Chris2112

I do like that Jazz bass. I never thought Victor sounded that great on them though, his tone have never really blew me away. Having played one though, I am quite certain it is the best jazz bass Fender make!

[quote name='molan' post='1058953' date='Dec 14 2010, 08:28 PM']I couldn't really place the exact colour, I think he referred to it as a 'new' blue colour but again I could be wrong![/quote] Seafoam Green is the best colour!

[quote name='Conan' post='1058363' date='Dec 14 2010, 11:38 AM']You're talkin' my crack-a-lackin' language!! [/quote] I can tell you, your S2 through my Ashdown MK500 was even more growling and fierce than Mark's Kinbgasses sounded through his Ashdown rig...what a beast! Heavier than the newer Status basses too, but it felt bombproof and all the better for it!

The thing that appeals about the Kingbass to me is it's single mindedness, and it's sounds. It does sound (IMO) considerably better then the rest of the wooden Status range at the minute. I know Rob thinks the Artist has more high frequency sound and attack, but I think both the Standard and Artist Kingbasses sounds fairly similar. They are both the most aggressive sounding basses in the Status range at the moment, and I think that is something that has sadly been lost from the Status sound. You will of course know exactly what I'm talking about, and Status fans regularly look back at the 1980's S2's with the huge carbon fibre "paddle" neck which formed the centre of the body with wooden wings attached. These Status basses had that fierce, almost uncontrollably aggressive sound. Sadly, given that the S2 now features considerably less graphite than it did, even in the neck through construction, they don't sound anywhere near as aggressive or as good. I suppose this is due in part to new electronics too. I still love the sound of Status basses, but the Kingbass stands out as being the real star at the moment.

For me, these are the best: Status Kingbass Alembic Mark King And both of the Urge bass models I've never been one for people going to luthiers, having a high end bass made and then calling it their signature model. It has a touch of the "who are you" about it.

[quote name='JimH' post='1057691' date='Dec 13 2010, 07:23 PM']+1 for these if the budget allows :- [url="http://www.status-graphite.com/status/frames/streamline1.html"]Status Streamline[/url][/quote] As much as I love Status Graphite stuff, I can't help but think this bass looks clumsy and sub-par. It has the look a melted lolly pop or a poorly carved boat paddle. Tone wise, it's got the modern Status sound nailed, but next to it's "cousin" the classic graphite Steinberger, it just looks sloppy. I know the classic paddle shaped Steinberger, so stark and aggressive, is not something Status can directly copy, but I had hoped their ultra-compact offering would be more attractive. I know these basses are typically chosen for convienience, not looks, but it really should be more aesthetically pleasing. They're also very expensive given Status's skyrocketing prices! I have always looked to Status Graphite as being one of the best companies around, they should have been able to do a better effort than a Steinberger creation almost 30 years old!

Yes, it'll be an L-1500 I'm after then! Leo thought of everything!

The thing that always struck me about the L-1000 though was the fact that the pickup was too close to the neck. Had it been in the Stingray position it would have sounded amazing!

[quote name='Schnozzalee' post='1054799' date='Dec 11 2010, 11:02 AM']Kubicki, best slap bass - check Vail Johnson[/quote] I'd have to say the best slap bass on a Kubicki came from Stuart Hamm - his chops are certainly the most phenomenal and IMO he is the best slap player of all time! The slap solo from the "Country Music (a night in hell)" section of this video is particularly explosive... and at 03:43 here there is another nice slap section... I also particularly like these two videos, not only does the bloke have one of the Ex Factors with the awesome wood tops but he is a great player and the videos show how effortless Kubickis are to play. You also get a feeling of that typical Kubicki slap tone, with it's compressed bite and brilliant percussive click. Nothign sounds better in a band or on it's own IMO!

