True Short Story

[Microbaroms]

I have been looking very hard for some time for a new Bass to add to my Instruments. Quite specifically, what I have been searching for was a "distinct alternative" to the normal Bass Tones, I strongly favour and have had good success with.

After a lot of time listening and trying, I finally decided that what I was definitely going to buy was a Fender Jazz Bass Deluxe. I suppose I should mention that whilst I always powerfully liked the Fender Precision Bass, Rickenbacker and the Ernie Ball Music Man, the Jazz Bass has never really appealed to me either in sound, feel or looks. So you will understand it to be a sort of "missing link" in the palette of Instruments I have available.

To add to that, the Dealer I normally buy Basses from, (even the Music Man Basses) is mildly an advocate of Jazz Basses simply because that's what he plays himself, and he sagaciously confirmed all my carefully explained, highly detailed thought processes, about why I was going to purchase that way.



However!

They had a Stingray in Stock.

And the quality of the raw materials it was made from. The excellence of the design, craftsmanship and careful manufacture of the product, quite apart from the superlative sound and handling of the instrument, powerfully shone right through and "spoke" to me.

My knowledge of the manufacturing and for instance, care in shielding and all the other things you can't see. The remembrance of my positive encounters with EBMM aftercare customer service simply ordering spare parts etc. The helpful people at Strings and Things who patiently dealt with my requests. The hallmark characteristics regarding uncompromisingly superlative quality that Mr. Sterling Ball (Big Poppa) has stamped on his products.

All these things, weighed on me strongly and finally tipped the balance away from Fender.



At first, my Dealer was a little nonplussed. He didn't say much but that spoke volumes.

He knew I already had Instruments that could do everything this one would, and much more besides.

And after all, I had potently explained the absolute logic of why, I was going to buy a Fender Jazz Bass Deluxe, so very clearly to him.

And now, after extremely careful examining, handing, playing and listening to the EBMM Bass, my years of experience, understanding of manufacturing, fundamental instincts and passionate heart were now, completely ruling my head.

I had been looking all over for a new Instrument, but was looking for something different, for that alternative tone, but one which would "speak" to me, the Instrument with the WOW factor that I simply had to buy, and it was a Ernie Ball Music Man. I was also delighted to find a Rosewood Necked Model.

Indubitably, the passion put into making Absolutely Superb Instruments at Ernie Ball Music Man, arouses the same fascination and appreciation in potential clients. The neck was perfect, straight from the get go, also the action and intonation. However, by now, I know all those things I would normally have to fiddle with other manufacturers, are already done perfectly, right there at the factory before shipping, on my behalf.



So!

I just want to express my immense thanks to Big Poppa and all his Great Team working on the Design, Research and Development, the Operatives Directly involved in Manufacturing in the Factory Production Facility, and the ever helpful Customer Service Dept.

When you make the effort to ensure as far as reasonably possible, a Customer is happy, it usually ends up, actively expressed in repeat sales.

It certainly did this time. I thought you'd like to know.




This Instrument is a present from my wife for a forthcoming Birthday.

On my Birthday, one of the Manufacturers I am involved with, is celebrating a Free Concert in Trafalgar Square, if anyone here would like to go.

It features The London Symphony Orchestra, one of the world's finest, and the programme will feature works by Igor Stravinsky including the highly popular “Firebird Suite” and “The Rite of Spring”. Valery Gergiev is the Conductor, and it's on Saturday 12 May at 6.30 pm. Large screens will be mounted on either side of the stage to allow the audience to witness the concert close up.

So it's a completely free Concert with one of the World Finest Orchestra's!

No ticket needed, just turn up and enjoy yourselves.

And add to the party atmosphere.

If you fancy it!





P


London Symphony Orchestra announces concerts in Trafalgar Square | Music | The Guardian

BMW LSO Open Air Classics | London Symphony Orchestra

https://www.press.bmwgroup.com/pres...=8&id=T0125002EN_GB&left_menu_item=node__2218

 

[Movielife]

Sounds brilliant. Where are you in the UK? Where did you try it?

Hands down, EBMM quality is MUCH higher than any Fender.

