Chris2112

Round wounds on a fretless is not a strange thing. Jaco did it! They may look like they are marking your board and it's true, theya re. However, you won't need any kind of work on the board for many, many years unless you play ridiculously hard, and even then.... At the end of the day, I'd never sacrifice my round wound tone for the sake of protecting from a few marks (which even flats cause, to some extent!).

I'll have my basses handed over to my brother who will be able to make the best judgements on what they're worth to sell. The money will go to my wife and kids and one bass will be kept for my son/daughter (will probably be my Spector if nothing replaces that as #1).

They are cracking basses, I have one too! I really like the tone, but it's very bright. I was tempted to say it was the ebonol board, but alas perhaps it's not, my Hohner fretless has an ebonol board too and has a much more classic, growling fretless tone (which is what I was after, I love that Jaco sound!). For the first time in my life I have two fretless jazz basses and I love them both! Here is the Hohner jazz, I'll get a "sisters portrait" shot of the two soon!

[quote name='6stringbassist' post='224662' date='Jun 23 2008, 12:48 AM']Chris2112....... I was just reading a thread on talkbass about DR strings, and happened to notice that someone with the same name as you, I presume it is you, is banned, I'm just curious , what's a TOS violation ?.[/quote] Terms of service violation. And yes, thats me. Apparently, now that Talkbass has a policy of making endorsees disclose their endorsments, commenting that you're not particularly fond of an endorsee's bass constitues disrespecting another member. Talk about authority out of control!

I'd very much like to see these basses!

[quote name='Wooks' post='221915' date='Jun 19 2008, 09:21 AM']That ain't no ladieee, maybe lady-boy check out the shovels for hands!! [/quote] Awesome playing, dire dress sense!

[quote name='XB26354' post='224023' date='Jun 22 2008, 10:48 AM']I saved up and bought a Wal when I was 16 thinking it would make me sound like Geddy Lee. Guess what? I didn't. Not even close.[/quote] The same thing happened to me when I was 16, I saved up and bought a Kubicki. Sure, it gave me Stuart Hamm's tone, but it didn't give me his chops or writing ability! However, I can see the Geddy Lee Wal tone being very alluring, it's probably my favourite bass tone of all time! Especially on "Hold Your Fire" (IMO the best record ever made apart from Paul Simon's Graceland!)

Gary Husband and Matt Garrison, what a team! Gary does alright for getting to play with amazing basses! He truely is a superb musician himself! I saw him live with Level 42 on the last UK tour and he was on fire at the kit! Can't wait to see them again this year!

[quote name='Jase' post='223288' date='Jun 20 2008, 10:07 PM']Oooo, you got any links?[/quote] [url="http://www.youtube.com/watch?v=N7C8lDnThBs"]http://www.youtube.com/watch?v=N7C8lDnThBs[/url] I think he uses it in this video too... [url="http://www.youtube.com/watch?v=8cbd4X_rbCI"]http://www.youtube.com/watch?v=8cbd4X_rbCI[/url] As for John's Conklin double neck, I always find it funny how that bass has become more famous than him! Everyone has seen the bass but I'll be damned if anyone can remember a single song he has written! I always mean to check his band out but never get round to it!

Jonas Hellborg used his Wal doubleneck a lot in the 80's. It turns up on a number of his records. IMO the best doubleneck player around

[quote name='chris_b' post='222930' date='Jun 20 2008, 01:58 PM']I have to play the Stratus riff (Billy Cobham) for about 10 mins while our guitarist and drummer solo like mad. There are only 3 notes but my main problem is cramp after about 3 mins if I'm not relaxed enough at the start. I don't mind the repetition because it is the groove that makes the number work.[/quote] Maybe you could take a leaf from Kai Eckhardt's book and take a solo yourself there?

Perhaps a Spector Euro NT XL? Either that or a Status would be my first choice!

