Chris2112

[quote name='jcater' post='1268414' date='Jun 14 2011, 11:24 AM']One day maybe roundwounds will be hard to find in shops?[/quote] I doubt that somehow.

[quote name='ern500evo' post='1369254' date='Sep 11 2011, 11:42 AM']He was happy enough to borrow it but obviously didn't like the clean sound it produced, he thought the best idea was to max everything to make it distort![/quote] I assume it was clipping like mad in that state too, you were right to storm the stage and put him right!

To be fair, I don't mind playing with a guitarist who really has his chops together and can solo well. But only if everyone in the band is on the same page chops wise (think the Gambale Hamm Smith records). If you've got a trio playing and they're all on top of their game it can be amazing. But if the bassist and the drummer aren't up to it, the guitar god thing just doesn't work. No-one wants to hear fantastic soloing over a plodding 8th note bass line and a 4/4 drum beat. That would get boring quickly, because it's all about the interplay!

Definitely do not let this mug anyway near your equipment. For one, you'd be enabling Rockabilly, a serious offence in itself. Secondly, the chance is that something will go wrong. You've had it happen once, don't let it happen twice. The best you'll get if the amp does go bang is the other bassist looking sheepish and saying sorry. Follow your common sense and don't let them anywhere near it. Instead, chide them for being so unprofessional. If they can't do their set without using someone else's gear they shouldn't be playing at all.

[quote name='waynepunkdude' post='1368944' date='Sep 10 2011, 10:28 PM']Indeed, nothing can be silly unless it looks like a toy bought in an adult speciality store.[/quote] Warwick Corvette? I remember one bloke on Talkbass telling a story about how he went to a pawn shop and was looking at a Corvette which was priced up really cheap, so he sat down to play it. When he was playing it, he realised the bass reeked of sh*t and was deeply unpleasant to be around. He pressed the store about it and it turned out the bloke who had owned it had parted with it on bad terms. Whether or not bailiffs took it or he had to begrudingly trade it in, he didn't want to let go of it so he 'soiled' the bass by sticking the top horn up his arse! With the wood being 'open pore' the vile arse miasma soaked into the wood and the shop had tried everything to get rid of the smell without success! As you can imagine, that thread was quite funny.

[quote name='dc2009' post='1366846' date='Sep 8 2011, 07:22 PM']Some of the stuff they threw out must be terrible, they seriously released the dolphin, after all![/quote] The Dolphin is great! It looks strange but balances well and sounds great. Tonally, it's not far off the sound of a Thumb, which is a good thing. I have always considered the Thumb to be Warwick's best bass for a number of reasons, not least because of it's amazing tone. It is the most 'Warwick' sounding of all Warwick basses! Warwick really seemed to go downhill a bit when the $$ came out. That was where it all started going a bit wrong for me, moving away from the great designs and great wood choices. I remember when that bass became very popular with jazz bass fans, who loved the big, open sound. Sadly, that was just Warwick moving away from the cool niche they occupied. Mind you, I suppose you could argue that Warwick have been becoming more and more mainstream since the early 90's. Funnily enough, Warwick were considered boutique at one time!

I noticed that when I bought that DVD, namely that I was commenting that even Myung didn't like his signature bass in standard form! The bass surely won't have a massive resale value so you're not damaging anything really valuable if you do fit another pickup. If it changes the bass for better and you're happy with the bass then that would be great, but it sounds like a big job on a cheaper instrument like the RBXJM2, which will need to go to a luthier to have the front routed for the new pickup and a pickup selector control added. And given the finish on the front I imagine it will be a tricky job to do, not as simple as just stripping a finish off a natural finish bass and routing the pickup space out. So give this some serious consideration. In my opinion, the RBXJM2 was never a good bass and I considered buying one until I got my hands on a couple and realised I didn't like them at all. If you go to all this trouble it might still not be great, and the lack of tonal quality that you've identified now could be due to any number of things, not just the lack of a pickup right next to the bridge. I would consider selling and moving on. I suspect a TRB1006 would suit you well if you're into Yamaha basses.

[quote name='Lfalex v1.1' post='1368766' date='Sep 10 2011, 06:04 PM']Not entirely sure that the 'Ray5 is a good bass to have as a fretless.[/quote] Why not?

Yes, the EMG Select pickups aren't the best but they're by no means the worst. I had a Hohner Jack that sounded pretty good with the bridge soloed. The neck pickup wasn't quite so inspiring!

I was never much a fan of a blues so this does nothing for me. When Pino is playing his fretless in a jazz fusion setting, thats a bit more interesting!

Nothing silly about a good bass, and these are as good as they get! Proper handmade quality, instead of the usual J and P clones... 4 string singlecuts are also a very good thing!

I wish there were more headless Sei basses around, I've always wanted a Sei!

Very nice! Always good to see a fellow Mark King fan playing the old basses too!

[quote name='Grand Wazoo' post='1368229' date='Sep 10 2011, 06:46 AM']One of the easiest fix on the Bongo is to adjust the trussrod. Give it a quarter turn and it'll do the trick, you need to have a little bit more relief as in the attached pic[/quote] My ACG has the same feature, what a great idea it is too! That said, I've never adjusted the truss rod in it because it's very stable, even when changing strings. But what a marvellous place to have it!

A cheaper wood model like a Steinberger Spirit or a Hohner would be your best bet. Most headless basses tend towards high tech materials and modern sounds.

Not a bad price, it should be a very good bass if it's as good as the Smiths I have played! The BT is my favourite Smith shape too.

The might look a little odd but they sound great! I remember seeing Dave LaRue using one live with Joe Satriani and it sounded fantastic.

[quote name='fender73' post='1367066' date='Sep 8 2011, 10:01 PM']blaming this thread for me looking at Status basses again...GAS!!!!!!!!!!!!!!!!!![/quote] Status basses are a good thing, enjoy the GAS!

Funnily enough, my Status bass appears in this video [url="http://www.youtube.com/watch?v=CQpgeSbP1Vs"]http://www.youtube.com/watch?v=CQpgeSbP1Vs[/url] In the comments below you'll see the bloke who owned it in the late 80's and sold it in 1993 wanting it back!

[quote name='phil.i.stein' post='1365818' date='Sep 7 2011, 09:47 PM']mmm... when it comes to holes, i get the feeling that flea may have won the war, sorry wayne.. [/quote] And those blokes probably still can't sit down!

I always think of it as a case of listening to Big Country and then listening to a modern rock record. With Big Country, you've got two guitars, vocals, a big sounding drum kit and the loud, busy bass playing and it sounds fantastically well judged. Everything has it's place, everything stands out, everything has punch and a dynamic quality. Now a lot of things just sound mushy and flat. The trend towards big bass sounds, especially in popular music, has been fairly damaging for the home listener too, since these tracks are designed to sound big and fat through a nightclub's PA system but not so great at home.