•Paul Lairat “Gabriella S” 6 string custom – Delano Times Square Pickups
•Flexx Basses – Jacob 4 string Fretless (J-Style), BassCulture Singlecoil Pickups
•Flexx Basses – Jacob 4 string (J-Style), BassCulture Singlecoil Pickups
•Flexx Basses – Peter 4 string (P-Style), BassCulture Splitcoil Pickup
•Fender 60′s Classic Jazz Bass
•Fender Squier VM Fretless Jazz Bass
•Fender ’1973 Musicmaster shortscale Fretless Bass
•“Christopher” Upright Bass
•Fender 1990′s Stratocaster M.I.J.
•MC Systems “SYD” Dynamic Phaser
•Taurus “Zebu” Stereo Reverb & Delay Pedal
•Taurus ”Dexter” Polyphonic Octaver
•Electro Harmonix Micro POG (Polyphonic Octave Generator)
•Electro Harmonix BassBalls Nano
•Electro Harmonix QTron (Old NYC version)
•Electro Harmonix The Worm (Old NYC version)
•Electro Harmonix LPB-1 Booster
•Morley Mini-Volume optical volume pedal
•Korg PitchBlack Tuner
•Boss RC 20XL Loop Station with additional footswitches
•Boss OC 2 Octaver
•Boss CS 2 Compressor/Sustainer
•Boss ODB 3 Bass Overdrive
•Boss MT 2 Metal Zone Overdrive
•Ibanez Wau-Wau (Wah-Wah)
•Digitech XP400 Reverberator w/ expression pedal (also functions as a volume pedal)
•Multiple DI Boxes (including ART Tube MP and active stereo DIs)
•CIOKS Power Supply
•Rheingold-Music BA12 1×12“ Cab (600 watts)
•Rheingold BA20 2×10“ Cab (600 watts)
•Ashdown Little Bastard 550 Head (1 of only 50 worldwide, 550 watts, 12AX7 + 12AU Preamp, Class-D Power Amp)
•Roland MicroCube Bass RX (4×5″, 5 watts, battery powered)
Interfaces & Converters:
• Antelope Audio Zen Tour Interface
• Antelope Audio MP8d mastering-grade mic preamp & A/D converter
• Apogee Jam Interface
• Zoom H4n & H1 Handy Recorders
• 13″ Retina MacBook Pro 2015 – 2,9GHz Core i5, 16GB Ram
• 13″ Retina MacBook Pro late 2012 – 2,9GHz Core i7, 8Gb Ram
•All handmade RHEINGOLD instrument, power, speaker and patch cables (Models: KK3 | KK4,5 | FKK 5,5 | BBHC1 | SHC3 | Patch WW / WK / KW & KK)
• 5-String: DR Hi-Beams 40-120
• 4-String: DR Hi-Beams 40-100
• Flatwounds: Dr Hi-Beam Flats 45-105 / Thomastik-Infeld Jazz Flats 43-103
•Singular Sound Beatbuddy stompbox drum computer
•GruvGear GigBlade, Stadium Bag, Fretwraps HD and Sliiv Tech Sleves
•Mono Cases (Vertigo Bass, The Producer)
•Comfort Strapp straps
She is also the very first six string version of Paul’s “Gabriella S” model that has been introduced at the NAMM Show 2016 and is based on his beautiful semi-acoustic “Gabriella” model.
What makes me extremely grateful about owning this instrument is the fact that Paul built it for me as a “thank you” for our incredible and fruitful collaboration that we started back in 2012 with my first “Stega” bass (see below!). For that I would like to thank Paul from the bottom of my heart. It has been and still is a thrill to be working together with such an incredible luthier.
Body (top to bottom): Wengé, maple veneer, mahogany
Neck (Set neck design): 2 pieces and 4 veneer strips of maple, 2 strips each of mahogany and walnut and a center stripe made of wengé
Pickups: 2x Delano Times Square
Electronics: Glockenklang 3-Band preamp w/ active/passive switch and coil split
Bridge: ABM Mueller monorail-style bridges
Tuners: Gotoh, capsuled. Custom backplates
This bass has really become my main weapon of choice on stage and in the studio and offers a variety of tones that spans any genre of music and can always deliver a fitting tone for any piece.
Body (from top to bottom):
-North American Maple, US Walnut, Mahogany
Neck (Neck through construction):
-6 folds of maple, 2 folds of US Walnut, 2 folds of mahogany, one center stripe of Wengé
-Flamed maple fretboard with black dot inlays
-24 medium frets
-2 outer strips of US Walnut, 2 strips of Maple, Mahogany strip in the center
-Hand rubbed translucent satin finish
-2x Delano Xtenders
-John East E-Pro 9-volt Preamp with 3 band parametric EQ Controls (from left to right):
-Volume, Blend | Treble (Push/pull function for treble boost), Bass | Mid, Parametric mid frequency
-Split switch, active/passive switch
-ABM Mueller monorail style bridges
I am very fortunate to be working together with this great little company and to have three of their basses in my arsenal which have become indispensable working horses for me both on stage and in the studio.
The bodies and necks for these basses are crafted in spain and the basses are finally assembled and set up in Duisburg – Germany which, incidentally, is also where the BassCulture pickups that are put into these basses are hand wound.
