Chris2112

Don't forget either, that in the 1970's Fender tasked Philip Kubicki with designing a headless bass for them to launch into the market. He worked on the project for a while because it had an interesting aside; allowing Fender to collect data on how headstock mass and design correlated to the "dead spots". The project never got off the ground despite prototypes being made there. Just a few years later, Phil would be making on the most "futuristic" basses around, the Kubicki X Factor. Even today, it's design features, particularly it's ergonomics, put most other new designs to shame.

Sadly it's a bit far off the beaten track for me, but I will keep my eye on it in future! Do they seem to sell their stock fairly quickly or does it tend to sit around for a while? Bass Central in the US has seemingly had certain Alembic models for ages that just dont' sell despite looking amazing!

[quote name='Musicman20' post='963367' date='Sep 21 2010, 02:53 PM']This is the same as my experience, except I tried all Metros. They have outstandting fit and finish (and so they should) which id never argue with.[/quote] Well, the NYC was decently finished and felt fairly solid but in truth was no more exciting to me than any other jazz bass despite the price tag. The Metros were of fair fit and finish, pleasantly set up but nothing outstanding, certainly not Alembic/Status/Sei levels of fit and finish. They were new into the shop at the time too so I doubt it was a life of shop soiling that was clouding my judgement! However, when I think of good jazz basses I'll always go back to one that I played at Howard's Bass Place. A red CIJ jazz with EMG pickups: it played itself and sounded incredible. Jazz growl but with an added bite that was very characterful and pleasing and a very useable midrange. It was something like £400, I'd have bought it in a second had I had the cash at the time!

I was having a look at this today in Guitar Guitar Newcastle today, looks really nice. Price is steep at £1099 used but it was gorgeous. Unfortunately, they were quite short staffed and someone buying an Ibanez Tube Screamer seemed to be wasting the assistant's time so despite asking to have a go on it, I left before playing it. It was in good nice though and I quite fancy one so I might go back for another look.

I think this is much the same case as Justin Chancellor playing Wal basses. With that pick in his hand and all those effects on the floor he could pretty much be playing any bass! (but a Musicman Bongo is a dead ringer for his tone!)

[quote name='birdy' post='963191' date='Sep 21 2010, 12:22 PM']I find this strange and wonder if its down to the shop and their setup perhaps? I have owned about 7 metros and they have all, without exception, been superb basses and way ahead of most Fenders I have played.[/quote] I don't know about that, because when I played an NYC bass it was privately owned. I suppose a large part of my disappointment was that I was sitting down with a "Sadowsky", a name that has some much weight attached. And at the end of the day, when it's just a jazz bass and not a particularly outstanding one at that, you're bound to be left feeling disapppointed. I like jazz basses just as much as the next bloke, but for the same cash you could have a Sei or a Wal!

I think the real issue I have with them is that I've never been amazed with Sadowsky basses. I've tried a bunch of the Metros that have come through Guitar Guitar and quite frankly, there have usually been better Fenders in the shop! Similarly, having played the NYC basses I can see that they are reasonably well put together but definitely not something I'd ever dream of paying £3000 for! But I suppose that takes us back down the "what is a jazz bass worth" road...

Sold to a bloke from this forum a couple of years ago for £750 after I decided 6 strings wern't really my thing and bought a Spector instead!

[quote name='jazzyvee' post='962628' date='Sep 20 2010, 07:44 PM']If you are unaware of it, you may wanna keep this link so that you are ready when the right pay day comes along :-) [url="http://www.americanguitarsuk.com/bassshop/alembicB.php"]http://www.americanguitarsuk.com/bassshop/alembicB.php[/url] Jazzyvee[/quote] Awesome link, thank you! I love the coco bolo top of one of the Mark King basses but I don't like the stinger tail, if I could have that top on the other body shape I'd be very happy! I'd ideally like one with a flamed or quilted maple top, I'll just keep my eyes open over these next few years!

[quote name='jasethebass' post='961007' date='Sep 19 2010, 10:57 AM']Kubicki I hope. I got one.[/quote] Nice one! Pictures and serial number please! Might as well post mine

My old Stealth there, what a bass that was!

[quote name='marcus bell' post='276281' date='Sep 3 2008, 02:37 PM']Jaydee all the way, i think its the perfect slap bass...the alembic is weird it sounds great on its own but seems to get lost in a band situation, also it seems to sound better played fingerstyle.[/quote] I know this is all the way from the first page but I quoted it because it made me laugh. I'm still on the lookout for a Mark King signature, one of these days I'll find one right around pay day!

I'm not sure I'd agree that Dickens makes Vic look pedestrian, but I do really like his playing (his fingerstyle soloing is fantastic!). Also, I think he's the only person I've really seen use that pluck-hammer-slap thing for playing triplets.

1) Stuart Hamm - I've loved his playing since I was about 15. He's the reason I've owned two Kubicki Ex Factor basses, as I love the tone he got out of them. So to be able to use that sound myself is very cool! He's one of the most complete players around, he is the man. 2) Mark King - Probably the most obvious influence on my playing, I often try to come at things with my Mark King hat on and impart some up front, funky sounds to things. His playing is incredible: awesome slap skills, brilliant burpy fingerstyle lines and impeccable note choice and timing. Others grovel at his feet! 3) Geddy Lee - the master of fingerstyle bass playing. Incredible note choice, dead on timing, brilliant tone (especially with a Wal). He's about as close to a bass god as I can imagine. Amazing song writer too. Power Windows and Hold Your Fire define good music for me. honourable mentions: Jonas Hellborg, Tony Butler, Jaco

It's right up the street of my Alembic, which has the classic ingredient of an ebony fingerboard to help get those mids singing through. I just go and solo the bridge pickup and pluck hard with short, stacatto movements of the right hand. Backing off some of the bass and treble from the EQ can also help. Roundwounds are also a good way forward.

I've always just went with the bass that I felt like playing...a little tweak of the EQ and you can usually get the sound you want in most rooms as long as there isn't a total incompetant running the sound board! IME, anyway!

[quote name='silddx' post='959491' date='Sep 17 2010, 02:25 PM']Who's "Jean" anyway? And why would she want something that looks like it evolved at the bottom of the Mariana Trench?[/quote] That would be Jean Baudin of Nuclear Rabbit. I hate NR but he's done some alright solo stuff (cue brief youtube fame when he did the Mario theme tune on his Joust bass a couple of years ago). I guess you could say he has eclectic taste in basses. I don't like the look of it, but to be given a bass in that manner is pretty cool.

There was a good thread on Giblin just a couple of weeks ago, it turned out that a lot of what I thought was Giblin with Kate Bush was actually someone else! (namely on Wuthering Heights!)