 

[mmbassplayer]

So ummm... which bass are you getting? The RW necked basses are very special. JOSH

 

[Jimmyb]

Ah, you're the composer dude. I was wondering where you'd got to.

The North is still better than Oxfordshire!!

 

[ptg]

That's a great story but, sadly, I don't believe a word of it!

Does anyone else here see a bass?

Once a picture appears, though, I may be swayed!

Wish I could be there to see the show!! (Are there still a lot of pigeons in the Square?)

 

[Microbaroms]

Quite: "Are there still a lot of pigeons in the Square?"



Yes.

But the very experienced Audio/Visual Crew that will be working to enhance the proceedings, should be making a substantial impact in scaring them away, what with Huge Screens and all the rest of their equipment, enabling the Public Audience to have a very intimate experience of the Orchestra.

These Public Concerts with the LSO are sponsored and scheduled to happen for the next three years.



Quote: " which bass are you getting? The RW necked basses are very special."



A Vintage Sunburst Stingray 4.

It feels beautiful to play and equally as good to look at.

It had been in stock a while and had a lot of fingerprints and a bit of dust on it. I know it was the last of a job lot that the Dealer bought.

But it was cared for, as people respect EBMM Instruments so much, and was in absolutely perfect condition. I cleaned it up when I got it home, as I preferred to do this myself, rather than the Dealer, and when I gently oiled the fingerboard, the full quality of the wood sensationally emerged.

It was a Beautiful Colour. Now I would normally expect the Fingerboard to simply go a little darker, but it was a far more striking experience, like the first application of French Polish on a Piano. The Raw Materials were of an intrinsically High Quality.

However the real point, I know that you will all appreciate better than anyone else on earth, is that although I fully intended buying, something else entirely. That is an absolute fact.

I found the Ernie Ball Music Man just too good to avoid buying. Positive past experience, won me over, almost as much as the Instrument itself.

Big Poppa has a truly Great Brand. And that is something I really do know about.

It is the Rolls Royce of Basses.




Quote: " The North is still better than Oxfordshire!!"




I have many happy memories of up North.

Depending on how far you are up North, Concert Halls in the North I have conducted and performed in include.

De Montfort Hall, Leicester.

De Montfort Hall


Sheffield City Hall.

Sheffield City Hall


Leeds Town Hall.

Leeds International Concert Season : Home Page


City Hall Newcastle.

Blaydon Bash | Newcastle City Hall


The Usher Hall Edinburgh.

Make a night of it | Make a night of it | Usher Hall


One interesting fact we were told by the Hall Management when we Performed there, was that it was the first time in 25 years, that they had been forced to open the Top Balcony through sheer weight of attendance.

The Usher Hall is the equivalent in Scotland, to what the Royal Albert Hall is, to England.



Oxford!

By contrast, actually has no large Concert Venues whatever. Surprised?

Although The Town Hall and The New Theatre and other Concert Halls like the Sheldonian Theatre and the Holywell Music Room are utterly gorgeous Venues. None of them hold particularly large Audiences.

The Berlin Philharmonic European Concert 2010, Sheldonian Theatre, Oxford | Classical music reviews, news & interviews | The Arts Desk


Actually, the fact is that Oxford Town Hall is one of the two most difficult Concert Venues In the U.K. to gain access to.

So the last time I performed in Oxford, we had to play in the local Football Stadium.

Alas! But happily, no Pigeons.




Quote: " EBMM quality is MUCH higher than any Fender."




Yes.

When discussing Fender Quality my dealer, snaked his hand up and down to indicate the inconsistency of their Quality Controls. This too, was my long held, very distinct, impression and personal experience.

I pointed out to him that to me, in this regard, The Ernie Ball Music Man was an entirely known quantity, it was a known, a taken, something you could completely depend upon.

I'm sure Fender makes great Instruments. I own some of them, but you have to really look hard and listen carefully and be very selective indeed.

As Big Poppa Says "I don't expect the Customer to serve as my Quality Control Dept."

That superb attitude, is another very good reason.

I opted for an Ernie Ball Music Man.




Must go now.

But again A Really Big Thank You!

To all at Ernie Ball Music Man and Strings and Things U.K.

If any of you go to the Concert on my Birthday, I sincerely hope you have a really great time.





