New Mike Adler TWELVE STRING BASS????

[Garry Goodman]

I see - so the intent is not to have a no-phase-shift EQ, but rather to have no phase shift induced by the rest of the circuit, apart from the EQ.

Yes-and I apologize for lumping all the specs together in earlier posts.I see that it didn't make sense. Eliminating all phase shift in the audio band (20hz-20khz) when the EQ is set flat is the point. The actual pots sweep the frequencies of the audio band.I was talking about getting this clean sound out of the bass and into a 96k recording environment where the best possible sound gets recorded because we have no harmonic realignment occuring ,slew distortion etc.

 

[ole Jason]

2. Why should it be held to the same level as the instrument that originally played it? Because you said so? If that's the case, no piece played on a bass with even the slightest complexity that originated on piano would sound as good. Stu Hamm's version of Linus and Lucy isn't anything compared to how cleanly it can be played on piano-does that mean it's crap? No. Heck, ANY bassline can probably be played with more ease and cleanliness on a piano simply because of its design. According to narud's logic, most bassists would have to give up playing altogether. Try playing a tuba part on piano and it won't sound as good or tuba-y clean as if played on the instrument it was composed on.

This is an excellent point. I really wish some of these guys playing ERB's would begin to compose pieces and publish, or even give away, the music. Not only would it give us real repetoire to play instead of playing Bach or classical guitar pieces but it would also make ERB's more accessible to people who may not want to spend so much time figuring things out on their own. The nature of the instrument really brings it into the realm of being a viable solo polyphonic instrument.

Someone should compose a few etudes to highlight the problems accompanying an ERB such as neck width, muting, chords, etc. Maybe I'll get around to it one of these days but I'd rather someone good do it.

 

[Garry Goodman]

This is an excellent point. I really wish some of these guys playing ERB's would begin to compose pieces and publish, or even give away, the music. Not only would it give us real repetoire to play instead of playing Bach or classical guitar pieces but it would also make ERB's more accessible to people who may not want to spend so much time figuring things out on their own. The nature of the instrument really brings it into the realm of being a viable solo polyphonic instrument.

Someone should compose a few etudes to highlight the problems accompanying an ERB such as neck width, muting, chords, etc. Maybe I'll get around to it one of these days but I'd rather someone good do it.

For my materials, I already went through all the figuring things out (still doing it). I am working on a book that walks you through 7+ strings from my POV.
For what it's worth, I have posted a number of times on various threads that my reason for having a 7 string bass built was to play bass parts in a way that used the bass in a different way to perform the same functions a bass does in modern music.

If you listen to "Tap Dance On A Cloud" ,the CD is 80% 7 string bass parts ,all in harmonics.I could not have played these parts on any less than 7 strings.Some tunes switch between two handed touch playing to all chordal harmonics to plucked bass solos. IMO, there are no bass tracks like these(no overdubs here either).

The one track with the 11-string has a bass part that functions in a very unusual way, jumping over 5 octaves. We wrote the tunes and arranged them with the 7+ string basses as an integral part of the music.

I for one, using the 12-string(TOG) as a master fingerboard template , am putting together a book/dvd from my viewpoint of using 7+ strings.
The main point to having this bass or any 7+ string bass (IMO),is the access to solo playing and advanced accompaniment concepts.

The point of the book is to eliminate obstacles so these basses make perfect sense. If one has a different way of approaching a 9 string bass that is fun and allows one to play parts that one can only play with 9+ string, then owning a 9 string really makes sense,that is if a person wants to get the most out of their 9 string.I worked for months playing solo 9 string at nice restaurants playing standards and show tunes.You can take the best of piano and guitar arrangements and use your bass "chops" to play it all. Once you get a few tunes learned, the whole process gets easier.

I don't memorize Bach inventions, I sight read them with the left hand & right hand playing the separate parts as a pianist does.I treat these instruments as legitimate instruments. I have spent time working out ways to find functional fingering for lines and chord shapes beyond the 6 string guitar chords. Piano voicing is possible, and with some practice, it sounds pretty cool.Putting all this into a system so it is relatively painless is what a book/DVD is for.

 

[Geoff St. Germaine]

For my materials, I already went through all the figuring things out (still doing it). I am working on a book that walks you through 7+ strings from my POV.
For what it's worth, I have posted a number of times on various threads that my reason for having a 7 string bass built was to play bass parts in a way that used the bass in a different way to perform the same functions a bass does in modern music.

If you listen to "Tap Dance On A Cloud" ,the CD is 80% 7 string bass parts ,all in harmonics.I could not have played these parts on any less than 7 strings.Some tunes switch between two handed touch playing to all chordal harmonics to plucked bass solos. IMO, there are no bass tracks like these(no overdubs here either).

The one track with the 11-string has a bass part that functions in a very unusal way jumping over 5 octaves. We wrote the tunes and arranged them with the 7+ string basses as an integral part of the music.

I for one, using the 12-string(TOG) as a master fingerboard template , am putting together a book/dvd from my viewpoint of using 7+ strings.
The main point to having this bass or any 7+ string bass (IMO),is the access to solo playing and advanced accompaniment concepts.

