Question "...separation anxiety with 1953."

Love the Vegemite analogy.
It's delicious...and unchanged since 1923 :rolleyes:

...thank goodness there are innovators not afraid to take risks..afterall, that is how things improve, and how we get more chioces..and choice is never a bad thing...

+1

So many amazing things a shunned initially...
How often does it takes months, or even years for the general populous to even remotely acknowledge certain developements!

It's good to see a company not afraid to push the envelope that bit further.
 
That 1953 comment always strikes me as funny.

Take me for instance I love basses of all shapes and sizes..The Bongo and this new Axis bass design included. But there are certain playing situations I'm involved in that call for a certain look per say. I sometimes play with a Johnny Cash Tribute artist. If not playing my upright I will play my P bass or MM SR because they look the part being more traditional in design. A non-traditional looking bass may not fit as well, ....

Spot on comment with: 'A certain look per se'''...for me, I have this wrestling match every tour, every gig...my drummer asks: are you going to bring the Ric/P/Hoff?...for no other reason that having a credible 'look'..oy, and paisley, yeah, I wear pajamas on stage. Credible for who though? that's a good question, it ain't our immediate audience. Maybe the other bass player in the band cares, but, hey, I just want to use his Amp.

Anyhow, I just tell him 'NO'...I'm going to use what works best for the live situation'.
My Ray4HH is my main bass live, this ain't 'IMHO', I'm right, I'm the bass player, that's my job and it works for the gig. This happens every damn gig, and he LIKES the Ray.

Hey..I get it too...I own all the Bass Greatest Hits and use them too, but not live.

When we say a "non-traditional bass may not fit as well"...we're talking mostly about the look right?, certainly not just the sound, because alot of basses, no matter who makes 'em..work, and work well, whether you prefer your EQ on the bass, or off the bass, we're coloring that tone somwhere.

Anthony Jackson said it best and I'm paraphrasing from memory of an article from 1990 about the 6 string bass and all the resistance he's seen, 'as bassists, it's our job to move forward and open new doors, even if those doors have to be kicked '

Sumpin' like that.

And resisting change, I think it's more than that.. I mean a whole group of youngin's who didn't grow up in the 60s, 70s...gulp...80s. that sport some of this mindset too...could be marketing, now that's IMHO;)

Whew, now what was that about French Bow...which everyone knows is the best way...:D

MK
 
This coming from a youngster, keep that in mind....;)

I grew up as a bassist not liking the P and J basses very much. They just didn't do it. I liked the extreme bassses early on... exposure to Primus and System of a down.

Gibson, Ibanez, Warwick, BC rich, etc. those "unique" basses always caught my attention.

I finally discovered Jaco and what the word "vintage" means.

Then, I got into EBMM. funny enough: warwick led me to them.

I played one. I got vintage tones, I got newer feels, I got modern stuff, and I got a big wet spot on the front of my pants. My first MM tryout made me pee a little.


I love the way EBMM does stuff. Thanks for the great instruments.

I'm sure I will own a J bass for the rest of my life. I'll use it for Zeppelin, Floyd, Johnny cash, whatever. But a Stingray 5 or a bongo? those tones are all me, baby. And I'll use it any day of the week I can get away with it.




Sorry for the long winded post.
 
I'm sure I will own a J bass for the rest of my life. I'll use it for Zeppelin, Floyd, Johnny cash, whatever.

Just about every Floyd track Roger Waters played on was with a P. The later stuff that his replacement played on, whose name escapes me now, was with a Stingray.
 
Just about every Floyd track Roger Waters played on was with a P. The later stuff that his replacement played on, whose name escapes me now, was with a Stingray.


Thanks for the enlightenment. :) I thought so, from the sound.
 
I think we may also have separation anxiety with our heroes-- the masters who used the instruments whose designs eclipsed around 1953 and the artists who crafted them. A master/apprentice relationship is hard to shake and maybe doesn't need to be. I think BP's approach (inching the industry forward), although labourous, gives the most beautiful result.
 
This has been a well balanced thread with some sensible comments. I also like my Fenders and my Gretsch, but I also value my SUB4 hugely. I just love the SUB, I can't see me ever parting with it. Meanwhile, the new proto bass is becoming ever more enticing. I had said that I didn't need any more basses at my time of life but the fund has already begun for the new baby. Just please don't bring it out too soon before I can afford it - the GAS attack would be too much!:)
 
Thanks for the heads up BP. As always you keep us well informed. All I have to do now is to get on my bank managers good side. It shall be done. It has to be done!:D
 
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