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Club Clement (Part 3: Post your basses here)

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#281
I believe anything doable by Tom he would do it. Just a few years ago there were no "Clement" basses. Somebody's dream became a reality one at a time and here we are today, and headed toward the future. What is next, my friends, what is next?
 
#282
Hi Gang,
I've been exchanging emails with Tom, which has been great fun. Fortunately he knows what he is doing, as I'm easily confused!

I'm hoping to get a 5-string partially chambered Anne made. Very exciting.

Any thoughts on woods that will still have some of the acoustic woody chamber tone, but be punchy enough when using magnetic pickups?
I'm tempted by black limba or swamp ash, but that's purely aesthetic.

I can see how this sort of thing gets addictive :)

Thanks,
Phil
 
#285
Nofretz6 said:
Acoustic woods - Cedar and Spruce have great tonal qualities. Depending on species, you can get a very mellow, deep or tight punchy sound. Some thoughts below.
http://www.sweetwater.com/shop/guitars/acoustic/buying-guide.php
Combined with a piezo the sound (or voice) of the bass is superb.
Click to expand...

Nice page, but how does this apply to basses chambered? Is it somewhat or greatly applicable? An acoustic guitar would be a very different animal to compare to a chambered bass, right?ll the bracing, thin tops, sides and backs. This can be a much debated topic.
Piezo: what vibrations are being picked up in a chambered bass vs. an acoustic guitar. I would think these to be vastly different worlds.
I believe the bass is too small for any great tonal changes in these matters. Weight however is a better determinate factor for chambering and of course the look factor if the holes are considered and used. That is why I chose the spanish cedar for the lightness, walnut for looks. This Anne reminds me of #122 in different clothing.
Never the less a good reading article, indeed. Thanks, nofretz6.
 
#286
Granted, I am no expert on such matters, I'm only going on the myriad of information on wood properties found while researching my first Clement and what I've experienced after comparing #174 with my fretless Ibanez 506. A very considerable difference in voice and emotion. Could just be a subjective thing too.
 
#287
Subjective = I am subject to loving my mahogany/redwood and walnut/spanish cedar Clement basses. And that is why I am here.
Objective = I object to anyone that won't say Tom builds a better bass. He does!!! No matter what it is made of and how he puts it together.
 
#291
Here is my ash/bloodwood Clement build from a few months back that I never posted. 1 Nordstrand dual coil, 8.1 lbs., plays unbelievably, and just 1 month build time!

ClementBodyLowRes.jpg
 
#292
Thanks for all the helpful input - it is a very friendly and helpful group in this club!

I'm close to finalising specs on my first Clement. (Woo hoo!)

34" scale 5 string Anne
partial chamber (bass side only)
black limba neck & back, redwood top
lined bloodwood fingerboard
Nordstrand dual coil pickups (switchable to single coil)
Nordstrand 3B active EQ controls
Piezo bridge & buffer
Poly coated for extra durability

I must get some therapy for this new-found addiction. Otherwise I'll end up having multiple Clements like certain members of this list :)

Cheers,
Phil
 
#294
Finally, had a rehearsal with my Guitarist and got to fire up 164 through the BIG-RIG.

Super sounds and its pretty much all from the bass, i switched off the 12 band graphic on the amp, there's simply no need for it. I have all the tone and control I need from the bass(es)

I gave 164 to the guitarist to have a play with and, considering he had just put down his 10* top PRS santana signature (which is a BEAUTIFULLY made guitar) he didn't want to let 164 go!! He said the neck was amazing and just felt totally natural in his hands.

The sounds from 164 were great, very 'normal' or 'standard' or 'traditional'. I dont mean that critically, it does everything sonically that a Jazz layout bass should, only it does them better and with a feel that surpasses any other bass that I've played.

The only reason I say standard, is because when I then plugged in 177, she is a FUNK MACHINE!!! The sound is so FAT and round and punchy. Such an amazing slap tone.

So as I predicted, and as I wanted, I have my perfect 4 string, with incredible playability and super trad sounds AND an absolute KILLER 5 string, with a B that shakes my bones and another neck that just 'fits' my hands.

The only thing that is missing is that fretless 6!! But unfortunately, the funds are missing for that too!!

A word about the guitarist...
He an ex pro with around 35 years under his belt.
He has a rather large arsenal of amazing guitars (he has around 15 in total, I can't remember them all) but he is a very experienced player and is spoilt for choice when it comes to quality. He is also not one that hands out compliments lightly, but there he was last night, comparing the finish & crafting on 164 to his £3,000 PRS santana!! That is high praise indeed!

So if anyone is out there thinking about a Clement, I'll say it again and reinforce what a few others have posted up recently. The necks are SUPERB!! I don't know what Tom does to them, maybe they are sanded between the thighs of young virgins, or perhaps some voodoo witch doctor chants and incants over each one before assembly. Or maybe its just because Tom knows how to handle his wood (ahem) and puts a lot of love and attention into his creations!

Whatever it is, I'm stoked with my brace of Clements. And when the GAS hits again, I know who I'm gonna call!!
 
#297
Thanks, that ash is impressive and sorry, no sound clips. Believe it or not, the grain is even more prominent on the backside, but not as even. I wonder how Tom was able to keep the bass so light without chambering it? Also, what is it about Tom's fretlesses that makes them sound so alive? I'm thinking it's either the bloodwood or the LaBella Deep Talkin' flats that I happen to order with the bass, but I don't know.
 
#298
john nam said:
Thanks, that ash is impressive and sorry, no sound clips. Believe it or not, the grain is even more prominent on the backside, but not as even. I wonder how Tom was able to keep the bass so light without chambering it? Also, what is it about Tom's fretlesses that makes them sound so alive? I'm thinking it's either the bloodwood or the LaBella Deep Talkin' flats that I happen to order with the bass, but I don't know.
Click to expand...

Its not just the fretlesses, the 2fretted that I own, have such presence, even unplugged, you can hear how well the notes ring off the board.

Me, I would blame the whole neck assembly for that alive sound. The join between the board and the neck is so totally seamless, that I would assume the transfer of the vibration through the board into the neck is super efficient.
 
#299
I've played them with various types of strings, and they are just as alive on all of them. Especially the ash/maple/bloodwood basses (that's the recipe for my Tundra basses, I've got two of them and had one that I sold in between). They are just amazingly alive and responsive.

That said, I'm not implying that the other Clement basses of mine aren't responsive, I'm just saying that if I had to choose ONE of my Clements to hang on to (God forbid!!!), it would have to be my first Tundra IV fretless. It's just an amazing bass. Fortunately, I don't have to choose. :D

Great bass, john!
Awesome story, wavey! :)
 
#300
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