The point of the book is to eliminate obstacles so these basses make perfect sense. If one has a different way of approaching a 9 string bass that is fun and allows one to play parts that one can only play with 9+ string, then owning a 9 string really makes sense.That is if a person wants to get the most out of their 9 string.I worked for months playing solo 9 string at nice restaurants playing standards and show tunes.You can take the best of piano and guitar arrangements and use your bass "chops" to play it all. Once you get a few tunes learned, the whole process gets easier.

I don't memorize Bach inventions, I sight read them with the left hand & right hand playing the seperate parts as a pianist does.I treat these instruments as legitimate instruments. I have spent time working out ways to find functional fingering for lines and chord shapes beyond the 6 string guitar chords. Piano voicing is possible, and with some practice, it sounds pretty cool.Putting all this into a system so it is realitivly painless is what a book/DVD is for.

This sounds really cool Garry. That's something I might like to check out. I've always wanted to get a 7+ string bass, but what you've done is just what I can't do... figure it all out on my own. Please keep us updated on this!

 

[Garry Goodman]

This sounds really cool Garry. That's something I might like to check out. I've always wanted to get a 7+ string bass, but what you've done is just what I can't do... figure it all out on my own. Please keep us updated on this!

That's encouraging. When I realized I needed 7 strings because 6 strings made me work too hard, there were logical reasons to get a 7 made.I was originally keeping it a 7 string because I wanted to keep all the strings roundwound.On the 12-string, the three highest are plain .009,.007 and .004( on day #10) on top. To play within 4 frets and play across the fretboard vertically is a very smooth experience.

So these basses,in my experience, have developed out of the need to play something without interruption due to limitations of the instrument with less strings.

Now I can play a 12 tone spiral that starts on the note c4(middle c) and then jumps up vertically an octave plus a 7th to a B6 (1st ledger line b above treble cleff) and continue with whatever notes follow all within a 4-5 fret area.Experiencing 12 tone rows and melodic patterns with large intervalic leaps is now "under the fingers" stuff as opposed to the acrobatics you need to perform such patterns when trying to play the same pattern on say, a 6 string. I know a lot of guys aren't into symphonic music or trying to play it on a bass guitar,but the sound of the note combinations is a real ear opener.

So there are many ways to play a 7+ string bass guitar,and they are all valid.All I can do is to choose a variety of musical examples, make them easy to approach and play on the 4 1/2 octave or more guitars and the rest is up to you to see what you like and what works for you.

I like to pick up my 4 string and play a Police tune or a Yes tune as any 4 string bassist would,and i like to pick up my 12 and Play "Also Sprach Zarathustra" ( at least the intro ) , the theme to the movie 2001, with as many of the orchestral voices as I can. It's all music and music should be fun.

 

[PhatBasstard]

I like to pick up my 4 string and play a Police tune or a Yes tune as any 4 string bassist would,and i like to pick up my 12 and Play "Also Sprach Zarathustra" ( at least the intro ) , the theme to the movie 2001, with as many of the orchestral voices as I can. It's all music and music should be fun.

Although I'm not a fan of this (12 string) instrument and don't really consider it a "bass" in the traditional sense or function, Garry's statement above is the greatest justification for it anyone could ever make. No specs or defensive statements needed. Just the bottom line of why we all (should) make music. Very well said.

 

[CaptainWally]

Although I'm not a fan of this (12 string) instrument and don't really consider it a "bass" in the traditional sense or function, Garry's statement above is the greatest justification for it anyone could ever make. No specs or defensive statements needed. Just the bottom line of why we all (should) make music. Very well said.

I wear pants with twelve legs. i only need two though.

 

[PhatBasstard]

I wear pants with twelve legs. i only need two though.

I need three.

 

[Garry Goodman]

I think most everyone who has posted on this thread has had valid,intelligent comments and questions concerning this instrument.
It is nice to see the open mind set from everyone here on Talk Bass. I visited some bass sites where there are threads about this bass,and the general thought is:
"what's the point?" or "who's gonna play that?" or "that's just plain ridiculous" I think I have seen the aircraft carrier bit a dozen times.

It seems those guys never consider the bass as a musical instrument.I see many still think of 6 or more strings as a form of "showing off".Or another misconception is that you can't "groove" if you play a 9 string.

I guess it is a hard thing for some to imagine that this bass,or even the 7 string bass was created as the result of a player's musical growth.This was a custom order.So was the Tobias 7 string.They exist because of a need.
It's nice to see the 7 string bass has caught on.But this 12-string -"I could paddle a canoe with it"

 

[karrot-x]

I can't wait to order my 12

 

[CaptainWally]

That's encouraging. When I realized I needed 7 strings because 6 strings made me work too hard, there were logical reasons to get a 7 made.I was originally keeping it a 7 string because I wanted to keep all the strings roundwound.On the 12-string, the three highest are plain .009,.007 and .004( on day #10) on top. To play within 4 frets and play across the fretboard vertically is a very smooth experience.

