The Bass Geek

Depending on your preferred playing style or tone, bass strings are either something you change near-daily (for the working pros) or leave on for ages (thumpy dub, country, or just plain forgotten instruments).  In any case, when the time comes to change them, most folks seem to have a ritual.  They have the tools they need, they have the strings they prefer, and they repeat the process that works for them (in my case, start with the A, work up, and then do the E string last, with all strings cut after about four inches after a bend and each winding on the string going below the previous one).  Simple, takes just a few minutes, stretch and tune, and I’m good.

This is, of course, assuming that all of the strings come in a handy package.  Most bass guitars have four strings, so four is the normal package size.  You end up with 5- and 6-string packages as well, but there aren’t as many options there.  And one string company (one that I prefer for my 5-string) offers only 4-string sets with optional add-ons for the 5th string.  Which is great for those who want to customize the width of their low B string, but it’s a little annoying where you’re trying to keep everything together.

Or when you accidentally order the ACOUSTIC BASS GUITAR version of the B string you wanted.  Which is now totally useless to me, as I long ago took a vow never to own such a monstrosity.  So, lessons learned:

• It’s good to stupid-proof packaging whenever possible (manufacturers, take note)
• It’s also good to read the fine print when it comes to purchasing (me, I’m talking to you)
• Acoustic bass guitars still inflict evil wherever they can, even on those who won’t use them

Feh.

Carl Thompson basses are probably best known for their association with Les Claypool, as well as some publicity from Stanley Clarke. I haven’t actually played one yet because of the high price, relative rarity, and the long waiting list for the custom-built instruments. But this one just LOOKS beautiful, partly because of the great craftsmanship and because of the 8-string setup. Don’t know where I’d use it, but I’d love the opportunity.

There’s just not enough time in the world for all of these instruments.

This isn’t a review, as I’ve yet to get my hands on one of these to give it a test run (and I have been looking - my quest for ultimate bass distortion continues).  The name befuddles me, though.  Electro-Harmonix has always bestowed unique-yet-vaguely-descriptive names on their effects, sometimes with a clever in-joke buried in the subtext.  I just can’t figure out where this one works, aside from a vague allusion to dialog with the drummer in their promo copy.  Distortion pedals have never assisted with bassist/drummer communication, at least in my experience.  Foul glares, animated hand signals, and the occasional bag of beef jerky have proven far more effective.

Owing to my wonderful experiences with the Q-Tron pedal I have, though, I’ll give it a shot.  It’s relatively inexpensive, and there’s always room for new pedals.

As for some non-anonymous snark, here’s a fun local story about getting hassled by The Man.  Read, evaluate, and act accordingly.  I’m boycotting, but the financial impact is quite minimal.

The TalkBass Indianapolis Get-Together gave me a chance to get my hands on some higher-end gear (and meet the stellar bassists that owned said gear). My forearm is still a little tense from giving an NS Design EUB a run-through, and I loved getting to play an Elrick 5 and a Yancey hollowbody 4. The urge to purchase said gear now occupies more than a few thoughts, but I’m holding fast for now. My little Ampeg fliptop got some appreciative comments as well - I just had it in the car because I was coming back from a gig (and I don’t even use it on gigs frequently) and really hadn’t planned on bringing it.

Kudos also for hosting on a Sunday when the Steelers weren’t playing.

Also, take this for what you will - Red Hot Chili Peppers bassist Flea is heading back to music school. Will the band’s new material be in sonata form? Will we hear an expanded appreciation for the tonalities of Olivier Messiaen? Will he finally tell Anthony Kiedis he’s way out of tune, man? We can only wait and wonder.

FoBG Marshall Kreeb recently finished this devastating project as a DIY project - he’d been playing a nice Stingray but evidently wanted something that could cleave stone in twain with his band Devils of Belgrade.  Hence, the bass you see here.  For those who are interested in the pertinent stats, here they are:=

Body: Dinky J Bass Style, Swamp Ash, Black Nitrocellulose Lacquer Finish
Neck: Graphite - Made by Moses Graphite, Hipshot Tuners
Pickups, Electricals, & Misc.: 2 Bartolini Musicman style Humbuckers (one is a classic modeled off of the original stingray pickup, the other is based off the modern design in the current basses), Leo Quan Badass II Bridge, Aguilar OBPII Active Preamp (18V).

Knob Configuration Is: Volume, Blend, Treble, Mid(push-pull frequency select), Bass

The part that intrigues me is the graphite neck. Kreeb says drilling the Moses Graphite neck was the scariest part of the project:

You have to drill pilot holes for the tuner mounting screws, string tree, and neck bolts. The neck bolts come with brass inserts from Moses that you set into the pilot holes, then the neck attaches to the body with 4 bolts - standard Fender bolt pattern.

From there, it was a lot of soldering, wet sanding, sealing and buffing. Looks fantastic, and I am both terrified and intrigued by his description of the sound combined with his Eden rig:

It sounds like the great hammer of Thor striking down upon the weak of heart

I can see why this had to be a DIY project - such a sound does not usually roll off of the factory floor.