[quote name='neepheid' post='1057059' date='Dec 13 2010, 11:12 AM']THE FOLLOWING TEXT REPRESENTS MY OPINION, NOT FACT: The perpetuating of the ridiculous "pre-whatever company came in and messed things up in my (attempt to influence popular) opinion" nomenclature will not help. While CBS arguably dropped the ball a bit in terms of quality control, this pre-EB and pre-BBE nonsense is just bandwagon jumping ridiculousness perpetrated by people wishing to see an artificial inflation of prices based upon something completely arbitrary (being the ownership of a company) and trying to make out that their older instrument is somehow superior because of this. The value of "pre-Volkswagen" Skodas must be going through the roof by that logic. They just don't make 'em like they used to.[/quote] I think you're exactly right. It's like the old Stingrays, pre EBMM. They're nice, but nowhere near as nice in general as EBMM basses. EBMM were able to make an absolute science of their quality control and raised the bar for the basses as a whole. Nostalgia seems to have attached a massive surcharge onto the price tag of a pre-EBMM bass but in truth, the second hander 90's or 00's 'Ray will likely be a better buy!

There is no doubt that G&L make fantastic instruments. After all, the managed to capture the Stingray tone whilst expanding on it quite nicely. That said, I like the Stingray because it strikes me as so abrupt and simple. Everything that the clumsy, awful sounding P bass that preceded it should have been!

Just getting the "Girls on Film" bassline tight, it's surprisingly tricky!

I stopped gigging due to the hassle and the grief it causes. There is just no reward in doing it now! Instead, the band retired to the studio full time. It's a private studio, so we can spend as much time as we like there messing around and playing to suit ourselves rather than sell tickets. I get a lot more enjoyment from sitting in a comfortable chair in a nicely heated studio, poring over my lines note by note with an Anthony Jackson style scrutiny than playing gigs in lousy pubs full of drunken buffoons!

[quote name='Sheldon Dingwall' post='1056345' date='Dec 12 2010, 07:13 PM']Off topic a little. It's been on my mind to comment on the Kubicki X-factor since it's been mentioned in this thread a couple of times. There's a bass that deserves more recognition. I bow down to the brilliance of Phillip Kubicki. He's a real gentleman too.[/quote] Phil is absolutely the man and IMO, the most forward thinking bass designer of the 80's, a true visionary. And it's not just the quality of the design and construction, but the tone he created. As good as it gets, and he got it first time around. I believe he may now be retired, or at least in semi-retirement, having moved out of California to New Hampshire. I emailed him on the Kubicki website address, so I think he may be winding up his operation (which has been on the cards for a while now). They are basses that are more immediately recognised in the US than in the UK, and there are a lot more available there. Phil initially sold them direct, and the "Fender Era" was little more than a distribution agreement between Phil and Fender so he could take advantage of their distribution network, putting them in stores at a time when the demand for the basses was at an all time high. I'm not sure if they ever had a UK distributor. However, I did see a white 1989 Ex Factor for sale a while ago in the UK, #1785 - I used to have a white Ex Factor - #1777!

G&L do make nice instruments but thats a bit much. I personally think Leo's designs peaked with the stingray.

Just for this thread, I'll post in my three favourite Big Country tunes... and a rather amazing live version...check out the intro when the guitars kick in, such a groove! This next one is another hidden gem from "Steeltown". The bass tone here is mint. I sometimes go for that cranked pick sound with my ACG. The chopping guitar sound that kicks in at 01:08 is good enough, but then you get that bit at 01:48 when the jangly strat sound comes in along with an absolutely driving bassline, leading you into the "big riff" section just a few moments later. I could listen to this song all day, it's class. And the classic "Angle Park"... Although I could go on all day about how much I love Big Country and which songs are amazing, I won't. They are just an amazing band, with probably the best rhythm section in rock outside of Rush! It's just one of those rare occasions when, much like with Rush, every band member is a massive talent. If you're a fan of Tony Butler's bass playing, check this track out aswell...another 80's classic with impeccable playing!