P


D.I.'s on test with Tony Levin on Bass.

DI test at Dreamland this weekend...

The third post down below gives you sound files for all the D.I. Boxes on Test.

They take a little while to load but are decent quality, so you can make up your own mind, there is a set with the Active Music Man Bass Tony uses, and another set with a Passive Bass.

DI test at Dreamland this weekend...

I trust this to be of interest to everyone who records. Personally, I find D.I.'s using UTC Transformers or Jenson Transformers the key element to look for.

 

[Jimmyb]

Leicester? The North?

Good Lord man! Is this what an Oxford education produces nowadays?

I thought I always had a dubious claim to being Northern, hailing from Cheshire, but compared to Leicester, I am in the frozen waste-lands here!!!

However, we do not have a surplus of concert halls in the county, possibly the nearest being the Bridgewater Hall.

 

[pnts]

Quote: " which bass are you getting? The RW necked basses are very special."

A Vintage Sunburst Stingray 4.

Excellent choice!

 

[adouglas]

Wow.

He said "indubitably."

Good story. I love it when people open their eyes and use their brains instead of relying on conventional wisdom.

 

[Movielife]

Newcastle is the real north

 

[Microbaroms]

Quote: "Leicester? The North?"



I knew some smart individual would question this.

However, you will find it to be an entirely objective fact.

Completely beyond any dispute whatever that Leicester is North.


Of Oxford.


So to me, based where I am, it is indubitably further up North.

And precisely the reason why I prefaced my comments.

Quote: "Depending on how far you are up North."



Actually. In point of fact.

If you follow the line, I have laid out with these Concert Halls.

From the Midlands, North, they are virtually a straight line heading Northward, all the way up the Country, and right into Scotland.

This was deliberate, and its what I regard as "being inclusive" involving as many as possible directly North of where I am, its a policy I use whenever I possibly can. "Being inclusive."

You can see this at work above, when I thanked everyone involved in the making of Ernie Ball Music Man Instruments, and those that are busy distributing them, at home, here in the good old U.K.



You see.

The reason people are lonely.

Is because they are better at building walls and barriers.

Than they are at building bridges and areas of shared community space.

Sometimes the fact is people have close proximity, but with little or no sense of real community.

Everything I am about, is reducing those artifical barriers, that some individuals use to actively define themselves, as distinctly different, from others.

Whatever one "Claims" themselves to be, I have found that when you scratch under the surface, we are all much alike, sharing extremely common frailties and weaknesses as human beings.

You must bear in mind that to stereotype and brand people as "Northerners" or indeed anything else, would be something of an anathema, to someone with a very broad outlook on life, especially toward other people, for someone such as myself.

Often people are proud of being from here or there, or prejudiced against somone because of the same reason.

I am simply not like that at all.




Quote: "Bridgewater Hall."




Yes.

The new home of the Halle Orchestra.

However, I go so far back, I even have happy memories Conducting and Performing in The Manchester Free Trade Hall, which was the massively huge, former home of the Halle Orchestra.

In the Orchestra Pit in front of the stage there, I remember they always kept a beautiful Celeste, hidden out of view. You don't see that many of these Fine Instruments.

When I first performed there it was in a very run down area indeed, in great need of development.

To be honest, I and my pals always made a point of going to areas where other wouldn't.

Because the costs and rewards didn't add up properly financially.

But it's funny what sticks in your mind.




Look.

Clearly.

I could have mentioned countless Fine Concert Halls scattered all over the Country, but chose to take a clear, direct, straight line Northward, from the Midlands, and right into Scotland. Quote: "Depending on how far up North you are."

Equally, you could have alternatively effectively argued that Edinburgh, being in Scotland, and in another country, should also not be included.

But the essential, salient fact, forever objectively remains, that they certainly all are, a lot further North than Oxford.

And as much fun as I'm sure you find your comments to be, I do hope the central message is not lost.

And my Big Thank You to Ernie Ball Music Man and Strings and Things.

Is very richly and warmly received by them all.

As it's very sincerely meant!



