yeah no idea how hes getting it to work. most fuzzes i just notice subtle changes, aside from my bluebeard which just has tons of sub to it, but most muffs are muffs.
that pharoah was just terrible haha. sounds killer on guitar tho.
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Stoner/Doom Bassists 89: Father's Missing Voodoo
- Thread starter Corey Y
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yeah no idea how hes getting it to work. most fuzzes i just notice subtle changes, aside from my bluebeard which just has tons of sub to it, but most muffs are muffs.
that pharoah was just terrible haha. sounds killer on guitar tho.
So, I was able to play the Jazz Bass more last night, and I think I kind of fell for it. Wasn't expecting that. The action is super low, yet no buzzing. The neck is ultra fast. My Warbird has a Warmoth Wenge Jazz neck, but it's definitely beefier than this one. The Jazz is much brighter and more tame sounding than the the Warmoth, but I kind of like that, nice to have variation in the stable. The Warbird is like a sledgehammer, the Jazz like a Katana.
I looked up the serial, and it's a early 90's model. Supposedly (please correct me if I've heard wrong) during this era, parts were made in the US with US wood, but then shipped to Mexico for assembly and paint. That made me happy, as I was most concerned about cheap wood. The rosewood fingerboard is thin, but I think that makes it brighter. More influence from the maple.
The bass is extremely balanced up and down and across the fretboard. Pickups are bright, yet have plenty of lows as well (albeit not as much as the Warbird, but that's to be expected). It had a full setup/fretjob by "Sid the Wizard" who is quite picky with setups, which no-doubt is why it plays so well.
All this doesn't change the fact that the deal isn't quite "fair". I think I'm going to ask to have a Authentic Custom Shop Tort pickguard and maybe a used hardcase or new bag thrown into the deal for me to be happy. I think that would even the trade appropriately.
Another thing that's making me lean this direction, is I was started looking at what other bass designs I like. I just really am not a fan of that looks of most basses for some reason, (even P's) I kept coming back to Jazzes. I know, I'm weird.
I looked up the serial, and it's a early 90's model. Supposedly (please correct me if I've heard wrong) during this era, parts were made in the US with US wood, but then shipped to Mexico for assembly and paint. That made me happy, as I was most concerned about cheap wood. The rosewood fingerboard is thin, but I think that makes it brighter. More influence from the maple.
The bass is extremely balanced up and down and across the fretboard. Pickups are bright, yet have plenty of lows as well (albeit not as much as the Warbird, but that's to be expected). It had a full setup/fretjob by "Sid the Wizard" who is quite picky with setups, which no-doubt is why it plays so well.
All this doesn't change the fact that the deal isn't quite "fair". I think I'm going to ask to have a Authentic Custom Shop Tort pickguard and maybe a used hardcase or new bag thrown into the deal for me to be happy. I think that would even the trade appropriately.
Another thing that's making me lean this direction, is I was started looking at what other bass designs I like. I just really am not a fan of that looks of most basses for some reason, (even P's) I kept coming back to Jazzes. I know, I'm weird.
I didn't like musket but my go to is the stache. I flipped the musket pretty quick too. The stache was the winner of the big "Muff Off" a while back.
The guy who asked about the LSTR is also the guy I take my guitars too at a local shop whenever I need some work done. Check this thing out. It's a Peavey Fury and he installed a Seymour Duncan Ric humbucker pickup.
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You can get that super nasally tone, and REALLY pay homage to the god that is Jaco!!!
Aw they broke Kawai. He's become a bitter old hater. .
Jaco-borg. I have been assimilated.
Well it turns out that our record label offer is from one of my wife's co-workers. The label is just starting out so there's not a lot in their catalog so far, and most of it is pretty different from what we're doing. We'll see if anything comes of it, but there's already negative grumbling on the band side because there's mostly punk bands on their roster and we're not a punk band.
I'm trying to stress that this guy is a good person to align ourselves with, as he books all kinds of shows and has a lot of connections, not sure if my point is being heard though.
It seems counterproductive to dismiss a label straight away because we're not similar to other bands on their roster. Vitus was on SST for ****'s sake...
I really get tired of arguing about this stuff sometimes...
I'm trying to stress that this guy is a good person to align ourselves with, as he books all kinds of shows and has a lot of connections, not sure if my point is being heard though.
It seems counterproductive to dismiss a label straight away because we're not similar to other bands on their roster. Vitus was on SST for ****'s sake...
I really get tired of arguing about this stuff sometimes...
at this super small level all that matters is cash. how much money are they willing to put up for pressing, and what sort of return are they looking for? aside from dude getting you on a couple shows here and there, youre still going to have to promote and manage yourself.
bottom line: how much money is he offering.
