Hi all,
It's been interesting as a newcomer to this board to read the various testimonials expressing their undying neurotic love for this new take of a classic approach.
I'm a semi-retired pro player, who recently decided to get back into whatever game was available and as a consequence started looking for a new ax.
Not that I have none, for in fact I own several instruments (all of which I cherish)...But I wanted to get a certain sound, one which has its own unique clarity and power, and a tone which I have come close to obtaining with other quality instruments but not duplicating...The EBMM sound.
Frankly, I was far more interested in the possibilities of a Stingray than a Bongo, as like some of you the Bongo's 'look' wasn't entirely to my liking.
Odd that, because in my collection are several anomalies, variations from the standard Pre/Jazz norm...But personal tastes are personal tastes, respect others and insist upon the same.
So, with that vague notion in mind, I made a sojourn to my local Long & McQuade and, in the process of 'trying before I buy' spied a curiosity way up on the wall. It was the right color (black), and I had nothing to lose by trying it.
I took it down, and guess what...I couldn't put it down.
What a tone monster. It is rare in my experience to find an instrument that can quite literally make any amp sound good, and to have such playability, ideal string height and suitable intonation 'out of the box' is most refreshing in an era of compromise.
Additionally, with the six-string configuration the body design actually made sense to me, from an ergonomic and aesthetic perspective.
Now, having been sucked in by one of the two things that can (the other being a pair of shapely legs), and having made the necessary arrangements to bring this new beauty home, came the acid test - live performance.
I don't wish to toot my own horn obnoxiously, but with a million miles on my fingers racked up an inch at a time I can make just about anything this side of a 2 X 4 strung with #10 baling wire work on any given night.
Well, I didn't have to work too hard for this one.
Not only was the Bongo 6 eminently playable live, sonically it could go from a whisper to a scream and back at will, with superior clarity and presence over various styles. The band loved its sound, and the way it looked also.
Count me a satisfied customer.
Kudos to Mr. Ball, his company, and the BMW design group...as well as John and Frank down at L & M Calgary.
I would also like to thank Dan McPherson of Music Man Customer Service for getting back to my inquiry about a new pickguard in a most timely and helpful fashion.
db
It's been interesting as a newcomer to this board to read the various testimonials expressing their undying neurotic love for this new take of a classic approach.
I'm a semi-retired pro player, who recently decided to get back into whatever game was available and as a consequence started looking for a new ax.
Not that I have none, for in fact I own several instruments (all of which I cherish)...But I wanted to get a certain sound, one which has its own unique clarity and power, and a tone which I have come close to obtaining with other quality instruments but not duplicating...The EBMM sound.
Frankly, I was far more interested in the possibilities of a Stingray than a Bongo, as like some of you the Bongo's 'look' wasn't entirely to my liking.
Odd that, because in my collection are several anomalies, variations from the standard Pre/Jazz norm...But personal tastes are personal tastes, respect others and insist upon the same.
So, with that vague notion in mind, I made a sojourn to my local Long & McQuade and, in the process of 'trying before I buy' spied a curiosity way up on the wall. It was the right color (black), and I had nothing to lose by trying it.
I took it down, and guess what...I couldn't put it down.
What a tone monster. It is rare in my experience to find an instrument that can quite literally make any amp sound good, and to have such playability, ideal string height and suitable intonation 'out of the box' is most refreshing in an era of compromise.
Additionally, with the six-string configuration the body design actually made sense to me, from an ergonomic and aesthetic perspective.
Now, having been sucked in by one of the two things that can (the other being a pair of shapely legs), and having made the necessary arrangements to bring this new beauty home, came the acid test - live performance.
I don't wish to toot my own horn obnoxiously, but with a million miles on my fingers racked up an inch at a time I can make just about anything this side of a 2 X 4 strung with #10 baling wire work on any given night.
Well, I didn't have to work too hard for this one.
Not only was the Bongo 6 eminently playable live, sonically it could go from a whisper to a scream and back at will, with superior clarity and presence over various styles. The band loved its sound, and the way it looked also.
Count me a satisfied customer.
Kudos to Mr. Ball, his company, and the BMW design group...as well as John and Frank down at L & M Calgary.
I would also like to thank Dan McPherson of Music Man Customer Service for getting back to my inquiry about a new pickguard in a most timely and helpful fashion.
db