P

 

[drTStingray]

Aw Microbaroms you didn't mention Birmingham Town Hall previously home of the CBSO - location of many a memorable gig for me - Keith Emerson irreverently leaping up and playing the concert organ, Stanley Clarke dropping his upright and the neck breaking off, mid song - I went off him immediately because he told the audience not to worry about his bass as he has several more (and this was 1976 ish - the Schooldays tour)

The vintage sunburst Stingray is a great choice - an iconic instrument and an iconic colour. Just curious but why did you prefer the rosewood fretboard?

Thanks for the heads up on the concert - I will look in if in London.

 

[Jimmyb]

<sigh>

Separated by a common language...

 

[Big Poppa]

Thanks for the kind words...we really do try hard.

 

[drTStingray]

Interesting flow chart JimmyB.

I think Microbaroms took his south to north line up the eastern side of centre - hence de Montfort Hall Leicester. Look at any poster from the late 60s and 70s and all these places mentioned were on the itinerary of British tours of all the famous bands you can think of.

 

[MrMusashi]

i gave the di comparison a listen and to my ear there are big differences between them!

MrM

 

[Microbaroms]

Quote: "we really do try hard."



It shows in the Superlative Quality of the Product.

But it also shows in the Manner and Professionalism of your Excellent Customer Service.

In my experience, you are the Best Guitar & Bass Manufacturer that there is, something very greatly to your Lasting Credit.

And you have to bear in mind that in saying this, I am very closely involved with some of the most highly regarded, Manufacturers and Brands, in the World.



In regard to the Sponsorship, I do hope anyone who can, makes it to the Open Air Free Concert on May 12th.




Quote: "you didn't mention Birmingham Town Hall previously home of the CBSO - location of many a memorable gig for me"




Great Stuff!

The City of Birmingham Symphony Orchestra is a very well organized outfit, and Simon Rattle was the Principal Conductor, the last time I actually went there to Conduct myself.

So I had precisely the same thought as you, a little while after posting. Actually, I have had many startlingly memorable visits to Birmingham, and in fact greatfondness for the place, as my Mothers side of my Family, come from there.

I've had happy times at The Birmingham Symphony Hall, The Town Hall, and there used to be another huge Hall in Corporation St. I remember performing there with Pat Boone many years ago. The queuing crowd was so big, they stretched right around the entire huge block, right in the centre of the City.

Pat went and shook hands with them all, as a great many, simply couldn't get in. It's difficult to imagine now, but at one point Pat was the highest paid Singing Artist in the entire World.



However.

Perhaps the most amazing experience

Involved an Open Air Event in St. Martin in the Fields.

Cliff Richard was on location in Birmingham filming a Movie called Take Me High, and turned up behind the Stage.

Whilst from a tall hotel, directly opposite the Stage, a man stepped out onto a window ledge and threatened to throw himself off the building.

The Police turned up at the Stage, to explain the situation to us, halfway through.

It's a true Story. It all seems to happen in Birmingham!

There must be something in the water.




Quote: "i gave the di comparison a listen and to my ear there are big differences between them!"




Good for you! I hope it helps inform your choices.

My firm opinion is that Passive Basses and Active Basses require different solutions for optimal performance.

And as I earlier wrote, that those with UTC or Jenson Transformers in their circuitry, tend to give the best result for serious Recording Applications.

Some of the observations that the Engineers made about Tony Levin were... That he delivers an incredibly even Dynamic Level from note to note throughout an entire piece. He has an extraordinarily consistent touch, and is therefore incredibly easy to Record.

The Dream Session Player.


Also. He prefers to try out Basses without them being plugged into an Amplifier.

The manner in which the Instrument Naturally Resonates, seems to tell him the essential factors he wants to know about how it will sound, plugged in.

I can understand this.



P

 

[drTStingray]

The hall in Corporation Street is probably the Methodist Central Hall - a beautiful red brick building. Glad you like Birmingham -it's my birth place, so I have a special fondness.

Interesting about Tony Levin's equal output levels - I read that Jaco Pastorius had the ability to do this also - oh how I envy these guy's techniques.

 

[Microbaroms]

An update.

During the recent recession, local dealers seemed to have reduced the level of their stock of high end instruments, and reinforced their stock of low and mid range models.

