,will,mostly,be in drop A. (Vast disappointment that I didn't bring it to the audition)

Digging out the 'Cosmic Lawnmower'???

METAL!!!!!

You have to have faith...do you drive..go to Leeds...Ripon,Bradford....Hell I do a 90 mile round trip twice a week,because,there was not a band to join,when the covers band folded...I lost alot of money,time,and frustration mounted...Everyone got jobs in other bands asap,but no-one needed a Bassplayer...there were many a Bass owner or 'Doubler' per se..I was gonna sell up and say balls to it,it was a loooong few months...as an originals idea of being in a band,it was a longer...7 years.... Then it happend,I sh*t myself for 10 days,nailing the tracks ..for that shot....I didnt know who I was up against,hell,until I'd done the audition,frankly I didnt care..... But I got the job (Hell..the drummer didnt want anyone else....which was nice) its hard...travelling...but I remember the waiting and 'abyss' of having nothing.... I travel to Burnley,as a result,Im in a band that has an lp coming out next week,and are being booked nationwide,and in Europe...even the USA is being mooted. its an effort,but Im with a bunch of good guys...good people....and its working.* Beerdragon,outtoplayjazz, and ESP JASE,...a few others gave me encouraging words... YOU CANT QUIT...Let no-one call you a liar,coz you will just be bullshitting yourself,or become a lazy son of a bitch,have ambition,sharpen your playing,KEEP playing...If you can get covers work,do it,its not a deathknell,its a program to build stamina....to be better...your hands will become strong,and you will get cash on top. *Irony being,I get into I.C.O.N,and 3 days later 2 fulltime functions/weddings groups,one Metal group,and 3 local covers,and 2 depping jobs came in via email....over the space of 2 weeks.

PM me Dont stop playing

[quote name='EBS_freak' post='429497' date='Mar 9 2009, 04:09 PM']Insecure??[/quote] He means crap

Wal's I love them.... But they are ,or were,studio Bass's...remember an often awful tone plugged in,can be a godlike one in recording...Wals were known for that..heavy as sin,but sturdy and reliable...and ALOT of options to sculpt tone Bilbos right ,there ISNT a Wal sound per se,just the player,Percy Jones's sounded different to Karns,to Geddys,to Newsteads etc etc. Very much a player to player instrument.

It could just be a dud...Some instruments just are!

I have to say,the amount of people working on an 'Older' Warwick,would have been the same in number as Alembic. Can we define 'Custom' please...is it a bass designed,in an original body shape,with electronics fitted as you wish,be they in house or company made.neck/body/headstock all hand carved....neck to your specs,as is the hardware...its an instrument made for you...a...one off shall we say. or is it a 'Model' with options? The latter isnt custom to me,not totally.... (waits for that to be taken out of all proportion)

[quote name='nick' post='428931' date='Mar 8 2009, 11:03 PM']"Bonzo Goes To Bitburg" brings back happy memories for me [/quote] +1 Or the whole 1st LP....and Ive a soft spot for their version of "I dont wanna grow up".

[quote name='Dr.Dave' post='428434' date='Mar 8 2009, 10:26 AM']I've met a bunch of you - happily I've yet to meet a BCer I haven't got on with - been a pleasure. I know some of you quite well and have seen some of you play. I always try to take something from another players playing but it honestly wouldn't occur to me who's 'best' - and even if it did I wouldn't post it on here in case , by implication , the abscence of someone's name might suggest I don't rate them when it's far more likely I just forgot.[/quote] GIVE ME BACK MY TENNER!!!!

Thing is,Ive bought cheap basses in the old days,an they work and sound ok in the bedroom on a 15w amp,but they fall apart,or bits break off,or at loud volumes they just sound dire... Saying that I know of a million tales of boutique instruments crapping out onstage.....Alembics (Jason Newstead) Gretsch (Billy Duffy)..Status (me)...Warwick (me again..and Entwistle). Cheap sh*tty pre-amps and bad pots,2 bnd eq's,bad soldering...... Thank the lord for the instrument,but curse the worker that plays,thats Gods plan...5 mins before stage...or 2mins in to the 1st set....

[quote name='4000' post='428170' date='Mar 7 2009, 07:15 PM'][i]You[/i] don't see the point in paying much more. Others do. Taking your argument to its logical conclusion means that you don't need anything better than a Squire with a decent setup. Which in a sense is true. But the reason for spending that money is to get a handmade piece of art that plays amazingly, sounds spectacular (if that's your thing) and has a unique aesthetic (again, if that's your thing). Nobody [i]needs[/i] a bass that costs more than a couple of hundred quid, the same way nobody needs a better car than one that can get you from a-b, or that nobody needs a painting by Van Gogh. That doesn't mean nobody should desire them or have them. Do you (yes, you personally) buy the cheapest, most functional clothes you can? The cheapest functioning car? The cheapest functioning tv? The cheapest pc that actually works? Because your argument says you should and that anyone who does anything else is nuts.[/quote] Bourgeois scum...worshipping currancy,buying revolution!