[quote name='EBS_freak' post='222786' date='Jun 20 2008, 11:45 AM']Are Foderas really THAT good? Before I continue, I would like to point out that this is not a post to start a flame war or anything. Anyway - I don't really know - I've seen one and played one... but that was just one example. Loads of name players are playing them granted, but what is it about Fodera that people like so much? Yeah, they use nice woods... but so do other luthiers... just look at Sei, Shuker, GB and the other host of luthiers in this country alone. Yeah, they can build nice necks and do great fretwork... but so do other luthiers. There isn't anything in their electronics that is ground breaking... do Vinnie and Joey have a supply of Mojo or something?? Are the inflated prices due to the demand... or are they really worth that much? Call me cynical, but the amount they are asking for is a hell of a lot of money... or is it you pay for the privelidge of being in the Fodera club? Yes, I'd still like one. But as to why... I don't really know. (Is that the V&J subliminal in action?)[/quote] Well, they're the #1 choice of bass for Victor Wooten, Anthony Jackson, Matt Garrison, Lincoln Goines etc etc, so I think there is something about them! There is undoubtedly a magic to them, but they have perhaps the strongest heritage of any custom bass builder around apart from Alembic. As a long standing, top tier luthier, they can charge top dollar. They have a greater reputation for quality than any newer builder. Are they worth their prices? They are worth what the customer will pay for them. They currently have a backlog of orders, so I definitely don't think their prices need reviewed! This is simply the nature of the market. I often hear people saying that "builder X (often Stambaugh) will build you a bass as good as Fodera for 1/4 of the price", but at the end of the day, only Fodera will deliver the complete Fodera package, whatever that entails to the buyer.

Yep, Matt is known for using EADGC tuning. I think his action is probably about in the middle, because he does have such a strong fundamental in his tone, no clacking or buzzing. I get the feeling some of it may be due to Fodera's superior fretwork, no doubt the frets of his basses are all incredibly even, helping to prevent any buzzing.

Aye, I know Howard is still in business, he has just jacked in the shop keeping business. He is still making basses and doing repairs. I bought my Hohner Jack bass from him, but I have sold it on now. I played a few of his custom builds, a couple have been a bit rough but a few times, the finished articles have been very nice indeed, particularly a fretless 6 string he made.

Greetings from another Geordie and, as you might have guessed, a Rush fan! I must say hello to Lee in Bolton, I spend quite a lot of time in Lancs myself, by way of Preston. I'm usually in Preston for at least a weekend a month for about 6 months of the year! Sound Control in Preston, just off Friargate, is where I got my Spector from! It's a shame Howard closed the bass place down, we could have used it as a get together meeting place, and spent an afternoon lounging round his shop chatting to Pete!

That Rickenbugger looks as nice as real Ric, if not nicer!

A guy I know who I bought my Kubicki from had one (one of the Seafom LTD models like Billy uses). By all accounts he loves it. He tells me the tone is great, nice and light and it plays excellently. The only thing to look out for is that it is [b]not[/b] a good bass for slapping, because the woofer pickup makes it practically impossible to pop. Also, as he says, it sounds like a fat, growly P bass with an added treble edge, which is often not what people expect from it. They expect overdrive and distortion, which you'll need to biamp for if you want to sound anything like Billy!

[quote name='Crazykiwi' post='220557' date='Jun 17 2008, 01:15 PM']Personally, I think the Series II is pretty much overkill for live situations. Most live sound engineers I know would baulk at the idea of running a bass in stereo on stage, however the Series II is in a league of its own in the studio. I've found the Series basses seem to have more upper midrange and punch than other Alembic models too. The bass seem to combine a delicacy and attention to detail with tremendous robustness in my eyes. They're definitely idiosyncractic instruments however.[/quote] Crazykiwi, I can't remember how many times I have asked Ped for the link to your page so I could gaze in wonder at your graphite necked Alembic! And the sound clips, it just sounds amazing!

I've been after an Alembic for a long time. Of course, current circumstances prevailing, it will be a dream for some time to come until I can afford to dedicate more of my income to buying basses! In the end I'd like to go for a 4 string fretted Series II. Alembic basses are simply amazing, even if they are pricey!

I used to have a Status Stealth I 6 string, and it was utterly fantastic. Just a really wonderful bass with an amazing tone. I'd buy another Status, for sure! I'd definitely recommend going for the Stealth if you can afford it!

The bass playing is fine, nicely kept in time and that harmonic run is nice. The song however, I found to be very cheesy and shockingly poor!