Chris2112

[quote name='RAY AGAINST THE MACHINE' post='870270' date='Jun 17 2010, 09:52 PM']Got 9 basses, but will be offloading some soon due to lack of space,& not using enough. Answer to the question has to be , a Kubicki ex factor,a headless zon, steinberger trans trem.. better stop now [/quote] Well played - I don't think I could make do these days without a Kubicki Ex Factor, they are just too cool. This thread has also made me take note of the bassline to "Hyperactive" by Thomas Dolby for the first time, and I'll be setting out to learn that bassline over the next few days, it is incredible.

For me, it has to be a Status Kingbass. I know my Kubicki will cover all my headless, modern sounding needs (ie: all I want from a fretted bass!) but I still want one. I'll get one someday!

It would have to be my Alembic fretless... Although it was a hard fought battle between that and my Kubicki.

[quote name='62P-Bass' post='869638' date='Jun 17 2010, 07:49 AM']Nice to see that the drummer, Kenwood Dennard went on to much more serious musical endeavours: [url="http://www.youtube.com/watch?v=VLxNIMeaq_k"]http://www.youtube.com/watch?v=VLxNIMeaq_k[/url] Andrew[/quote] There is a part at the end of the Jaco video where Jaco throws his bass at Kenwood and he makes an awkward catch - but man does he look angry. If that bass had hit him he'd have been a hospital job!

You're saying you know nothing about Fender basses and yet your gear list states you have four?

Pardon me, Chops was the word I was trying to type!

[quote name='OldGit' post='868500' date='Jun 15 2010, 10:02 PM']Now there's a scary concept... [/quote] Here it is...Jeff is showing some fantastic shops and soloing ideas but they're not really working over the slightly plodding stuff going on behind him. Two fantastic bass players here, sadly failing to make amazing things happen! The bass Jaco was playing here was borrowed from a guy called Greg Wilson. [url="http://www.youtube.com/watch?v=aw3BV7V7ZbQ"]http://www.youtube.com/watch?v=aw3BV7V7ZbQ[/url]

Great video, although I'm not sure if that is the bass of doom he's playing. I recall that when they got him in to film this video they put him up for a couple of days and that he had to lend a bass because he had lost his by this point. Something about a student providing one for him? Or maybe I'm thinking of the video where he plays with Jeff Berlin.

[quote name='cetera' post='866858' date='Jun 14 2010, 11:23 AM']Lovely! Great basses these.... [/quote] Indeed, Greg's death meant the end of an era for these custom made beauties. IIRC, someone else who had worked for Greg was finishing up his order books when Greg passed away, but I'm not sure he kept the business going after that.

[quote name='Crazykiwi' post='867786' date='Jun 15 2010, 09:46 AM']Fodera. [/quote] Indeed! Although it's interesting to see that Richard Bona recently sold one of his Fodera signature basses that was 33" scale and is having another made with the exact same specs but in 34" scale...so it obviously makes a lot of difference to some people!

When I was in the market for a 6 string (a search that ended with a Status Stealth 6 string), I considered the Myung RBX. Of course when I got my hands on it (when Sounds Live were selling them for £600 odd quid), I was fairly disappointed. It just felt a bit cheap for me, the sound was fairly lifeless and it didn't play fantastically. But on that note, I'm not sure why I was surprised. Myung has always had a pretty dire tone, even when he was using Tung basses! The RBX just didn't hit the spot for me and remains the cynical "Jimmy Page Les Paul" of the bass world for me. Now, the John Patitucci TRBs, they are classics....

My brother has an Ibanez K7 in firespark blue, and it must be about 6 years old now. It was just what he wanted - 7 string, Ibanez, mahogany body, wizard neck, floating bridge etc etc. Never got used for any Korn stuff but it certainly handled the Shawn Lane tunes well. So much so that after all these years of him playing it, I was surprised to look through my old Ibanez 2001 catalogue that I picked up all those years ago to see the K7 next to Head and Munky from Korn! I had been looking at that guitar for so long I associated it with him!

[quote name='ThomBassmonkey' post='866093' date='Jun 13 2010, 04:09 PM']While I appreciate that the thumbs aren't the best designed with balance in mind, I never have any problems with mine. Rather than limit your options on bass, get a nice thick leather strap, should hold it fine, my thumb stays put wherever I leave it.[/quote] +1 I never had any trouble with my Thumb 4 string. Very comfortable.

Yes, back in those days he was using Fodera Monarch and Emperor fretless basses. Quite nice, but I'm not a fan of that "plucking near the neck" sound.

