Chris2112

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 I guess its all in the eye of the beholder, because to me, Punk just looks like a sadly out of date, fashion-before-substance load of tat that was marginally less embarassing in the first wave when it seemed fresh and new.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.

As much as I love Metallica, that was definitely "The Thing That Should Not Be".

Sounds like a good gig! If it's anything like the "All Night Wrong" record it'll be great. However, these days I just can't seem to listen to Allan for more than 5 minutes. His playing is incredible, but his tunes are often so "angular" and jarring they can put me off pretty quickly.

I like Guitar Guitar, but I do think they need to overhaul their bass selection. It's a bit middle of the road, and the top line bass stuff just seems to be Ricks and high end jazz basses. I'd like to see them get some cooler stuff in to match their awesome guitars.

Gosh, it looks like Geddy's tone could be about to take a dive. Those Orange amps sound dire! Mind you, he should really go back to the Wals, or at least buy a few new ones. They sounded bloody amazing.

Crikey, thats bad news. He is a seriously talented player and I hope he makes a full recovery.

Simon would buzz and say "indulgent rubbish, jazz fusion should be left to the 1970's".

Those JD Thumbs are cool, got any pictures?

[quote name='Pete Academy' post='852806' date='May 31 2010, 06:24 PM']Dear Bass Agony Aunt I've been playing for some years in a covers bands, where we do a mixture of classic songs, mainly rock, pop and funk. Over the last few months I've found my playing getting busier and busier. It started with the odd finger pop and has now progressed to actual slapping in inappropriate numbers. I've been warned about this a few times by the other band members and am in danger of losing my place in the band. Please help.[/quote] Dear Pete, You have reached the level of playing ability where you are no longer content to merely plod on the root note. Get yourself some Level 42 records and start honing your chops, as you've ascended to a new tier of bassplaying.

1) My 1989 Kubicki Ex-Factor, #1659. I also used to have #1777, but I have to say I prefer this one by a small margin, so I won't include both (but I could). Incredible playability, great looks, fantastic technology, brilliant tone. The beginning and end of fretted basses for me. 2) My Alembic Epic fretless: quite frankly, this bass is ridiculously good. The most incredible wenge top I have ever seen, bolstered by a "no corners cut" design ethic. It just sings like no other bass, and I can't seem to put it down these days. Even the Kubicki can go a few days without a play with this baby around! 3) my Status Stealth 6 String: This was my first 6 string, and was an absolutely amazing bass. I sold it, but if I could get it back I would and I will definitely own a Status bass again at some point! 4) My 1999 Warwick Thumb BO: Got this for a steal in absolutely mint condition. It played well, it sounded amazing and it was my go to bass for nearly a year. I said I'd never let it go, but then I never thought I'd have the chance to trade it for a Kubicki either! 5) I wasn't sure if I should include this or my old Status Matrix bass, but it has to be this, simply because I will never forget how blown away I felt when I first played it. The sound was just beyond good and it played well too. In (another) moment of madness, I let it go pretty cheap. 6) And I really have to include this too, my Musicman Sabre "special", simply because it is so gorgeous I could look at it all day. And with a SD Musicman replacement tone circuit and pickup, it sounds beautiful. Fat but with a great burpy definition. Lovely bubinga body, 1980 Sabre neck, gold schaller tuners, ebony control knobs, brass hardware, Thuja burl top, African Kingwood fretboard...

I don't think I could be a session player simply because I like having a steady wage. However, stylistically, I'd like to think I'd give it a good go. I usually play jazz fusion and 1980's pop music, so I'd like to think my chops were held in reasonable condition and that I'd be able to give most things a shot.

[quote name='tarcher' post='852406' date='May 31 2010, 10:28 AM']Entwhistle was playing solos while Jaco was still in nappys.[/quote] They were of course dire, and without getting into [i]that[/i] argument, I reckon Jaco could have played John under the table when he was in nappies...

[quote name='Buzz' post='851918' date='May 30 2010, 04:51 PM']Part of the value of Entwistles' was due to his fame and popularity, Jaco simply doesn't have that and won't command the same price imo.[/quote] However, Jaco was much more talented and ten times cooler, so the price of the bass doesn't really matter! However, it's very, very cool of Rob to step in and sort this out.

[quote name='thisnameistaken' post='847097' date='May 25 2010, 01:43 AM']Who here is convinced that Vic Wooten cannot find better amplification than Hartke?[/quote] Well, they're certainly held in high regard. Stu Hamm got his best tone from them back in the day and has recently gone back to them, citing it as being something of a "homecoming" with his amps. So if Victor and Stu are playing through Hartke, and remembering they're two of the best bassists in the world, I'm inclined to believe they're pleased with the product.

Yes, this is the £600 Alembic! To be honest, I wasn't really thinking of getting a 5 string again as I'm more of a four player, but for £600 I couldn't afford to be too choosey! However, having a low B now is a nice addition, and it helps that it's as full and rich as a piano! I can live without a low B but it's always nice to have a low B available and the Alembic does it brilliantly. Usually I'd head straight for a 4 but I wouldn't change this bass for the world, it just feels "right" as it is. I once thought I had done well getting a Trace Elliot head and a Trace 4X10" cab for £350, but this feels like an even better deal! I didn't do too badly on the Sabre fretless either, that cost me £500, and I'm sure the parts alone are worth nearly that, if not more given the 1980 Sabre neck!

It's a Thuja top, according the luthier (our very own Shaggy), the most expensive top available at the dealer by some margin! Looks gorgeous though. The pictures bring out a bit of orange in it and saturate it, it looks "deeper" and slightly darker in person.