Chris2112

I get the feeling your Modulus could soon be going the distance to fund a Dingwall! I've always liked the look of the Prima basses most... This one here is owned by a Talkbass user, always struck me as particularly fine top... I like this one too...

Muse was just the kind of rubbish I was thinking of when I was considering how bad the over use of effects can be. Mind you, I suppose switching off the effects there wouldn't make it any better! IMO.

You'd be very brave to make the move based solely on migrating to a new music scene. I'd concentrate on sorting out a job in London or Bristol and then up sticks, at least then you've got some security while you find your feet and build your contacts on the music scene. As it seems that now it's harder than ever to make it in music, especially if you have any real talent, it pays to be realistic and focus on the real world first! Let the hobby come later.

[quote name='redstriper' post='1063120' date='Dec 19 2010, 12:34 AM']But the tone of those instruments can vary a lot and most players, (great or otherwise) try to choose an instrument that has a tone suited to them.[/quote] Indeed, Victor Wooten wouldn't sound anywhere near as good as he does if he played something like a clunky old P bass or a Thunderbird. Similarly, I doubt Mark King would get away with using tat like that in Level 42!

I have a distortion pedal and a Boss delay pedal that have probably seen no more than 2 hours use since I bought them a few years ago! In the studio I may use a very slight touch of chorus and compression, but I certainly think that less is more with effects.

Well, you may have a point if your band mates are tone deaf or not particularly interested in the sound of the band as a whole. If I bring the guys in my band a click track with me playing a bassline over the top they can instantly tell which bass it is I'm using, and I'll choose which bass to use based on the way it sounds. My Kubicki and ACG both have "modern" tones, but they're both very different. The Kubicki is definitely a "one of a kind" type bass which sounds unlike anything else, it's very bright and full of click and punch with a "honk" in the upper mids. The ACG is closer to what you'd find from a Wal, with a crisp and burpy sound that extends right through the midrange. Essentially, the ACG can do anything because of it's filter based preamp but I tend to keep it settled around a bridge pickup focused burpy tone; think Geddy Lee's sound on "Hold Your Fire" or thereabouts. I would agree that these things would probably be less important if I was playing in a pub rock band or something like that, but since I've retired from live playing and the band is now 100% studio based, making music for our enjoyment, tone is more important than ever for me. I'm not going to sit around for ages recording, mixing and mastering songs if I'm not happy with my tone!

At the moment I think a Jaydee represents far better value. Status basses are suffering some pretty severe inflation now, both in the used market and as new builds. For instance, a Kingbass Standard will set you back some £1600 at the very least. And I've got to say, thats a big hit, especially considering that the woods being used in the Standard range seem to be looking more and more uninspiring. Add to this the bolt on neck and satin finish and you seem to be paying an awful lot. I can't remember the list prices for new Jaydees, but I do recall a thread here where people were stunned at how cheap they are. Your money will go further there than at Status (and the Status prices will further increase with the VAT rise). It's a shame that the Status market is so vastly overinflated at the moment, which means that the tattier stuff like S2000 are pitched at £1000 used and even things like S4000's turning up for £700 used. Furthermore, Status certainly don't build them like they used to. Anyone who has played a 1980's S2 with the proper graphite "paddle" through neck will be able to attest to how they feel, sound and look better than the new ones. I don't know if I've got Statii fatigue from owning them over the years, or if it's the dire state of the current Status market that is turning me away from them. I once thought that they represented fantastic value for money, although this is not so much the case now.

[quote name='obbm' post='1061911' date='Dec 17 2010, 07:01 PM']Neck is Maple/Wenge with a Flame Sycamore fretboard[/quote] Alan is one of the only luthiers I can think of who appears to be regularly using flamed sycamore in his builds, and it is used to typically stunning effect here!

They've got some nice looking custom basses there!

[quote name='Happy Jack' post='1059340' date='Dec 15 2010, 09:59 AM']That is one of the most gob-smacking, awe-inspiring threads I've ever read. Out of sheer idle curiosity, I've emailed Gil Yaron to ask roughly how much he charges ...[/quote] And did he tell you how much he charges?

[quote name='EBS_freak' post='1061318' date='Dec 17 2010, 09:05 AM']I know. You can't knock Mark King as he is an exceptionally talented bloke... but as with most things, there is a time and a place. This wasn't it.[/quote] Well given the fact that he's done a version of the song which is clearly miles better than the other effort, surely this is the place? Two threads about the same song would be clutter, and there is no shame in being bettered by Mark King.

And here was me thinking this would be about the Public Image Ltd classic!

[quote name='Jean-Luc Pickguard' post='1060451' date='Dec 16 2010, 12:02 PM']Watching those vids one after the other MK looks like he's thinking "Ha! I've got a thumb and you haven't. Look what I can do with it" [/quote] And he's showing that he can quite easily play the other lad under the table, although this clear display of mastery was not intended as an offence, as Mark did this video last year and created something incredible - a christmas song you'd actually listen to.

[quote name='casapete' post='1060348' date='Dec 16 2010, 09:51 AM']Am I the only one who prefers the version in the OP.......??[/quote] I decided to watch that one, but it was a right plodder. As for him "single handledly" owning Mark King, I don't think he quite does that...in any sense!

This how you do a christmas song...listen to the amazing bassline!

In one of these places...

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!