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Kiwi

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3 hours ago, Kiwi said:

I sold it to LucOry just before I left the UK.  It had 14mm string spacing at the bridge which was a challenge to play.  Otherwise a fantastic sounding bass but I kept thinking about Ned Steinberger admitting he wished he had put out something like the M series before the L.  I haven't missed it.

In terms of timbre and feel, yes I guess so.  I thought it would be easy to achieve once the recipe was right.  But there's more than one recipe and so much seems to depend on getting access to the right woods and using them in the right places.
 

 

Do you feel as though you're getting closer at least? is there any specific player who has your ideal sound that I could listen to to get an idea of exactly where you're going? aside from all that, hope you're keeping well through the current shitshow Kiwi

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10 hours ago, funkypenguin said:

Do you feel as though you're getting closer at least? is there any specific player who has your ideal sound that I could listen to to get an idea of exactly where you're going? aside from all that, hope you're keeping well through the current shitshow Kiwi

Thanks :) We're hanging in there although our export business is getting a double dose - couldn't export during our lockdown and can't import into the UK during its lockdown.  We've had to take finance out.

So the timbre I'm going for involves well defined mids, some basses I've played have had them.  The occasional Sei bass and ACG but a Toby Pro (with the same neck woods) didn't.  Celinders, Yamaha BBNEII, Jaydees, Wals, Smiths and my Spector (s) also but in 'slightly different ways and for different reasons.  A lot of it comes down to neck woods but there's no single way to do it.  So it's not a quality that can be predicted reliably yet because the sound and feel is so dependent on the right combination of wood characteristics.  I can't even rely on species 100% !  It's more a case of finding a maker with a stash of the right wood and putting together something that works ergonomically.


 

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