very cool.. anything to personalize the instrument. i don't know if it was the smartest idea to get my initials, but my only other inlay idea was of a lion" head, and that was $$$$ (i still might get that though)...
why wasn't it a good idea . Imagine... it gets stolen... nobody dares to come out with a "marked" bass . If you see what I mean . your inlays couldn't get more personal .
to anybody else reading this, try every warwick, pedulla, american fender, kinal, ken smith, anything semi-custom, and you'll get a better idea of woods and how they sound. the guitar center in my neighborhood hires complete morons. they can't answer my questions, but they'll let me try out anything i want. match a high end bass with a big rig and listen to what you know you want in a sound. do this a few times and either they won't let you try any more instruments or you'll have the best idea of what you want.. if you can, play a fodera before you design your own... they are really cool and they feel more like a Cadillac...
Really (about ken smith's wood pages)? I thought a lot of the terms that he used were pretty vague. I mean, it's easy to get an idea of the vastly different woods, ie bubinga and swamp ash, but for woods that were more similar I had a hard time figuring out his adjectives (is "clear" the same as "well-defined"? what about "articulate"? and so on).
to geshel: the stuff on the kensmith page is vague, but at least it gives you an idea. from there you can try out basses and determine for yourself what his tone descriptions mean. most older thumb basses are bubinga, there is a walnut peavey cirrus, you'll find zebrawood on kensmith basses. carvin uses walnut, some fenders are ash, spectors for maple tops etc..; it just takes a little time and to make the employees at your local music store work for you. i know the kensmith descriptions are pretty general (no 2 basses will feel or sound alike), but they do help.
Ken Smith also says that Northern Ash doesn't fit for musical instruments. That may indeed be his opinion, but I don't share it.
And, comparing a walnut Peavey with zebrawood Ken Smith isn't really terribly useful. I was just looking at Warmoth's wood pages. Interesting - they are very simplistic about most. Lacewood is like alder, padauk is like maple (this contradicts what I've heard elsewhere though). More direct but still not great.
right on. i'm stoked you don't like it. i guess i'll just throw it away when it shows up. i have no clue how to design a bass. you are so right.. what a moron i was to think i could do that and have it turn out as a playable instrument to my specs.. wow, thanks for enlightening me..
As for my comments... from that picture, the design doesn't look like my cup o' tea, but it's a great looking bass! I actually bet I'd like the design a lot more in person. It's got kind of a Fodera-type vibe to it. I can't wait to hear your review once you get it!
to Da5id HeX: the design might be kinda strange, but the thing about dave is that he doesn't copy "big name" brands.. i took qualities from 2 of my basses and tried to put them together into a playable bass. i knew the neck was gonna be heavy, and the body was a smaller style. i made the upper horn larger for balance. i hate basses that neck dive... i was real impressed with the fact that dave let me do what i want. through the photos he's sent me, and criticism elsewhere, i know what i will do when i have another one built. it's a great learning experience...
Yeah, Dave is an excellent guy to work with. I exchanged emails with him for a while about getting a custom 7-string built that never materialized. It turns out that a Czech Spector 5 was calling my name, and I couldn't be happier! I think a 7 would have been a bit much for me right now. I'm glad that it's been a learning experience. I'm sure that bass will be a winner though! Treat it well.