Chris2112

[quote name='Alfie' post='1021189' date='Nov 12 2010, 11:32 AM']While it is not so much the case now that the forum has grown so much, I also think that in selling on Basschat there is a certain sense of helping people out to experience gear they otherwise would have no access to, by pricing slightly cheaper it helps things circulate and it all balances itself out eventually. This is why it annoys me when people try to sell used items for more than they paid for them, we can all see what the value of the item was and I would feel slightly dirty to purchase an item where the Basschat system has been abused by naked profiteering.[/quote] This is an excellent point and it's something I really support. I have been very lucky with a few deals on this board, for instance my Alembic Epic 5 string which cost me £600! When I decided to sell it, I offered it for sale at £600. I could have easily asked double and probably taken that. However, I appreciated the fact that I had been lucky, and it's good to pass on a good deal. Someone else gets to experience a great bass and I've not lost out on it.

Yeah, I certainly wouldn't expect it to raise much cash, after all: 1) It's an SG body shape... 2) It's a Pangborn. Pangborn fans are bassists, because we saw Mark King using them and thought they looked and sounded awesome. Now, it's just the die hard Mark King fans who know what they are, which is a relatively small group who aren't typically interested in guitars. Even the Pangborn P Bass shape (the Warrior or Chieftain? I can't remember) doesn't seem that sought after, there was one on sale here for ages. for me, Pangborns always looked a lot like Jaydees with a better headstock design!

Punk: sloppy feel, awful playing and awful tone. Latin Jazz: fast swinging feel around the angular piano lines

I have to say, I am completely done with the pub circuit. It used to be better, but now it seems to have died a bit of a death, and is is tougher on musicians than ever before. With the increasing prevalence of pay to play, it's just awful. I'm lucky in that as far as band playing goes now, it is 100% studio based for me now. As a band we've retired from the live scene as it's just too much hassle and fuss for what you get back from it. I'm fortunate that one of the guys I play with has an amazing home studio where we can relax, drink a few beers and jam. Once we've got something on tape we can play it back and adjust/mix it at our leisure as there are no studio fees! If I was going to go back to playing live it would only be on the hotel/wedding scene as you are pretty much guaranteed to have appreciative and accomodating organisers and customers.

Then I would definitely advise you to avoid playing any ACG basses, they will redefine what you expect from an instrument and you will suffer from serious GAS as a result. I have to keep telling myself I don't need a fretless to stop me ordering another bass from Alan!

I've not heard of there being Pangborn guitars however it is more than possible. That said, pretty much anything Ashley made is pretty rare! Last I heard he was working for Gibson in Germany, it would be amazing if he started building again.

I think McCartney is one of the handful of players who novice bassists should study to get a grasp of what bass playing is all about. He's incredibly versatile and I love the way he just went for it with some of those lines. He appreciated the role of bass in pop music at the time but also saw it as a viable melodic instrument which is a very cool way of looking at it.

The singer is the most noticeable member of the band on stage, and if they're not up to scratch it's a disaster. Especially since we live in the X Factor age and everyone is now a de facto expert on singing. It is also true that good singers are the hardest band members to find and generally the hardest to get on with, simply because they don't have the same musical bond as everyone else who likes messing around with their instruments etc etc.

To me, these represent the worst of current Warwick. Along with that hideous Adam Clayton thing and the newest Jack Bruce bass. Oh, how I laughed when the Zender fans went wild, hearing that he had a new signature model in the works, only to see that monstrosity unleashed!

[quote name='far0n' post='1021021' date='Nov 12 2010, 09:22 AM']Played one years ago that had a neck like a tree trunk but sounded truly superb, then got it into my head that all warwicks were chubby. Until I played Warwickhunt's one, his had a nice slim neck ! Hmm... anyway.. loads of questions about Warwicks.... Which pickups are usually the better ? Barts ? MEC ? etc Which time frame has the slimmer necks ? Do the older ones need that wood treament lark ? Weren't they just waxed or something ?? What's the difference between Stage I and II ? I'm sure I'll think of more..... Ta[/quote] The slimmest necks I've found are the old NT models, though the bolt on profile of the 90's was also quite slim and comfortable. This was the height of Warwicks glory, the late 80's though until the late 90's. Then came the Millenium and Nu Metal and suddenly Warwick's popularity exploded due to increased marketing. They became very popular with players across the board (as evidenced by the massive popularity they enjoyed at Talkbass: they were very much the bass to have, which seems incredible saying as we are talking about Warwick!). With this sudden surge in popularity, Warwick basses ended up in the hands of a lot more players than ever before. However, they had started using ovangkol instead of wenge to make the necks and the profile had changed from a slim "C" to a wide and clubby "D". This resulted in many people saying Warwick had necks like baseball bats; this is only true of the later models. As for the pickups, Warwick sound great with Barts but the other popular pickup choices, Seymour Duncans and EMGs don't really put their best foot forward. However, the MECs are perfectly useable pickups though they too have suffered undue criticism. People say they are naff pickups when they're really not enjoying the MEC preamp! However, I really liked the sound of my stock Thumb and I'm not one to fiddle with basses so I just left it as it came. As for the wood waxing, it's generally more of an issue with newer basses. With the older basses, if they've been owned by a dedicated and conscientous owner, they should be in good shape. The wax is applied to treat the wood of the bass and keep it moist and attractive. I've seen a couple of Warwicks that haven't been properly looked after that appear dry and chalky as the wood is so thirsty. When the bass is new, it has to be waxed more often. After a while, the wood has soaked up enough wax to keep it in good condition and it only requires an occasional buffing to keep it in tip top condition. Dana B Goods (an American Warwick dealer) stated that you can use a variety of household furniture polishes on the basses, I had a pot of Warwick Beeswax with mine and a little goes a long, long way. The necks, particularly the open grain of the wenge, does not need wax treatment, as it is oiled by your hand as you play. I've seen people wax the necks before and they're like greased bananas and a nightmare to clean as the wenge soaks up a lot of wax. As for the difference between the S1 and the S2, I think it is as follows: S1: Maple body and through neck, variety of pickups S2: Afzelia body and wenge (or ovangkol) through neck, jazz bar type single coil pickups.