Therefore my son and I, (who are both incredibly busy people) had pencilled in a date just prior to my Birthday, to share a day out (while his wife is in Ireland) and travel quite a long way, to visit dealers that had particular basses in stock, Models that I was interested in, actively investigating, and wanted to try to ensure that what I had anticipated I wanted to purchase, was indeed, the correct thing for me to buy.

Taken with the visits and observations I had already had at various dealers, I thought the impressions I had gained, were worth reporting back, for a numbers of reasons.


Primarily, it completes the cycle of quite serious effort, I have put in to investigating these Instruments, which is gratifying, for someone I interested in Musical Instruments as a Collector, and also because I am so very closely involved with many Premium Manufacturing Brands of Product outside the Music Industry; my background, experience and appreciation of Manufacturing, enables an deeply objective, acutely perspicacious and authoritative insight into their design parameters, hallmark characteristics, manufacturing processes and build quality, in addition to what are traditionally, Players subjective tastes regarding tonality and handling.



As a lifelong admirer of wonderful Leo Fender, a big Precision Bass Fan, and an owner of many Fender Instruments, I really very much wanted to like the Fender Jazz Bass Deluxe, and saw it as an answer to my search for a different tonality, a playing alternative and one with great versatility.

My impression and that of my Son, was that it's intrinsic tonality sounded somewhat too toppy, clean and clinical. I believe this is due to the N3 Pickups. I think they make an impressive imitation of the Jazz Bass pickup, and they are definitely quiet as they are designed to be in respect to susceptibility to noise; but to both our ears, the American Standard Passive Bass had a superior sound (my son described as dirtier, I would say fuller) than the Deluxe when in Passive Mode.

Because of this, my impression was that perhaps the resonant frequency of the N3's is somewhat higher than the traditional Jazz Bass pickups, but whatever the reason, to us it resulted in what Fender call a "tighter bottom end", and to me a higher resonant frequency that was "not quite there", if you wanted that great, traditional Low End Bass Sound.

One of my acquaintances actually invented The Parametric Equaliser that Large Format Recording Consoles use, so I think I am well placed to discuss The Deluxe's Onboard Equaliser.

As you will probably know, Studio Equalisers have three distinct characteristics. 1. They allow you to Boost or Cut. 2. They allow you to choose the Frequency you boost or cut (On Active Basses and Hi-Fi's the designer decides this critical aspect). 3. You can choose how Wide An Area above and below the target frequency is affected (Again on Active Basses and Hi-Fi's the designer decides this), which is known as the Q Factor, or Quality Factor.

As the latter two are determined by the Principle Design on Active Basses, they are a highly crucial element determining the Instruments Tonal Versatility. They had a good amount of + or - (from memory, I thinks it's 15 dB), but because of the cleaner tighter pickups, and perhaps because I am used to slightly more, they seemed to be a little wanting to my ears, in respect to certain Tones I would have easily expected them to create, and not quite as versatile as I had originally anticipated.

As well as having less Cut and Boost as I would like, they seemed to have missed the boat in terms of the Ideal Design Parameters, the Target Frequencies, and in particular the Q Factor, which seems far too narrowly implemented on this Design to be truly useful in the best, most practical, Studio Situations.

I can summarise my impression thus. It is an Equaliser the enables you to Subtly Tweak the fundamental intrinsic tonality of the Instrument. Critically it does not provide you with a deeply, wide ranging, and fully accommodating spectrum and tonal palette. To me, this detracts heavily from the Instruments potentiality, as a truly versatile Studio Instrument.

As I played, my Son was Frequency Sweeping with the Equaliser, and he was distinctly unimpressed with its performance, thus confirming my personal but unexpressed opinion.

I had read reviews where purchasers of the Instrument wrote what a great Instrument it was, but continued by mentioning they would swap out the Pickups, and add an alternative Equaliser. This makes perfect sense after my trials, except that I of course, would buy the Instrument that got it the Design Ideal in the first place, but again, confirmed my impressions.

The Build Quality and Fit and Finish was absolutely fine, although with Fenders this can vary a great deal, however, in this example I had no complaints in those departments at all, the set up and handling was good. But although they make a great deal in the advertising about asymmetrical neck shaping, I couldn't readily detect any immense difference worth the mentioning.