All these basses feature:
Hand wound custom BassCulture pickups, passive electronics with US made CTS pots and high end Rheingold wiring, Wilkinson vintage bridge with brass saddles, German-made Schaller tuners
The Jacob 4 Fretless
The Jacob 4 fretless has become one of my main working tools. It delivers such a sweet and flexible fretless tone that I can shape any way I want just using my fingers. It responds to everything I do wonderfully and the beautiful “mwah“ it produces can be controlled very easily.
This bass has tremendous playability, gorgeous tone from mellow and vintage all the way to crisp and modern and a really really durable fretboard producing a nice singing tone.
The Peter 4
This is the type of bass every bassist should have in his collection. The Peter is THE classic electric bass that just fits right into every style of music. Put flatwound strings on it for that mellow and punchy Motown-style sound or string it up with steel roundwounds to make it rock hard… you can pretty much do anything with it.
What’s really special about the Peter is that, unlike many other basses in this style, it is incredibly dynamic and can offer vintage as well as modern sounds. The pickup on it picks up all the fine details in my playing and that’s exactly what I want from all of my basses!
The Jacob 4
This bass is one of my go-to studio basses. I love it for it’s warm but still bright and well balanced tone and it’s great playability. Coming from a 5 string bass I chose the thicker neck on this one and it just feels perfect.
With flexible tones that easily cut through any mix this is one hell of an instrument! Especial for slapping this bass is a beast and can easily put many active J-Basses to shame with it’s crisp and clear sound!
The Rheingold B100
I am thrilled to be fortunate enough to call this Rheingold-Music B100 bass amp along with the BA12 1×12″ and BA20 2×10″ cabinets in WHITE my own – it is truly the amp of my dreams!
Rheingold-Music is a very small company from Duisburg Germany that puts incredible care and attention to detail into handcrafting their tube amplifiers and speaker cabinets. Only the finest components find their way into the final product and it definitely shows in the way these amps manage to project my bass sound into the air and respond to every single nuance of my playing.
The dynamic range, sonic detail, frequency response, impulse accuracy and sheer headroom are simply stunning and you feel like every single bass you plug in simply comes alive! On top of that the wide dispersion characteristics of the cabinets allows the bass to be heard almost everywhere on stage and in the room with equal presence and definition. You don’t even need to use the EQ at all because your tone can be shaped in all directions just by using your fingers – and if you choose to use it the 3 EQ bands are set at very musical frequencies and make adjusting your tone to the acoustic conditions in a given room a breeze.
This is the first amp that gives me the feeling that it projects absolutely EVERYTHING I play and is thus the first amp that I feel will help me grow further as a musician – playing live and practicing with this amp feel entirely different than it did before and I couldn’t be happier about it!
Thank you so much Jürgen Weidner for making this incredible piece of art, bass playing will never be the same for me!
I strongly urge all of you to visit CustomMusicShop and try one of these amps out if you ever happen to be close to Duisburg! It’ll completely change the way you thin about bass amplification!
Unlike other cable manufacturers Rheingold music makes products without compromising in material quality and pays incredibly close attention to material specifications and production quality. The sound quality that their instrument and microphone cables deliver is simply unbelievable and I personally don’t know any other instrument cable that even plays in the same league (and I’ve tried loads of so called “high-end” cables). The best thing about these cables however is that with all this quality and attention to detail they aren’t any more expensive than the mainstream higher class cable brands.
Antelope have made their name in the earlier 2000s by manufacturing some of the most stable and precise studio master clocks which utilize their proprietary “Acoustically Focused Clocking” (AFC) technology which guarantees extremely low jitter and clocking reliability.
Later on, they started venturing into the manufacturing of audio interfaces which proceeded to take the market by storm. The reason for this success where their world-class converters, immense feature set and their stellar audio quality that came together in competitively priced products.
Today, all these aspects have been retained and the new interfaces and converters they release are steadily being expanded with the latest state of the art features and technologies. Among those is Antelope’s new proprietary FPGA engine which allows the user to run dozens of Antelope-designed high-quality audio plugins directly on their interface hardware at near-zero latency. These include analog-modelled vintage equalizers and compressors, a lush sounding reverb as well as guitar amp and cabinet models developed in tandem with Overloud.
The Antelope “Zen Tour’ portable interface. 4 High-Z ins, 4 mic preamps, 2 reamp outs, 16 ADAT ins & outs, 2 stereo monitor outs on a dedicated monitor converter (129 dB of dynamic range) and 8 analog outputs all at a maximum audio resolution of 24 bit / 192kHz. The A/D and D/A converters boast a staggering 120dB of dynamic range and support a total of 32 ins and outs over Thunderbolt at a latency of less than 1ms.
This allows you to create incredible sounding monitor mixes for tracking and also to offload some of your processing during mixing onto the interface’s internal DSP instead of your CPU, thus saving some valuable hardware resources while providing you with state-of-the-art tone shaping capabilities at no extra cost.
Other features include their control software routing-matrix that enables you to pretty much route every input to any available output, controllability from any computer/tablet/smartphone in the same network as the interface, transformer balanced reamp-outputs on their Zen Studio, Zen Tour, Orion Studio and Goliath interfaces and many, many more…