Chris2112

I haven't tried one but I follow their Facebook account and regularly marvel at Andrew's builds. They look stunning and they seem to be quite popular with professional players in the London area. Definitely worth a look, I think. I would add that I really like his original designs, though his jazz copies look cool too.

I found it very bland, like listening to beige. RHCP stopped being an edgy band a long time ago, so I wasn't expecting fireworks. I suppose being relatively nonplussed by this inoffensive and lethargic piece is probably an acceptable reaction to a band as middle-of-the-road as modern RHCP. I never much cared for early or later RHCP but I listened to Californication a lot when I was a young lad. That was a great record.

That is definitely going to be something special.

I'm not a fan of Primus but I think it's cool that they're doing this. I would go to see them as I love Rush.

I hope this plan comes off. I want to see the finished instruments!

Yes, I need to see that Dolphin!

Speaking of Warwick's, what do you have in your collection these days, @warwickhunt?

I saw this on Reverb this morning, a 1986 JD Thumb/Streamer hybrid. I'm assuming the hideous looks were a factor in this not taking off. It probably sounds great but it just doesn't look right to me.

It is rather shoddy of the band not to give Vega a proper deal after over a decade playing with them. Very sleazy indeed. That said, I suppose the band are of the (correct) opinion that pretty much anyone who can hold a bass could play everything they've ever recorded so they probably won't have to look far to find a cheap replacement.

This one is absolutely stunning.

I do remember seeing those two models up at the Gallery for nearly a grand each and thought that, even for London prices they were hugely trying it on.

I have always loved 'high tech' basses. My first proper bass was an Ibanez BTB so I guess I was never going to fit the 'P bass, blue jeans and white sneakers' crowd. I bought a Kubicki Ex Factor when I was 16 and that really began my love affair with high tech bass guitars. That said, as much as I used to consider graphite necks a superior option, I have eventually settled on them just being 'different' and not exclusively better or worse than wood. My Spector and my Pedulla Pentabuzz are both all maple and I find the response from them to be utterly amazing. In terms of low end articulation they both punch alongside the very best carbon fibre necked basses I've played and owned. I do currently own a Bogart Blackstone five string with a carbon fibre neck and composite body. I've had that for a good few years now and though I prefer my NS-5CR, I can't deny the all-round ability of the Bogart with it's thin, flat neck that never moves. I just love basses that are a bit different and that feel special. I've played many nice jazz basses and played many P basses too, but I just don't think I could excited about them like I could for something a bit more exotic.

AIUI, Status have a team already working there for when Rob and Dawn decide to pack in (as he has over 40 years in the business, it could really come at any time).

I know, I want to know what it is too after reading that!

I recall that both Modulus (or at least Geoff Gould) and Status had both confirmed that the necks didn't need truss rods nor were the truss rods really effective in terms of inducing or reducing relief. Both were brought in following customer demand after years of making basses without them. Do they need them? Not really, I don't think. My Bogart doesn't have one, nor did my Zon or any of the Status basses I've owned. Shame about Vigier though. The days of their most iconic instruments are behind them, no matter how good their wooden necks were. The classic recipe to me was the full carbon graphite neck. I doubt they sold in the numbers to warrant any interest from someone who could build them under licence. They will always be a part of the technical explosion of the 80's to me, when all these builders were coming up with their own designs and innovations to get away from the hokey, run of the mill Fender-look stuff.

I'm not sure where the microphone was, just that the box was on the wall with an array of traffic lights. I was sitting next to it in the service. The venue was in Leek, Staffordshire and the weather the past three days has been dreadful. Glad to be back in the calm of Northumberland now.

As it happens I am at a wedding in a converted barn. The third song from the DJ (Mr Brightside) tripper the meter and cut the power, knocking out the WiFi! It wasn't even that loud. I had spied the box earlier on which is mounted on a wall next to the dance floor. Makes me wonder who they're worried about upsetting, there are no other properties around for miles and only wedding guests staying overnight.

It could be worse I suppose, they could try to pay you with their beer 🤣

What was it that didn't work, out of interest?

I'd be interested in giving them a go, I love Jaco's tone. I'll agree that every player has an innate quality in their hands that contributes to their tone but having the right gear certainly helps.

I had always wanted one of these but could never find one for sale in the UK.

I saw that on the Bogart page last night. It is very smart.

It has certainly changed and not for the better, unless you like the new 'Rockbass' style lines.