Some of the Rosewood Fingerboards I encountered on a variety of American Models left a great deal to be desired. Considering they were Premium Priced High End Instruments, they bore little resemblance to the quality of wood and finish I would have traditionally, normally expected to see.

Where exactly they source their material from, what it actually is definitively and precisely how they finish them, remains another element in the undulating quality than means you have to really look and try Instruments as being very much Individuals.

If you find a truly Great Example, well then you have a Great Instrument, but there seems to be an equal chance of finding a Dog, so being highly selective, looking hard and trying, seems to still be the order of the day.

In particular, very unsightly, heavy colour streaking was unusually apparent on several examples I encountered fitted with Rosewood Fingerboards, and the overall texture and quality of the raw material, seemed quite a long way from what I would have typically expected to see.

Raw Material Quality seems to be an issue for many Manufacturers, but then again, certain Manufacturers seem to be able to manage Higher Quality, so is it the difference caused by the price they are prepared to pay suppliers?

In other words, are they attempting to maximise their Profit Margins directly at the expense of compromising the Base Quality of the Raw Material that goes into their Instruments?

I strongly suspect that to be the case in certain instances I have encountered.



To summarise, my perspective is, The Fender American Deluxe is a Bass that over promises, but under delivers.

It suffers from a Pickup Design that effectively addresses the noise issues of Traditional Pickups, but in achieving this, embezzles and misappropriates the all important, saliently essential, Tonal Quality that Pickups fundamentally exist to create, along with the other characteristics of the Instrument.

Coupled to a shallowly neritic, lack lustre implementation of On Board Equaliser, the strongly desirable potential Studio Versatility, that one might quite reasonably readily assume to be available, on this otherwise Very Good Instrument, is heavily compromised by its superficially depthless, Cut and Boost, the Target Frequencies, and Overly Narrow, Q Factor.

Magniloquent and pretentious are the words that spring to mind, because simply going by the overall looks of the Equaliser, it seems to be ideal and a cleverly though out solution. As ever, the actual Sound Design and Implementation are everything. My son commented "You will be playing with that forever, trying to hunt down the sound you really want, instead of getting on, actually playing".

I thought the inclusion of The Passive Tone Control and the Passive / Active Switch were the best bits about the Design, both big plusses to potential customers. Oddly, the 18 Volt On Board Electronics, did not give the dramatically huge difference, I was actually expecting to hear.

Of course, they did make a difference, but not so large as I had expected considering double the normal power is available. In fact, well implemented 9 Volt Systems I have heard, seemed to me, to be quite a lot better in terms of perceived difference, during the direct comparisons I made.

One great thing was that I was given the privilege of a Well Equipped Room to myself, unlimited time and complete freedom in choosing Basses, and with a tremendously wide range available.

Like a kid in a Candy Store I tried a whole lot of different Fenders, (A Fender was of course what I had intended to buy), Rickenbackers, Ibanez, a wide range of Music Man, Sterling by Music Man, and a few other manufacturers beside.

I was able to directly compare all of these, very quickly changing back and forth, many times to make a lot of direct comparisons. My Son assisted me greatly in this, so it was very smooth transition wise, and an Ampeg Amp was used in the tests.



Of the cheaper Instruments I tried, (it was too good an opportunity not to try everything I could) I thought some of the Cheap Fenders to be better Built and Finished than some of their High Priced American counterparts. This was a great disappointment to me for I have tremendously great affection for Leo Fender and the entire History of the Brand.

The Mahogany Bodied, Bartolini Equipped Ibanez SR 505 Five String seemed to be a very good choice in Handling, Playability and Sound, and it compared very well against many much higher priced Models, costing very considerably more.

However its overall finish, particularly in the Body is extremely rudimentary, almost amateurish, and was of a type of quality that probably anyone who put together an Instrument from parts could achieve, in their home workshop, without too much difficulty.

That issue apart, it remained a Superb Bass for the money and the Pickups and Wood contribute to a wide ranging Tonal Palette of considerably Good Sound. The Front and Back Pickups are Tonally Shaped for their respective positions, and it is possible to change to completely different and respective Tonal Colours, very quickly indeed.

