• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join freeLog in
    Want zero display ads or expanded classifieds tools? Compare plans.

Zon Hyperbass

That's right! The levers are attached to cams that engage set screws. You can adjust the set screws quite a bit. Right now I have them set up just like you explained, but you could set each lever to engage any or all of the strings. There's a lot of possibilities! I believe there are only 25 hyperbass' with this bridge, Michaels being the first!

I want one... Might actually make me learn to play fretless.
 
  • Like
Reactions: RileyHagan
Great job, Riley. That's one of my favorite pieces of music and IMO still the greatest solo electric bass piece ever written, and clearly very difficult to play.

We sometimes get "pros" here who have big egos or spout their credentials or talk down to people with differing opinions.
I've met Michael twice and seen just about everything he's done, and by my own experience and that of anyone who's met him that I've talked to or read online, he's one of the most humble and kind guys you could hope to meet. Such monster musicianship and truly original playing in such a humble guy; I have no patience for guys with big egos knowing there are guys out there like Michael.
 
I want one... Might actually make me learn to play fretless.

I believe the bridge upgrade is something like $3k alone.

I had an Elrick made with four Xtenders at the headstock:
CIMG5092.jpg

I tried contacting Zon back then to see if they sold the bridge alone, but never heard back. Keeping track of the turnings on that alone was sometimes difficult; I imagine the adjustable bridge makes it even tougher.
 
Last edited:
I believe the bridge upgrade is something like $3k alone.

I had an Elrick made with four Xtenders at the headstock:
CIMG5092.jpg

I tried contacting Zon back then to see if they sold the bridge alone, but ever heard back. Keeping track of the turnings on that alone was sometimes difficult; I imagine the adjustable bridge makes it even tougher.

I mean, "want" and "need" are different. I have been thinking about getting an ERB also, but that is way more impressive to me than a guy playing a ten string bass and using basically 4 strings. I am a big Ani DiFranco fan and one of the things I love the most about her is her use of alternate tunings, doing that on a bass could be very cool.

Also, what are you guys tuning these basses to? I looked at the Hyperbass and its a 34" scale, so are those piccolo strings?
 
Great job, Riley. That's one of my favorite pieces of music and IMO still the greatest solo electric bass piece ever written, and clearly very difficult to play.

We sometimes get "pros" here who have big egos or spout their credentials or talk down to people with differing opinions.
I've met Michael twice and seen just about everything he's done, and by my own experience and that of anyone who's met him that I've talked to or read online, he's one of the most humble and kind guys you could hope to meet. Such monster musicianship and truly original playing in such a humble guy; I have no patience for guys with big egos knowing there are guys out there like Michael.

Thank you Bryan!
Michael is one of the kindest and most humble people I've ever met! He's a true inspiration as a person (never mind as an amazing musician!)
 
Riley - beautiful job on that complex and daunting piece of Manring Artistry.

A True Story:
Probably more than 20 years ago I was working as a Para-Beagle at a Major San Francisco Law firm at Embarcadero Center.
One day at lunch on the ground floor of one of the towers near the only record store in the complex a free show occured that was a Windham Hill Records show case.

The event featured alternating sets by Windham Hill Founder and Guitarist Will Ackerman and bassist Michael Manring.

Me and a few pals witnessed the show and during Michaels 2nd set he donned two Zon basses and proceeded to blow minds with his tapping and D-tuning techniques. After one more set by Ackerman, Michael came back on for his 3rd performance. Some clown from the crowd (*me) yelled out somewhat sarcastically: "Why don'tcha try playing three basses?"

Next thing I knew I was standing onstage cradling bass #3 in my arms as Michael proceeded to ably play a set using all three basses.

That was a very memorable and very affecting experience for me as a musician.

I managed to see him a number of times over the years, including a few really amazing shows at Great American Music Hall with Michael Hedges.
 
  • Like
Reactions: AlembicPlayer
Bravo, sir.

I have a book of everything transcribed from the Thonk album, and the page of altered tunings alone for the Enormous Room is enough to intimidate me. Well done!

I'd love to see this or pick up a copy. Every time I try to listen to "The Enormous Room" I just can't because my brain has trouble comprehending how insane a composition it is.
 
When you see Michael's videos of him playing it's more like he's controlling a set of errant cats that will not stay in tune: detune this, retune that, play a chord, retune that, no hold, now come back here you....

I imagine you could easily miss one halfway through, fail to get your place back and then smash your bass to bits in rage, cursing the gods of alternate tunings. "Someone get me a fretted bass!"
 
Simply beautiful sir. My hat is off to you. Seeing you preform the piece makes it somewhat more accessible for my mind to comprehend. When I listen to these recordings my mind reels not believing these things are possible, or they can't be done in one take without overdubs. You sir have allayed my doubts but not my fears. I know I do not possess the patience to learn these things. I spent years learning several Joco pieces but these are something else altogether. You are truly blessed with a gift. Thank you for sharing it.
 
  • Like
Reactions: RileyHagan