[quote name='thebrig' post='1054740' date='Dec 11 2010, 10:11 AM']I love it, looks great! Where would I get one in the UK? Not sure whether I could afford it though, but who knows, once us bass nuts try something, we always seem to come up with the dosh somehow![/quote] Ebay and the For Sale section here are the places to start looking, they do occasionally pop up at The Gallery with high price tags attached too! As has been said, knowing the models is a start. The Key Factor (tuned at the headstock, 34" scale etc etc) is a good bass but I don't consider it a "true" Kubicki. The Ex Factor is the one to go for - all are headless, active and with a D-Clip extension on the headstock. The earliest Ex Factors through to the "crossover" models are the most sought after. These are all 18V with the six position preamp. The crossover models have the Fender Custom Shop stamp on the back of the headstock but are made with original parts before Fender took over production. The "Fender Era" stuff sells for a little less, and comes with a 9V preamp instead of the 18V with a couple less positions. These basses were still made by Phil and the team at Kubicki and were stamped with the Fender Custom Shop logo. They are still fantastic basses, although the earlier models are a little more "magical". Then after Phil bought the brand back from Fender he started making them with the original preamp again, although at a slower rate than earlier due to a downsized team. Basically though, if it's an Ex Factor it should be awesome. I love mine! Phil is also the man when it comes to customer support. I think tone-wise, the other similar high tech basses of the 80's (Steinberger, Status Graphite, Schack, Modulus etc etc) just can't compete, the Kubicki knocks them into a cocked hat!

Yes, I'll always be a big Level 42 fan! I was listening to "A Pharaoh's dream" earlier and thinking what a bloody good song that was.

Alembic.

I'd learn a couple of glam standards so you know your way around them, but we're talking about glam here, not jazz fusion. I suspect this jam will be more about feel rather than the keyboard player expecting a Chick Corea/Stanley Clarke style unison battle! All you can do really is get your gear in order and turn up and [i]listen[/i]. If you can listen to the band and find a way to fit in with what they're doing you're sorted. I don't think they can really ask much more than that from you at this stage!

[quote name='Doddy' post='1053871' date='Dec 10 2010, 11:22 AM'][/quote] I thought the same! However, when going for the Entwistle sound don't forget to crank on the treble to a hot signal. If you're looking for "classic" Entwistle sound then be careful not too add too much on a modern amp as EQ's these days are better than on the old heaps of crap he was using back in the day! And don't forget the "typewriter technique". The video of him demonstrating it should be on youtube.

Obviously, communicating with the engineer is a must because he is supposed to be an expert in getting your stuff sounding fantastic. If you've got a complex or distinctive set up, discussing that with him first is surely a good idea. However, if he is set on doing it his way and disregarding your request or at least failing to accomodate you in the way you expect he's not doing what he's being paid to do. Even if you sound dreadful on record, so be it. I can understand him not wanting to put his name on a pile of sh*te, but customer satisfaction in the first instance is a must!

I think this picture of my first Kubicki Ex Factor really captures just how lightweight and chuckable they are... I like how if you look in the mirror you can see the back of the neck, and how wonderfully comfortable it is. To think I was without an Ex Factor for a couple of years, absolute madness. Never again...

Hope you get it sorted as the K5's are really good basses.

[quote name='matski' post='1054145' date='Dec 10 2010, 03:24 PM']OMG, I'm in shock!!! For once you had the perfect opportunity to big up the Kubicki ExFactor - which as we both know although a bit marmite, is very light, very ergonomically-shaped, and has a great range of sounds - and you opted instead for a Steinberger! For the OP: you should also consider a Status, if you have a reasonable budget and don't mind their looks.[/quote] Well, the Kubicki would be the ideal choice I'd say, as it is so light and so ergonomic. Sounds better than a Steinberger too; but in the event that you have to compromise and go for low weight over everything else a Steinberger is a fine choice. They do sound great after all! Easier to get hold of too!