Kubickiboy

I use a TC Electronic Vintage Bass Distortion which has 2 switches. I set it for a nice o/d grind, then I can press the boost switch for an extra 10% of distortion. Great pedal. Best bass distortion I've had yet. Retains your tone but can tip it over the edge as well.

[quote name='BassManKev' post='201323' date='May 18 2008, 12:20 AM']should get a nano bassballs so you can fit some more stuff on there [/quote] Well, I don't think I need anything else apart from a Discumbobulator so that fat old-school BB, which is now going rusty (!) I've used it for that long, doesn't need to go anywhere. It would be a shame to retire it just yet. The board is quite heavy so I'm also looking for a 60cmx30cmx10cm bag with a strap to carry it around in. Know anywhere?

Nearly done after a bit of moving around for the last couple of days. I played with this board in front of a 1000 people last night in Harrogate and it did me proud. 1 envelope filter to be added top right soon. I'll move the TU2 down to the front. Here we are. In the light In the dark When those two white lights are on, that's when I know I'm rocking! The wires need a bit of covering up and it's there.

[quote name='jono b' post='190175' date='May 2 2008, 12:02 AM']That would be Shakespeare. Well, the earliest recorded use of the word is in The Merry Wives of Windsor.[/quote] Good call. WS was a journalist and a reporter of his time. He recorded the news and put it onstage for the masses. Albeit with poetic flare. The internet and papers weren't an option then. So what is the best way to get exposure? Go through the media. Then - twas the theatre, hearsay, and societal connections. Never be afraid of opinion. Never be afraid of criticism. ...just never take it home...!

[quote name='xgsjx' post='190024' date='May 1 2008, 09:18 PM']How much are these? I have an sr1000 4 string which I've had since 1990 & love the sound of it & looking for a 5 or 6 stringer in a few months but don't wanna spend loads as I have other things I need to buy.[/quote] Got mine for £429 from Sound Control Leeds. Cheap as chips.

[quote name='Higgie' post='174506' date='Apr 11 2008, 01:21 PM']I would agree on the octaver, and the compression, though maybe a hint of fuzz would help thicken the sound a bit? Ps. The Kubicki in your avatar is gorgeous....[/quote] Cheers. I'm currently having a scratchplate made for "the Kube" which will make it look kind of modern/vintage. It's looks better than the way I've described it honest! Still trying. Getting there by compressing the sound as much as I can and rolling off a lot of treble and really diggin in with my fingers. Might not be the exact sound but it's pretty funky.

[quote name='David Nimrod' post='120574' date='Jan 15 2008, 08:28 AM']I'd agree, the higher end SR basses are excellent, the BTB's are good too, but they have a 35" scale. As to the SR506, I'm not sure if there's a better 6 for the money (new). String spacing is 16.5mm, check that you like it this close, it ain't a Warwick Broadneck [/quote] Thanks for that. I actually went and bought one in the end, and it's a cracker. The string spacing and neck dimensions are great, but I'm still getting my head round the C string which at the moment is getting in the way...!

[quote name='Jase' post='189514' date='May 1 2008, 10:15 AM']Out of tune? that's a new one Not an attack at your opinion mate just trying to keep it friendly here It got a bit weird earlier on.[/quote] Thanks for the thumbs-up guys. There's nothing better than a healthy debate. And it's interesting to hear other people's opinions. There are loads of players out there that we've all heard of and who are making a good living. Everyone of them are there for a reason so they've all got something that's helped (musicianship, technique, image, genius....) so you can't deny them that. I know I haven't made a million quid, sold a truckload of CDs, or made the cover of a magazine from my playing so hats off to those who have.

It's a great question to ask on a forum like this. Like, for instance, which is better - blue or red? Everyone has an opinion or a preference. And because of that, they're quite open and ready to put their views forward. Just a shame some people take things too personally, and view someone else's opinion that challenge's their own as an attack. Allow me this. Going back to a previous post, I don't think the term "Indie" off the back off "Independent" is bad journalism at all. It's in the musical language now, a genre, and recognised. Wouldn't you like to be the person who came up with the word "Punk"?. For the pot, mine is Billy Sheehan. And Fieldy. Both of them are always out of tune. But they do have their moments....!

