bassman10096
Junior Member
- Joined
- Aug 22, 2008
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OK, so after that veer, I'm going to post this again...
...and wonder - how much of the sound is A) the strings (LaBella Deep Talkin' flatwounds), B) the electronics (Alembic), C) the bass (including scale length, body & neck wood), and/or D) the wooden saddles? Actually, the pick may be a significant part of the equation. Obviously it's a combination of all these factors and more, but I do wonder if the sound would change significantly with metal saddles for example, or an Alembic style bridge. For now, I'm going with if it ain't broke, don't fix it!
You certainly copped a whole lot fo Phil there. My highest compliments to your play and interpretation. I think the technical side is about as close as it needs. IMHO, LaBellas have become (over the years) just about as articulate as the Pyramids Phil played back in the day. As much as I like current-day Pyramid flats, I really have a harder time getting to Phil’s tones than I do with LaBellas.
i think the rosewood bridge saddles are sort of extraneous. Short of an Alembic bridge, you could switch to metal saddles or a reissue, Fender-style harp bridge (metal, threaded saddles for easy intonation) if you wanted. Even though these probably won’t get quite as metallic-gritty as Phil sometimes sounded your playing landed the feel and timbre, if not the precise sound the notes.
Nice job!!!
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