Chris2112

It's a nice looking bass and indeed, quite rare. I have joked in the past that Stanley loved his so much he put it in a case and didn't revisit the idea for thirty years! Alright, he didn't shelve them immediately but he wasn't exactly 'spellbound' for long the first time around. I actually thought that the next model, released in 2001, was more attractive, aside from the rather ugly back plate. Again, these were massively expensive at the time and didn't seem to form a part of Stan's regular arsenal.

The prices are up in the air at the moment. Asking prices for Status basses have ballooned in recent weeks since Rob announced a sort of retirement, as speculative sellers look to see if they can cash in, or if the bubble will hold.

I think they're both great albums. Better than anything that came after, even though their subsequent output was generally good. Songs like 'Heresy' and 'Superconductor' are up there with their best.

Truly, the heroes of the Somme would weep to imagine such conditions.

Well, the record finally shipped! It had reached a point where Jeff had stopped promising the release it by a certain date. Evidently, things needed a last minute polish and other things had to be taken care of. Even, it hasn't been plain sailing as the first batch of CD's ordered were sold out right away and the second delivery was delayed, but they're now back in stock. I had written a short review earlier to post to Talkbass, I'll just copy it direct here... "In any event, I had wanted to make a separate post for a proper review of 'Jack Songs'. I will try to keep it relatively brief in a sense because there is an element of surprise to be had which will probably cause a good degree of delight for the listener. I will try to inform on some of the background of the record without giving too much away about what you will actually hear. My own journey with this record goes on nearly as long as it has been in production. In about 2013 I gave up playing bass for a short while and started playing guitar. I came back to the bass in late 2015 or early 2016. I can't quite recall how or why, but when I came back to playing bass I suddenly felt a very strong desire to just listen to loads of Jeff Berlin recordings, particularly his later works with Danny Gottlieb and Richard Drexler, ones that I hadn't paid as much attention to as his earlier works. I went to check out what Jeff was working on at the time and noted that he was running a 'Gofundme' campaign to raise funds for his Jack Bruce record. That was actually the first time that Jeff and I spoke, when I noted that I'd be interested in the project but I wasn't sure it was for me. I was huge fan of Jeff's work but wasn't so keen on Jack Bruce's music. Honest to a fault, Jeff told me that I might be better saving my money if I didn't think it would be to my taste. I ended the conversation by saying that I would back the project because I believed in Jeff's ability and vision and his promise that the record would be his interpretation rather than straight covers. I have followed the project since that point and I am overjoyed that the record is now available to listen to. The recording process has been well-chronicled online and I have no doubt that the investment of time, money and plain hard work from Jeff has been immense. Before you listen to a single note of this record, take a moment to appreciate the effort that Jeff has put in to deliver this result. Wild arrangements, an incredible guest list, lush recordings and brilliant playing all await within. It has been a struggle, a labour of love and dedication, to see this record here now. Those who have followed the process since it's inception will recall moments of disaster like Pledgemusic collapsing along with the ever-encouraging enthusiasm that Jeff had for doing this. It is safe to say that if Jeff hadn't driven the project forward at every step it would surely have collapsed at some hurdle long ago. The endeavour of making your own record these days, as a small artist with big ambitions and a vision for something more than just radio-friendly computer pop, cannot be overstated. The tracks on 'Jack Songs' lean more towards Bruce's solo work, a smart move you might conclude, because he was the harmonic engine of Cream. Though most people will know him best for being part of Cream, his solo work was more adventurous and musical. Jeff previously did a very entertaining cover of 'Crossroads' on his 'Pump It!' album. His proved there not only his technical ability but also his ability to speak with an authentic blues voice. He doesn't retread the same ground here and there is relatively little 'Cream' content, much in the same way that Jack Bruce did much more on his own than he did with Baker and Clapton. Now, I'd be lying if I said I cared about the blues, I don't. As far as musical styles go it is not for me but I've always enjoyed Jeff's ability to add a little blues flavour or phrasing into a line where it suits without becoming tired. The track listing and arrangements on 'Jack Songs' will illustrate to you that this is not an album of straight blues though it does have some bluesy bits. Jeff had mentioned in interviews that he had been inspired by a re-imagining of some Beatles work when he was conceptualising 'Jack Songs'. As a result, the songs on this album are not straight covers. They don't go as far as to be 'reimagined' versions but they are deft and dense rearrangements of the original works. In choosing this approach, Jeff has freed himself of the constraints of the originals whilst maintaining a respectful deference to how Jack had written them. As such, I think any fans of Jack's records will be surprised and entertained by how Jeff uses musical quotes and altered arrangements to recontextualise the music on 'Jack Songs'. This is a record of significant musical depth that will require several listens to dissect and appreciate. If value for money is a concern of yours, consider that you will have plenty to listen to here. The guest list is extensive and whilst some of the appearances are very brief, they do add great flavour and character to the record. The bass relay on 'Smiles Story and Morning Grins' is great fun and I let out an audible laugh when the final whistle goes to call an end to that section. This is really a record where the guests are left to shine, and having the most extensive guest list of any of Jeff's albums, it makes sense that space was left for them to take the limelight when the moment calls for it. If you want to hear some great bass (and keys) playing from Jeff, you'll get it here! But you'll also hear some great performances from the likes of Scott Henderson, Alex Lifeson, Billy Sheehan, Ron Thal, Gary Husband, Geddy Lee and Johnny Hiland and many more. Jeff gets the biggest, punchiest bass tone he has used in years and it absolutely anchors the band throughout. I don't want to say much more because, having been so long in the making, you may feel the same sense of curiosity as I do about what 'Jack Songs' is about. If you do, I'd urge that you check it out! Ultimately, what may come next may be even more exciting. Jeff recently took delivery of a 24 fret Cort Rithimic bass which he has stated would be used for his next project. He has talked for years now of doing a record of classical pieces and in recent years has studied composition and arrangement. If that really is what he is planning then I'm signing up now. We are lucky in that one of the true luminaries of our instrument is still actively engaged in making great music and playing more. Lets just hope it isn't another eight years in the making this time!"

