Chris2112

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.

I will say again that this with a buckeye burl, redwood, quilted maple top or something like that... I'd want for nothing more than a six string. I've now spent the morning thinking about it!

I won't even bother watching this. Rick's content has become more and more focused on clickbait, misleading titles and ranting. I should probably unfollow him on YouTube and it seems his great content is all behind him now.

No, share the sordid details! I've always wondered about the status of whether or not there would be more Celinder basses made.

I've got a lot of time and respect for what Mark Jones is doing with his instruments. His woodworking and craftsmanship looks absolutely world class, and I'm pleased to see a product of that quality being made in a small operation in England. It's a brave move to try and break into the toxic and often snobbish bass market, even when your product appears to be as good as anything else you can buy. Yes, the earlier basses were obviously inspired by Ken Smith. I'm not sure why that attracted such opprobrium; I don't think an order with Jones Bass would have gone to Ken Smith otherwise. If you see an R Bass or a D'Mark, you don't automatically think that Fodera have lost out. If you see a Unicorn, you don't assume that the order would have otherwise automatically gone to Alembic. If you see a Lull, you don't assume that Sadowsky, Devon, Valenti, Fender, Moon etc have lost an order. I think some of the initial criticism over social media of the derivative styling was just people sticking the boot in because they could. Because Mark was posting the builds online as the luthier, it was probably quite easy for the detractors to have a pop at them. I don't like Mark's current shapes as much but his coolest, sleekest shape is one that he needs to make more fuss about. I think he calls it the MK1 shape. I absolutely love it. See the attached item. Irrespective of what you think of the shapes of the basses, you can't argue that they look absolutely flawless in the pictures. I'm not sure if he does his own finishing but the high gloss finish he getting looks like glass, it's absolutely incredible.

I can't reconcile with them being anything other than £500 bass on a good day. I don't think they're worth any more than that, whatever you rose-tinted glasses might say.

I spotted this online the other day and thought it looked quite naff and generic. Not at all exciting, with the sort of spec that just about anyone could make.