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Carvin SB5000 / SB4000 Roll Call...Part 7!

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#482
qervo said:
Never mind , I found out its used for a "feel" of playing over the pickups without actually positioning your hand over a pickup
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Partially that, but usually takes it further and follows the curvature of the fingerboard and is quite close to the strings. This allows other techniques such as Gary Willis's and Matt Garrison's to be accomplished easier, as well as encouraging the development of a light touch. I love ramps! hehe
 
#483
Lackey said:
Partially that, but usually takes it further and follows the curvature of the fingerboard and is quite close to the strings. This allows other techniques such as Gary Willis's and Matt Garrison's to be accomplished easier, as well as encouraging the development of a light touch. I love ramps! hehe
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+1. I had a ramp on my Modulus Q5 for a while before I let that bass go. Totally a technique changer. :bassist:

5sg.
 
#485
Like a lot of folks on here.

I too always wanted to see Carvin do the light colored blocks on a maple board. I always loved that look and its really suits the SB since its based after a 70's Jazz)

But what I little I have seen of the blocks they just do not looks right. Kind of small and not having the vibe.

Does anyone else think so???

Share your thoughts.
 
#486
I agree. They should extend further towards the B/G strings. It looks like they are using the same width blocks that they might use on the 4 string necks (which even look too narrow to me.) I suppose that's the beauty of a custom bass... don't like the blocks, don't get them!

I still have yet to own an SB, but every time I play one the tone impresses me. I just can't risk having a bass made because they're always a bit on the heavy side for me.

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#489
qervo said:
I can see how the ramp could change your technique to be lighter and faster . Does it affect slapping?
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Sure does. I installed my ramp after a lesson with Ray Riendeau where he let me play his Zon Mosaic 5 that had a ramp. (He taught me his double pluck technique!) His action was INSANELY low and I was stunned at the feel/difference. I used to pop from quite a bit further under the string, which just slows you down. Playing with a ramp focused my technique and speed, and lightened my touch. Because of that, I can get better tone too. :)

5sg.
 
#490
qervo said:
I can see how the ramp could change your technique to be lighter and faster . Does it affect slapping?
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Most ramps don't extend up to the end of the fingerboard so slapping isn't affected at all. However, certain people like Norm Stockton actually have a "slap ramp" of sorts in that position to control the depth of their popping fingers.
 
#491
Lackey said:
Most ramps don't extend up to the end of the fingerboard so slapping isn't affected at all. However, certain people like Norm Stockton actually have a "slap ramp" of sorts in that position to control the depth of their popping fingers.
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Ooooohh, now I get the question. Derrrr. Lol. Lackey's right, physically ramps don't usually get in the way of the position most people slap in. My answer was from the technique end. Getting used to that ramp there changed the technique of how I slap.

Sorry for the confusion.
 
#492
Question : my SB will be the first bass that I own with the option to string through the body. Are y'all noticing any differences using this approach? I hear that it is suppose to offer more sustain. But is that the only difference? What about sound or string feel? Is there a preference with y'all ?
 
#493
I think it might help the wood speak a bit more - but be advised I fall into the small fret / small bridge / wood matters camp to begin with. My B4 fretless is string thru and it happens to be extremely resonant and sonorous but I have no scientific way of proving the string thru has an impact on it. I feel it probably does, a bit.. No noticable change as far as string feel goes.
 
#495
qervo said:
Question : my SB will be the first bass that I own with the option to string through the body. Are y'all noticing any differences using this approach? I hear that it is suppose to offer more sustain. But is that the only difference? What about sound or string feel? Is there a preference with y'all ?
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The "sound" and "sustain" are linked. So yes, it will sound a bit different.

String feel, maybe. Some basses inherently set up with a lighter touch than others. Depends upon the bass and its components. I feel like tilt back head-stocks generally don't allow the strings to flex as much. Again, probably due to a sharper break angle, but this time at the nut.

Generally speaking, strings strung through the body push down on the bridge/saddles more than top strung, because of the much sharper break angle at the saddles. this increases coupling between the bridge and the strings. It also increases coupling between the bridge and the body. Thus, more vibration transfer.
 
#496
kai_ski said:
I agree. They should extend further towards the B/G strings. It looks like they are using the same width blocks that they might use on the 4 string necks (which even look too narrow to me.) I suppose that's the beauty of a custom bass... don't like the blocks, don't get them!
Click to expand...

LOL I hear You.

For some reason the smaller blocks on Ebony does not bother me.
Its the smaller blocks on a Maple that does.
 
#497
So I have this strange idea.

I've got an SB5000, love it. I was thinking of making a fretless version, but I'd have to do some outsourcing to mod it how I want it.

Basically, buy the bass unrouted, have my tech route a single bridge-pickup (Nordstrand Big Single or split, or Dual coil), wire it directly to output jack, with just on-off switch. No knobs. Very simple, a la Anthony Jackson. It'd kind of resemble a passive Gary Willis fretless.

It'd cost a little more, but it might be kind of cool, despite it's horrible resale value. I just like the idea of perverted simplicity.

Any thoughts?

Also, want a "producer's switch". Just my humor. It got mentioned in this month's Bass Player Magazine.
 
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