I hadn't heard of Steve for a couple of years there, though I do fondly recall the forum he hosted with Michael Manring on Talkbass.

[quote name='spiritchaser' post='1018883' date='Nov 10 2010, 03:28 PM']Just take a look at that guy and what he's getting out of his MKII fretless - incredible [url="http://www.youtube.com/watch?v=fD2xS91Mi84&feature=related"]http://www.youtube.com/watch?v=fD2xS91Mi84...feature=related[/url] Hard to copy those sounds with a different bass. I love mine and they are worth every cent I paid for them.[/quote] At first when I saw all those effects pedals I expected that to be the usual load of lazy crap that people with massive racks of effects are tempted to create, but it was alright! It's a shame the Wal tone was a bit buried there.

This guy is obviously one of those old bug bear characters, I was rolling eyes when I got to bit where he said all instruments finished in "modern lacquer" sound crap!

I'd like to go back to a Streamer some day, just ebcause it's one of those basses I've always wanted to own. (despite owning an IMO superior Spector, the best use of the NS body shape for me) That said, I can't imagine I'd find much use for it!

I don't mind either. My ACG is incredible to look at it with it's beautiful woodwork, but my Kubicki is also so classy and aggressive looking with the black ebony fretboard against the dashing red paint. It all depends on the bass, although in general I lean towards natural basses.

Having spent well over £100 buying Jonas Hellborg records (including tracking down his rarer stuff) I'm not sure I see the comparison myself...

[quote name='josh3184' post='1019617' date='Nov 11 2010, 03:18 AM']First I've heard of someone not liking the slap sound on a Thumb! What was it about it that didn't work for you?[/quote] I suppose it's not that I didn't like the slap sound, it just wasn't the right slap sound for me. I really like bright, cutting 1980's slap sounds like you get from Kubicki and Status Graphite basses. The Thumb's slap sound was either too thin and trebly without the weight and punch of say; a Kubicki, or too woody and "dark" sounding. It was a perfectly useable sound and I quite happily used it for Level 42 playalongs, but when I started chasing tone as the ultimate goal the Thumb wasn't quite right. I also traded it for a Kubicki Ex Factor, so you can see my logic for letting it go. That said, the Thumb bass provides a sound that is essentially unique, not even the Warwick Dolphin can really touch it. If I were only playing fingerstyle these days, and I couldn't stretch to something more fancy like an ACG, a Status or a Zon I'd definitely be happy with a Thumb. There is so much to like about the bass, aside from the excellent tone. That wonderful small body, the stylish and distinctive looks, the excellent German build quality. I'm never convinced when I see Thumb basses selling for over £1000 but at current used prices (I got mine, a 1999 BO in mint condition with a Wenge neck for £590) they are excellent basses to buy.

I used to love my Thumb, it was an excellent bass. About as good as a "band" bass as I've ever had, it just sounded great in a mix. However, with my love of slap sounds, it ended up being moved on. Still a fantastic bass though and one I look back most fondly on.

It usually depends on my needs at the time. With regards to TC, I found them to be great amps and if I were after a head+cab setup I'd go straight after a TC rig. However, I downsized because I stopped playing live and now I just play in my bedroom or in the studio with friends. A small, portable amp with excellent tone is what I needed so I went for an Ashdown MK500 Mark King combo. It suits my needs perfectly, as I chase tone, not volume and it will certainly provide enough volume to work brilliantly in a studio jam. I could gig with it as even then I tend to DI into the board and use the amp for stage monitoring. With the basses I get, I find Basschat is an excellent place to find exotic items at a great price. For instance, I got my Alembic fretless for £600 here and I loved it. I'd have kept it had I not generally moved away from fretless playing. However, things tend to go in circles - I've now discovered ACG basses thanks to this forum. I feel particularly honoured to own the first Harlot Singlecut made by Alan at ACG. However, owning an ACG has made me think of ordering a fretless ACG!

He must keep the "crap" control turned all the way to ten!

Nice to see the "Just Intonation" Thumb there, I thought it was a one off that had been sold by Station Music! However, I have to admit I wasn't blown away by the soundtrack, it was a bit heavy on the cheesy drums, scooped guitars and sounded a tad generic compared to some of your other tunes.