[quote name='finnbass' post='189380' date='May 1 2008, 12:28 AM']I used to feel like that too when I was young and potless [/quote] Indeed. I've been through many basses. Most of them the ones I wanted "at the time" and rarely had a backup. Always sold one to buy another. There were only a few occasions when my basses overlapped until recently. I was badly bitten once ten years ago when the band I was in was showcasing in front of 30+ A&R types at the Mean Fiddler when it was in Harlesden. I'd re-strung my Stingray before a practise a couple of days previous so they could settle in. So, all cocky and dressed up to the nines at the gig, went through the first two songs faultlessly with a great sound. Then during the chorus of the third song my A string snapped. So there's me, all indie cool and floppy, running offstage to grab the first bass I could (which thankfully was also a Stingray, which the guy - who'd seen what had happened - had in his hand. Cheers fella, never got your name). I strutted back onstage while the singer was going through his meaningful Northern banter posioned with inciteful wit and a piss take at my expense. Plugged in. And the bass was out of tune. And the beat goes on.... Spent between the next two songs retuning full volume with the guitarist. Afterwards we all went up to one of the A&R blokes we all knew for him to roll his eyes and say, "just give a shout when you're f**king ready eh?". Then he left. Never saw any of them again. Never got the deal. So that's why you should ALWAYS have at least one back-up. For the same sound at least, and for other needs throughout the set. A decade and a decent job later, here are mine, and why... Status S2 Classic 5 - number 1. Any sound I need. Really. Never goes out of tune. Looks stunning. And has the low B which I now use all the time. Kubicki Ex-Factor - number 1.1. Any sound I need. Great rock/jazz/slap etc bass. The fastest neck ever. Rare, so gets lots of attention. Low D tuning. I always bring at least these two along to gigs with whichever other one takes my fancy MM Stingray 3eq (the same one) - semi-retired. Great all rounder. Plays like butter. Built like a tank. Classic tone. It's familiar looks draws post gig comparisons (eg I've got one, how's yours?). Fitted with Hipshot, again for those extra low times. Warwick Thumb 5 - Used for soul/funk gigs. Always up in the mix. Distinctive sound. Feels great to play, despite the fat neck. Again, need the B. Pretty anonymous to be honest. No-one comments on it but I love it's small curved body. Ooh! Ibanez SR506 - First journey into 6 strings. Studio use only. Never gigged yet. Ibanez AGB200 - Good to bring to "open mike" jams. Light. Has that rounded vintage tone. Has a 30" scale neck which plays like a guitar. Gold "vintage" hardware so everyone thinks it's expensive...! Great with a chorus pedal. (btw, I'm including the looks as well because I'm honest. We all sit back and look at how nice our basses are so why shouldn't we be proud of them when out in public. And when other bassists come up and have a chat about gear, well, that's never a bad thing) Wouldn't mind a fretless 5 at some point. If you can afford it, buy whichever bass you want because it will eventually become a very enjoyable collection/hobby/obsession/reason for divorce... And when you're absolutely skint, you can always sell one to buy food with!

This is an update for this week as I'm always chopping and changing. Bass >>> Boss TU2 - for tuning up and muting the lot Boss AW3 - I use this a lot. It's on it's basic auto wah setting. It's the dogs surprisingly. Boss CEB3 - mainly for soloing and the odd "sensitive" number. TC Electronic Vintage Bass Distortion - which drives>>> >>>EHX Bassballs - for a great synth sound. Hardly use the BB on it's own. (The TC also has a boost switch which gives me all the grind/distortion madness I'll ever need) Hartke VXL Bass Attack (always on pretty much, on "shape". I use the on/off for that "extra 10%". Have used this on it's own for a couple of electro acoustic gigs) >>>Amp Alesis 3630 Comp through my fx loop. Never mind the negative hype, this is a great compressor when you learn how to use it. However, I have a few distortion pedals (DS1, ODB3, Muff) and am always on the lookout for the next envelope filter. I like to have a filter either side of my distortion (AW3 - TC - Bassballs) just for hell of it.

You're right - they do look great. Especially unlined with a lighter coloured body. That was my main concern - the durability. But apparently, like fretted Fender maple necks, you can lacquer them and they play just as good. Any noticable difference in tone from, say, an ebony board?

Anyone got one? If so what are they like? Or any info/views on 'em?

Depends what you want it for. If it's just for practising and the odd gig, not touring, then you could do a lot worse then build your own to save some money. And it's a lot of fun if you like that kind of thing. I'm currently making one out of a couple of old shelves. I've cut to exactly the size I want, with holes for leads/power cables etc in the places I need em, and it's cost me...well...nothing. Slap some black paint on I had lying around, some old corner protectors from an old cab and it'll be the nuts. Metal retainers for the pedals made out of Meccano (is that how you spell it?) and some velcro from the wife's sewing kit and away we go. I might have to buy some metal strips for the sides for extra protection but that'll only be a few quid. Mind you a mate of mine has his own workshop with the right tools, and he got an "A" in woodwork at school so that makes it a lot easier. The Diago power supplies are pretty good. And small. Dunno about the boards though.