[quote name='Johnston' post='866963' date='Jun 14 2010, 12:53 PM']Does anyone know how much input any artist actually puts into a sig model. I've heard stories where the builders look at what the artist is known for, build a few variations and then give them to the artist to say which one. So the artist really just gives the okay put my name on that one rather than state what they want.[/quote] I think it all depends on the individual circumstances, for instance: 1) When Stuart Hamm got his Urge signature bass, it was designed from the ground up. Fender had bought the Kubicki company and so Stuart was in contact with them that way. Fender were interested in using a 9V version of the 18V Kubicki electronics they had devised in a Fender bass. They asked Stuart if he would like to have a signature bass built by Fender to suit his needs. Stuart stated that although the Kubicki was excellent for what he was doing on his own records, he was always taking a P and J bass to sessions with him. He put the project to Fender on the grounds that they could build him a bass that fully incorporated P and J features but was 32" scale with a 24 fret neck, amoung other things. Just to see how involved Stuart was with the design process, I recall Stuart saying on the first Urge Bass prototypes they tried using ebony fretboards like on the Kubicki basses. This proved to be too bright and harsh sounding and they chose pau ferro instead. So, that tiny annecdote gives some indiciation of just how involved with the development of his signature bass Stuart was. With the Urge II, I recall that it was Fender who wanted to make it 34" scale to increase the mainstream appeal of the instrument, but Stu was constantly in contact with Todd Krause of the Fender Custom shop and was approving details and taking receipt of custom prototype basses to ensure that the final product was excellent - although the most famous Urge II is undoubtedly "Mel", which was handbuilt to custom spec for Stu! Whereas: 2) Look at the newer Yamaha John Myung signature model, based on the RBX basses. Whereas the first Myung bass looked like a cheaper version of what Yamaha were making for John Patitucci at the time, the RBX one just seemed to be something with his name slapped on it! It looked as though John had had no involvement with the design and had merely approved it to be his new signature model since it fit with Yamaha's product line at that price point. It was just an RBX bass with 6 strings and a MM humbucker at the bridge. Even John didn't play it on stage, I recall his having a cheeky singlecoil pickup at the bridge as well as the humbucker! And it still sounded crap!

I think signature basses get a lot of stick for what they are, but they also have their fans. I'm definitely a fan, as long as the signature bass is 1) good in it's own right 2) not just a cynical money making ploy (Jimmy Page Les pauls etc etc). To much weight is given "having your own sound". Having your own sound is great but the pros have really covered all the bases as far as basic tones go, and I doubt much fiddling around is going to take you a whole new place of undiscovered tone. Similarly, the argument of not wanting to play someone elses bass or a bass with someone elses name on it is strange. Most people never bat an eyelid playing a guitar with Les Paul's or Leo Fender's name on it. Similarly, attaching "kudos" to an instrument simply because it isn't instantly recognisable as being connected to a pro player strikes me as a strange fashion. And furthermore, it's all well and good saying "I've got my own custom made bass that is my singature model". Well, its not really. Sure, it's a custom bass built to your specs, but no one other than you is ever going to look at it and go "oh, it's a such and such signature model!". At the end of the day, it's still just a custom bass. Which brings me full circle to having your own tone. It might be good, but no one will ever know its "your" tone, simply because if you were big enough to have a sound recognised as your own you'd have manufacturers knocking on your door to offer you a proper signature bass. I remember buying a Kubicki Ex Factor precisely because I wanted to capture Stuart Hamm's tone. Sure, I can't play like Stuart despite learning his tunes, but the music I write and record isn't anything like Stuart Hamm's stuff anyway. It just so happens that his tone works extremely well for what I do - furthermore, thats not the only sound a Kubicki can produce either! The Ex Factor wasn't a signature bass either, but I definitely wouldn't have seen one aged 14/15 if it wasn't for Stu! I am still puzzled as to what makes people get so wound up about signature basses. I dislike displays of corporate greed as much as the next bloke, so is it jealously? Pride? Just think how many cool things basses like the Status Kingbass, the Status Jonas Hellborg, the Alembic Stanley Clarke bass etc etc have been used for. We'd not have them if we didn't have signature basses!

Funny, my backup bass was made by Shaggy based around a Musicman Sabre - it's a 1980 sabre neck with a new fretboard and tuners. Stiff as a rock and ultra stable. Great sounding bass, but definitely a unique article!

In this case I would advise selling the P and just keeping the Zon and the jazz. Let the Jazz cover the old skool sounds and then just do everything with the Zon anyway, because they sound so amazing.

I'd use hot keywords like "zany" and "radical" to catch the attention of the viewer.

The only thing I recall about these PRS basses was the hideously bad reviews they got on Talkbass!

The only thing I recall about these PRS basses was the hideously bad reviews they got on Talkbass!

[quote name='Musicman20' post='863930' date='Jun 11 2010, 01:09 AM']Horses for courses I guess.[/quote] Indeed. I guess its all in the eye of the beholder, because to me, Punk just looks like a sadly out of date, fashion-before-substance load of tat that was marginally less embarassing in the first wave when it seemed fresh and new. Now, it's all just a retread and throwing in some tapping doesn't make it anything new. It just reminds me of the countless discussions about the application of technique with no musical value, of which I would consider this to be a prime example, since all the tapping line does is clutter the the song. But if you like it, then good on you.

I love Stingrays but I'm not so hot on this "tapping for the sake of it" gimmick, or this "punk" thing, saying as it's merely a shouty re-tread of punk that was poor in the first place! But the Ray is a fantastic design.