I've never understood this train of thought, why would you want to be on a label that only promotes one style of music? Diversity is always good and mixed bill shows are my favorite.
Big +1 to bee's post. I'd concern myself less with what style the bands on the label are, and more on if they're happy working with the label.
The label we're currently trying to hash a deal out with has nothing on the label that sounds like Supervoid. I think that's the appeal of them wanting to work with us.
The label we're currently trying to hash a deal out with has nothing on the label that sounds like Supervoid. I think that's the appeal of them wanting to work with us.
Man, this is really cool. Reg, the head guy at Heavy Planet, did an interview with this website. They asked him to name three bands they should look out for, and he named Supervoid as one of those bands. Really made my day.
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lol I checked out a palomino first and it started smoking so I went for the classic 30. The 30 would get you hated for playing in an apartment. I think 5 watts cranked can easily get you into dick territory without pedals or extension cabs.
I tried to play the angry Christian against max, but they told me to find grace lol.
I did a demo of the Pharaoh on all my different basses, didn't care for it at all. I love it on guitar though. My RAT into it on guitar sounds freakin killer.
Janitor, I agree with what beebass said. If they have the money and the means to actually put something out and promote it, I'd go for it. Who cares if there's no other bands like you guys on the label, if it's not a label that people are already buying from looking for a specific style? There are labels that people will just buy anything that come out on it, because they know exactly what it's going to sound like (or were, maybe not as much these days). If that's not the case, if they can do something for you, that's all that really matters.
Awesome name drop for you guys Laz, Supervoid is getting some much deserved buzz. I was just listening to the album the other day. It's sitting on my desk here at work right now actually.
So I emailed a guy who had an ad on CL, looking to start a dual distorted bass and drums trio. No mention of style, no specific location (other than SF bay area, which is a huge coverage on CL), but I liked the general attitude of his post so gave it a shot. I sent him an email asking him what tuning he liked to play in, what sort of genre/influence he was going for and where he was located. Gave him all my info, link to my soundcloud, told him where I stood musically and what I could commit to. He didn't really answer, just asked me to call him to talk about it. So I did, first thing he said was he was really hung over. Conversation only lasted about 3 minutes, just got to the point of saying I've been interested in bass/drum duos and doing a dual bass trio for a while (tried to start one 10+ years ago, then about 5 years ago too), explained to him where I was located, what my availability was, what I could commit to and asking him about his details. Then he cut me off and asked if he could call me back in an hour or so, because he was getting off the bus and meeting a friend for lunch. I said sure, looked forward to hearing back from him. That was yesterday at 1pm, still waiting. Seems like kind of a wash, I was cautiously optimistic for a minute.
Janitor, I agree with what beebass said. If they have the money and the means to actually put something out and promote it, I'd go for it. Who cares if there's no other bands like you guys on the label, if it's not a label that people are already buying from looking for a specific style? There are labels that people will just buy anything that come out on it, because they know exactly what it's going to sound like (or were, maybe not as much these days). If that's not the case, if they can do something for you, that's all that really matters.
Awesome name drop for you guys Laz, Supervoid is getting some much deserved buzz. I was just listening to the album the other day. It's sitting on my desk here at work right now actually.
So I emailed a guy who had an ad on CL, looking to start a dual distorted bass and drums trio. No mention of style, no specific location (other than SF bay area, which is a huge coverage on CL), but I liked the general attitude of his post so gave it a shot. I sent him an email asking him what tuning he liked to play in, what sort of genre/influence he was going for and where he was located. Gave him all my info, link to my soundcloud, told him where I stood musically and what I could commit to. He didn't really answer, just asked me to call him to talk about it. So I did, first thing he said was he was really hung over. Conversation only lasted about 3 minutes, just got to the point of saying I've been interested in bass/drum duos and doing a dual bass trio for a while (tried to start one 10+ years ago, then about 5 years ago too), explained to him where I was located, what my availability was, what I could commit to and asking him about his details. Then he cut me off and asked if he could call me back in an hour or so, because he was getting off the bus and meeting a friend for lunch. I said sure, looked forward to hearing back from him. That was yesterday at 1pm, still waiting. Seems like kind of a wash, I was cautiously optimistic for a minute.
Bummer about the CL encounter Corey. I've had similar interactions. It's like, if you''re not going to be enthusiastic about an ideal person answering your ad, what the hell did you post it for in the first place?
I've had that experience a lot. People who seemingly do not care about their own projects. I've had that with a lot of recording projects, it's one of the main reasons I don't have a "studio" anymore. People abandoning a project partially completed, never paying, never finishing.
I'm keeping an eye on CL for some kind of opportunity to gig with something I can enjoy playing.
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