So these basses,in my experience, have developed out of the need to play something without interruption due to limitations of the instrument with less strings.

Now I can play a 12 tone spiral that starts on the note c4(middle c) and then jumps up vertically an octave plus a 7th to a B6 (1st ledger line b above treble cleff) and continue with whatever notes follow all within a 4-5 fret area.Experiencing 12 tone rows and melodic patterns with large intervalic leaps is now "under the fingers" stuff as opposed to the acrobatics you need to perform such patterns when trying to play the same pattern on say, a 6 string. I know a lot of guys aren't into symphonic music or trying to play it on a bass guitar,but the sound of the note combinations is a real ear opener.

So there are many ways to play a 7+ string bass guitar,and they are all valid.All I can do is to choose a variety of musical examples, make them easy to approach and play on the 4 1/2 octave or more guitars and the rest is up to you to see what you like and what works for you.

I like to pick up my 4 string and play a Police tune or a Yes tune as any 4 string bassist would,and i like to pick up my 12 and Play "Also Sprach Zarathustra" ( at least the intro ) , the theme to the movie 2001, with as many of the orchestral voices as I can. It's all music and music should be fun.

Wow -- I'd like to see you play sometime. I can't even conceive of someone playing a six string and realizing it's just not enough...

 

[Garry Goodman]

i have been seeing a variety of posts about this bass on different bass sites.What seems to happen is the bass is isolated from the thinking behind it's creation. It is not intended to be a commercialy available bass guitar.The 7-string certainly wasn't. Judging from how many 11-strings exist one year after Mike introduced the 11-string,I don't think it will be as popular as a 5-string.

I have read the 'you could land a plane on that neck" comment so many times,i almost laughed.The neck is so thin,it plays easier than many basses,and the neck is not as wide as the 11-string. We have tried to answer all the questions concerning the bass.

It is not some huge,heavy,awkward beast with a 1" thick neck that is a pain to play.There was a lot of thought behind this.On a custom instrument such as this one, separating the bass from the player is taking the bass out of context. It was created to eliminate sight reading and fingering position problems associated with bass guitars.Having more locations for the same note than you have on a 7- string is another benefit. Just to have the range a piano has opens up unlimited possiblities. I am a click track player and can groove as well as anybody.
The number of strings doesn't affect my musicianship.i wanted a non transposing bass that allows you to read ledger lines.I think that when recordings are available,one can judge for themselves if this is a serious
instrument,or just a novelty or gimmick.Yeah, we already thought about 13 and 14 string basses.Once again, it's the music that's made with the bass that counts.

 

[Blazer]

Ok, maybe you didn't get the joke..

Here are the basses I mainly play:



So as you'd probably guess I don't agree with that whole "Jaco / only 4 strings" drivel and posted that comment in jest..

Well Jaco DID own a couple of Five string basses, strung up with a high C string. But he always went back to his batterred Fender Jazz Basses

Anyway, I must be carefull that the lead singer of my band doesn't see this picture of your gorgeous Conklin basses. Thing is, I used to play a six string bass when the band first started but I evetually gave up on the idea and went back to playing four string basses. Now that the band has made a re-start he has been bugging me about buying another six string not for the low end I was getting from it but because it looks so cool.

So now he's threatening to buy me an extended range bass saying "Man you shouldn't have sold that ultra cool ironing board with strings. I'll buy you one with even more strings, that way you'll really make an impact on the crowd."

No offense, each to his own but I'll stick with four strings than you very much.

 

[Blazer]

Invalid Link Removed

Courtesy of Funkycarnivore....

You know...now I have seen it.....i've seen bigger...

HOLY SHNIKEY!

I DEFINATELY have to keep this picture away from our lead singer...

 

[Garry Goodman]

Based on the audio quality alone, I think this instrument is clean and versatile.I think it is more about Adler basses in general. I played a 6 string at the show with a flamed maple body. it was incredible. I wish we had a photo to post.Also there was a 5 string that was amazing.Mike, any photos of the basses at the show?

 

[Garry Goodman]

Just a string note. The .004 has lasted 2 weeks since we put it on at NAMM.It's been played on for hours everyday.The string works. I may take it off to try a lighter gauge string for awhile (.003).

 

[DaveAceofBass]

Hi,
I wonder if we can't stir up a little more conversation on these pickups.... I think mine are amazing. I love the mid control.

 

[Garry Goodman]

Hi,
I wonder if we can't stir up a little more conversation on these pickups.... I think mine are amazing. I love the mid control.

they have a transparent quality and are very Hi-Fi. They really record to 96k well.

 

[john turner]

oh, i just want to post here that i've listened to garry's cd a bunch of times and it's excellent. sorta cocktail music, with really interesting parts going on - good -music- that just happens to be composed and performed on unconventional instruments.

 

[knuckle_head]

Garry's demands of the instrument and Mike's execution are indeed inspiring.

I saw the bass, heard Garry play it and have a copy of his CD. Taken as a whole there is no greater reason for an instrument to exist.

I am truly looking forward to more music coming from this instrument - as it is so new I am certain that what will come will by far outshine what I have heard already.

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