Right now? I couldn't do without my TC Vintage Bass Distortion. I'd really be stuck without an auto wah. And my Hartke Bass Driver. Easy answer? I can only have one effects board...

Slap is a technique that, it could be argued, is sadly slightly out of fashion and often slated for it's in-your-face front of house approach. Why should we bass players always sit/stand in the background? Developing any technique to the point of being proficient so as to mature with your instrument of choice and enhance the music you choose to play is surely not a bad thing. The first time I ever picked up a bass back in 1986 I hit the E string with my thumb. Then, and still now, I'm a huge Mark King fan. Back then - that's the way I wanted to play. Now I've played in front of, and have talked to, new(bie) bassists who say they dream of playing slap bass but either can't or don't have an opportunity to do so in the bands they play in. I hope they go back and practise. Slap brought me on in my playing. I've had to develop other techniques since (i.e. with a plectrum). It's my favourite style of playing. And whenever I hear it, it still excites me. My only suggestion is bounce, bounce, bounce off your new strings. A good practise is to mute with your left hand whilst "playing" bass drum with your thumb, and snare with your popping finger along with the track you're listening to. Larry Graham style. As long as you get the attack with your thumb and finger and the note sounds then you're half way there. Realise you always look good as well as sounding good with slap bass.... Good luck

I use a Sovtek Big Muff, Boss ODB-3, Hartke Bass Driver and Boss DS-1 live. And have a TC Electronics Vintage Bass Distortion coming in the next few weeks. The DS-1 drives my EHX Bassballs for that Jamiroquai sound. The ODB-3 is one down the line after my Dynamic Wah and gives it a bit of edge for filter soloing. The Muff - I use for Rock n Roll purposes only. Then it's all Eq'd with an extra 10% with the Hartke if I need it. Right at the end. Dunno how I'm gonna cram in the TC...!

My band's doing a cover of this. I'm thinking it's an Octaver -1 finger style double tracked with a plectrum. Heavily compressed. I'm wrong...because I've tried it. Any takers for this one please?

It's www.Lean-Business.co.uk

I recently bought a 4ohm 15" Neo replacement speaker by Celestion from a place called Lean business. Put it in my Hartke XL cab to replace the blown Hartke speaker and it works a treat! And it's probably a bit smoother than the old one. Only about 60 odd quid as well.

Ok. Let's have a go a this.... Westone Thunder 1 Overwater (something - the older model with a "Thunderbird" type body) Jaydee Mark King (medium scale in red - got nicked) Westone The Rail Jaydee GA24 Status Series 2 (Mexican Rosewood) Status Series 2 (Flamed Maple) Jaydee Mark King (Pearl Pink!) Status Series 2 (Cocobola) Warwick Corvette 5 *Musicman Stingray 3eq Fender Mex Jazz *Status S2 Classic 5 Epiphone Thunderbird Indie Acoustic Status Series 2000 *Warwick Thumb 5 *Kubicki Ex-Factor *Ibanez SR506 *Ibanez AGB200 * - currently own. I think that may be the lot. Amps - Randall, Peavey, Trace Elliot, Laney, Hartke (a few), Delta by Carlsbro (remember them), Ampeg, GK, Ashdown. Phew!

Hi. I sold my 400RB-III 2x10 for £260 on the 'bay. It was in almost perfect condition though. Hope this helps.

What do you use? And how do you make it sound good in your/everybody elses ears/cans? Specific details would be nice- (just for your "basic" tones) i.e. my Sovtek Big Muff is set at 11 o'clock, 2.5 o'clock and 12 o'clock clockwise. EHX Bassballs @ 7 o'clock. my Status S2 Classic 5. Full volume, pan one click towards neck p/u etc etc Pix would be good. J btw, are there any more Kubicki Ex-Factor owners out there? Seems like we're a dying breed...

Are these basses as good as people seem to think they are? Or is it just because they're really good value for a 6 string? I've never played one so if you have tried one/got one then what do you think of them? Cheers

I'd sell it here if I were You. Kubicki's are hard to come by in the UK. The odd one pops up on ebay from time to time and usually go for a good price - all depending on condition of course. Any chance of any pix, and how much would you be looking to sell it for?