Chris2112

I've always wanted to try one of these, they look great and I presume they make all the right J-bass sounds, which are always pleasing to my ear (whereas the Precision tone really does nothing for me unless it's very bright and played with a pick, and even then...). I always thought the relic finish looked good but I've never inspected one up close to see if it looked really authentic or not. It wouldn't fuss me that much, I've always thought they looked good in pictures and when I've seen them on the racks at guitar shops etc.

Ah, it's an age old problem. The problem with keys is that they're so easy to make loud and 'big' without much effort that they can always drown out the rest of the band, never mind just the bass, and because they can be employed with such versatility, keys players who love the sound of their own playing can feel encouraged to play constantly, over everything. Years ago when I worked at a hotel, we'd regularly have bands coming in to play functions and weddings. One band always used the set up worth their guy on a Nord Lead II (a keyboard I never really liked the sound of). He was invariably devastatingly loud and piercing to the detriment of the rest of the band. I always did wonder if they knew how much of the FOH sound was occupied by that noise. In this instance, I think some diplomatic conversation would be in order. A keys player can play a bass part but they can never make it sound like a bass guitar even if they have a good patch, in the same way as a drum machine doesn't bring the music to life like an actual drummer would. If the band are happy enough with stiff-sounding keyboard basslines, your daughter might be stuffed but if they band have any sense they'll recognise and address the issue.

That is absolutely awesome! I'm going to have to get my L-Bow out this afternoon to experience the magic again.

That is awesome. I hope things are on the up for you very soon.

It's always been a load of crap, the current year is no exception.

That looks absolutely great. I adore Warwick Thumbs.

Thanks for your input, it's good to have this perspective!

Some of you here may be aware of the developing situation revealed by Phil Jones of Phil Jones Bass over the course of the day via Facebook, wherein he reports that his business partner has closed the business and is trying to erase his legacy. A couple of hours ago he posted a tribute to his wife that sounds rather like a prelude to suicide. I believe he is still living in the US but I figured someone here may know him and be able to make contact with him to ensure his safety. Sadly has turned the comments off on his posts. Here's hoping word gets through to talk some sense into him, he is a most excellent designer and always seemed like a decent bloke.

This was my thought. Rare, expensive and unique to the point of being irreplaceable. If you want a bass that feels, plays and sounds like a Basslab then it has to be a Basslab.

What was the thread title previously then, saying as it has caused such commotion?

Spector with EMG's and a Tonepump or EMG preamp. Musicman anything also a good call. Status Graphite Series II, Stealth and Modulus basses with EMG pickups can also be very bright when the strings are fresh.

I joined in June 2007, but I was a user of Bassworld beforehand. Looking on way back machine, I remember that Warwick with the curly bubinga top that was used the add flair to the pages.

Probably because the Darkglass sound has become almost a default sound in the industry, for worse, I would argue. This isn't a product made to appeal to the same audience though, so I agree that it is an odd comment.

I watched the basstheworld video and thought it sounded kind of tame/lame. I have no interest in furious levels of distortion but this one just sounded a bit limp.

I do mean to go back and watch more. It popped up on my YouTube feed today and I watched about three minutes. Does it get better? I was always intrigued by Entwhistle's bass collection (I had the hardcover book years ago!) but bloody hell, is he boring to listen to! I know he had a reputation as a fairly sombre and unenthusiastic sort...

Funnily enough I did have it as MP3 on my computer years ago, but I don't have it now. I hadn't listened to it in a couple of years, and now minus the MP3's, I had to listen to it on YouTube just the other week. It's an absolutely amazing record, with 'Suntan' being the highlight for me. The love trio record is also incredible.

I'd not heard of this bum before but I definitely won't be giving him any clicks. Good on Danny Sapko for exposing this fraud.

That is such a cool touch. Real artistry and attention to detail.

I still have my L-Bow and it remains one of the basses I'll never sell. There is just nothing else that feels or sounds quite like it. Everyone that has tried it thought it looked strange or novel at first but then agrees that it is a remarkable instrument and a great bit of design.

I hope he is found soon, Nick is an institution around here.

Well, I hadn't read any of this thread before tonight. It's been a real rollercoaster, and not always a good one at that.

Sorry to bang on about this shape but I love it. It works as a four string too. And look at the six from the back! So smart. This the direction I'd like to see Mark follow, if he won't just do the BT/BSR shape in future. As previously stated, I have no problem with something looking like a British Ken Smith. It may seem a bit jarring to some but that's only because he's the first guy to do it but look at all the other amazing builders that were clearly influenced by Ken.