It's a very useable instrument with a wide spectrum at a highly affordable price point, I have to say that I genuinely liked it, far better than virtually all the "tighter bottomed sounding", more Premium Priced Models, Ibanez manufacture.



The thing is..

For the first time I tried The Sterling by Music Man Models, at a similar price point, and they knocked ALL the competition into a cocked hat, on any quality parameter or level you could consider.

Concept of Design, Handling and Playability, Sound Quality and Tonal Range, Manufacturing Build, Fit and Finish Quality, Neck Set, Intonation and Setup.

However you measured it, amongst all the more affordable models, The Sterling by Music Man Basses, wins hands down very easily.



There is however, one Brand that leaves them wanting.

Directly compared to the Ernie Ball Music Man. There is a Powerful, Qualitative Difference, the aspirational, demanding user will readily appreciate, that both my Son and I could immediately and easily detect.

So those prepared to pay a Premium Price and wanting the Premium Product will find the additional cost, well rewarded, by the satisfaction of owning a gratifyingly Superior Product.

There is no doubt at all, that Ernie Ball Music Man manufacture what are quite easily, The Very Best Basses that can be bought. All the time I have spent trying other manufacturers Basses, (actually wanting to by something different) merely confirmed my Original Purchasing Decision.

However, for me, this well spent time has achieved a great deal more beside, because it has helped shape and direct my thoughts towards several products which may be future purchases hopefully, and eliminated many seemingly potential diversions that frankly, in the final analysis, are found to be somewhat wanting, through intensely close examination and by virtue of extensive tests in direct comparison.

But it's extremely gratifying, to have ones depth of experience, innate and instinctive hunches pay off so grandly, now backed up by thorough, in depth research and practical extensive trial to boot.

I truly did very much want to like and buy the Fender, after all I absolutely love my older Precision Basses.
But the reality is very clear, Ernie Ball Music Man, is Top Dog in The Bass World Today!

You already knew that didn't you? But I needed to absolutely prove it.

And that's what Great Manufacturers have to do.

Every single day of the week.

It's a Great Achievement!





P

My Birthday!

Don't forget the Free Concert.

This Sponsorship will last for the Next Three Years.

No ticket is needed, so just turn up and enjoy the World's Finest Musicians.

It's in Trafalgar Square, next Saturday, May the 12th, at 6.30 P.M. Come and have a Great Time!

London Symphony Orchestra to Perform Trafalgar Square Concerts | Londonist

 

[Big Poppa]

Thanks for the detailed report...

My standard disclosure.....I admire the size and scope of Fender...It is a big burden I dont throw stones except I wish they were more daring in their r and d.

In no particular order....The challenge of EQ...Or "why do we take the eq keys away from a lot of customers?" WE could deliver you the most crazy wide eq...but the problem is all of those are horrible when the controls are dimed. The same musicians that even at entry level recording would never dime all of their recording gear....dime the eq on their basses...Sad but true. We have to dumb them down so they sound ok dimed on the floor of Guitar Center...all the while leaving a lot of room for the sophisticated enough tonal control.

WE have a loyal group of suppliers and manage to pay our bills....that helps...(fender pays its bill too..please dont read any double meanings) But the idea and business model of making a limited production instrument in USA is one of the three dumbest businesses you can get into. Then add making them in the peoples republic of california..Double Dumb. But we are sneaking up on 30 years of scratching and clawing and trying to do it differently....our biggest challenge is the customer not really open to change. Remember if 1953 never happened this business might actually be diverse in choices.....1953 was the year where most of what gets played was incubated


Now to the dealers especially in other countries....It's tough. They can vote with their pounds euros dollars...and invest in a great unique instrument or buy three different country of origin strats and sell them and turn their dollars. Europe and Japan have absolutely killed us this last year ....but it cant last forever and the last few months it has picked up considerable.

These honest posts I usually get attacked or qwuestioned..but it's all true. I pay a living wage in the factory, I have a victory garden for the employees to grow food....frequent wellnes initiaves, I pay for anyone who works for me to belong to the across the street from the factory, have never had a layoff ....the quality you see is the employees actually caring.