Christ, they're playing twee music for old folk on a boat, not fighting in the trenches. Stimulants indeed 🙄🙄

flip me, I'd pay three times that for one.

I've played on low output active basses and high output passive basses. There is no hard and fast rule for any particular type. I find my impression of the output tends to be affected more by how much natural compression and treble the pickups produce. FWIW I like a hot, rich signal. Leave that wooly vintage fluff for the oldies.

I thought this was going to be a seven string bass thread! 😂😂

AIUI the 'solid' construction method of Steinberger etc was strong but heavy. Some of the thinner or hollow forms are obviously lighter but also stiffer. Status were, I believe, the pioneer in carbon fibre monocoque design with the Stealth that used a thin wood frame with layers of carbon fibre cloth laid up on top to form the 'skin' prior to curing and finishing. Basslab took things even further since they use some carbon fibre in their builds but most of the instrument is made of a 'tuned composite material', effectively a resin that allows for even more unusual shapes.

Funny seeing RHCP at the MTV awards last night with Kiedis thanking MTV for supporting them for 'a thousand years'. It certainly feels like it. I can scarcely believe that this is a band that peaked about 23 years ago. They sound about a day older than God now.

I had heard that some prospective customers had turned up at Bass Direct trying to buy a P bass and Mark tried to convince them to buy something else, something better, or something that he was more interested in. Seems like a good bloke, on that account.

I'm guessing he may have gone back since Martin Sims wound up Enfield Guitars.

That could skip over a 'worst bass solo' thread and take the top spot in a 'worst piece overall' thread 🤣

Given the enduring trend for old tat in both the guitar and bass world, I doubt anyone with a load of cash parked in some smokey old Fenders or Gibsons has much to worry about.

I always thought 'Maxwell Murder' was a dogturd of a solo in a dogturd of a song. Never mind that the bass solo itself sounds very goofy, but the song itself goes on longer because if it! Awful.

I couldn't have said it better. I like Berthoud's videos and the fact that he upsets a load of old fuds whenever he posts something always makes the comments section/forum threads quite funny.

Surely the tone of the neck in that instance is almost entirely determined by the wood rather than the 0.1mm thick carbon skin wrap? I'm guessing that the stuff that goes on is a bit like what VAG owners wrap their wing mirrors and dash trim with?

If it's just the wrap over wood like Enfield used then yeah, it looks really cool but doesn't have the typical graphite stiffness or sound. Whether or not that matters to you is another matter entirely. I do recall a white headless Shuker with a proper graphite neck but I can't recall where the neck was made.

You could add Vigier and Zoot to the list of companies than made in-house graphite products. Vigier for certain never made them for anyone else (indeed Patrice moved away from all graphite construction in his necks). Furthermore, Vigier are effectively winding down. I understand that their order book is closed and that remaining orders are being finished off, once they're done, Vigier are done. Interestingly, Mike Walsh of Zoot has talked about getting his graphite production going again. That is pretty exciting as I used to own a Zoot with a graphite neck which was really nicely made. For the rest of your list, well... Zon seem to be in tumult (still). I hear that Joe Son's comms have improved recently but there are still people waiting for builds long since paid for that aren't yet being delivered. Zon continue to take orders for and deliver basses ordered long after these poor customers were hooked. The saga documented time and time again on PH is chronic. I love Zon basses but I'd be extremely wary of ordering a new one if it wasn't money I could afford to lose. They can't service their own needs never mind make aftermarket products. Modulus are back up and running but they're not the same company. Production has slowed and prices have ballooned (seems they're taking a leaf out of the Wal book). Geoff Gould continues to make his own amazing basses. As the understand it, his order book is full enough that he doesn't need to offer aftermarket necks for the P and J basses of the world. Bogart - Stefan He's continued to manufacture his own necks. I'm not sure that Schack offer carbon fibre necks anymore. Clover don't (does the brand even operate anymore? I don't think you can actually buy a new Clover bass). Stefan still maintains his business and makes a good amount of basses, though I was disappointed to read of a Basschatter ordering one and getting a less than perfect bass. Mr Heß has been making basses long enough that they should be going out perfect. I still regularly play my 1994 Classic and love it. That bass is nearly 30 and is great fun, must be one of the good ones. Basslab are an interesting one. They're not graphite but they're in that same sort of sphere, made using a 'tuned composite' that seems to have even more remarkable physical properties than traditional graphite cloth. The builder, Heiko Hoepfinger, is again only concerned with building his own instruments rather than making aftermarket parts. His basses are so light that I can imagine it would be surreal to bolt one of his necks to a body that would usually have a wooden neck. However, I've never even seen one of his basses in person. I should change that.

That Jerzy Drozd fretless four string that they had seemed to have been there since Jesus was a lad and went through a few price drops. They don't seem to keep hold of used stock all that long in general.

Has there been any drop in quality since they were bought out? I remember being quite impressed trying out some of their amps many years ago, round about a similar time as Mark King spent about five minutes using them.