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About Russ

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    Hairy globetrotting bass player
  • Birthday 17/06/1972

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    New Jersey, USA

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  1. Whatever happened to Toasted? Back in the day, he had a lovely Celinder J-Update just like that one. Maybe he sold it to The Gallery?
  2. Yep, the website's pretty much 20 years old and hasn't really been updated in all that time. I'd love a graphite neck on my Bongos, but the Status ones are too short - Bongos have two-octave necks. Moses used to do a drop-in replacement Bongo graphite neck, but they've gone out of business now.
  3. At this point, Trujillo has been in Metallica longer than Newsted was (he's been in Metallica for 17 years now, Newsted was in the band for 14 years). I guess he just hasn't made his presence known in the music - there's very little in the way of exposed bass parts in the albums they've put out since he joined, and he didn't play at all on St. Anger. Which is a shame, as you rightly say, Trujillo is an absolute monster bass player - check out his work with Infectious Grooves, Suicidal Tendencies and Mass Mental for some absolutely immense playing.
  4. It is an active bass, and it has a 5-position switch with a bunch of presets, rather than being passive with just volume and tone. That might be cool if you had a way to edit the presets via an app or something, like the Game Changer guitar they came out with a while back, but I don't think it does.
  5. If they want to sell any to anyone except (rich) bass-playing Dream Theater fanboys and fangirls, they are going to have to do something to impress beyond sticking Myung's name on the back of the headstock. The two-tone fingerboard thing, in this design, is dull - there's so much more they could have done with that idea. Look at some of the 'melted' designs that the likes of Conklin and Fodera have done over the years. It's not like Ernie Ball don't have the woodworking skills to do stuff like this, especially for an exclusive instrument such as a Myung signature.
  6. I have two Bongo 5s - the 17.5mm string spacing is tight enough to begin with, I can't imagine what it'd be like to have to stick another string in that amount of space. Maybe he's got really little fingers or something. A Bongo with 19mm string spacing would pretty much be my dream instrument. Also, the whole EQ thing - one of the defining features of the Bongo is its massively versatile 4-band EQ. Without that, it's lost a big chunk of its character. I'll reserve final judgement until I've tried one, but colour me unimpressed so far.
  7. More or less. I'm sure he has a perfectly respectable covers, blues or jazz band somewhere.
  8. Didn't he used to write for Bassist magazine back in the day? I vaguely recall meeting him at The Gallery at one point. Not unpleasant, but not the friendliest of chaps.
  9. The DBS range was very well regarded, despite being huge and heavy. I think Chris from Muse still uses his DBS rig. The MB stuff they put out later was decent but apparently quite unreliable. And, of course, the VBS and Lemmy stuff was great, but incredibly expensive and very niche. I guess the problem was that bass stuff was always secondary for them. In some ways it's better that they have the Eden marque to use for bass gear, although a 'Marshall Edition' amp, with distortion, etc, like the Blackstar one, would be very cool.
  10. There's actually some great Class D stuff coming out of the UK. Ashdown's Rootmaster series are excellent, and Laney's Nexus range are fantastic. Not sure Trace counts as a British company anymore, but there's also the Elf. Just need Marshall to put something out now. I know they have Eden for all their bass stuff these days, but I would pay through the nose for the old DBS preamp section coupled with a big-powered Class D amp.
  11. The combos sound great, nice to see they've done what they should have done in the first place and released a head. Looking forward to giving it a try. They've missed a trick with the cabs though - a single, smaller, full-range cab might have been a better fit, like a 2x12" or 1x15"+1x10" or something.
  12. I bought one of those Brandoni/Eko bodies back in the 90s, took it up to The Gallery, and they transformed it into a rather nice Sei-alike for me. It's a great starting point for customisation. I wasn't much of a fan of that pine-esque finish though, so my one got refinished in transparent black and got to wear some Bartolini electronics and a Kahler. I still miss that bass.
  13. I know Sherwood and Chris Squire were friends, and he was Chris' choice to succeed him in Yes. He does a decent job, but, in a like-for-like comparison, I think Lee does it better. Here's Sherwood tackling Heart Of The Sunrise: I mean, I like his Spector, but it doesn't sound right.
  14. I met Lee back around 1990 when he worked in a music shop in Croydon. He was an amazing bass player even back then and inspired me a lot back when I was first starting out. I've followed his career with interest ever since, I love that he can balance playing with Yes (his dream gig, I remember him buying his lefty Chris Squire Ricky, one of only, I think, 12 that were ever made), playing with Take That, and doing his own prog metal band (Headspace - check 'em out).
  15. Seconded - all the other hardware is black, so it looks weird that the tuners are the only gold on it. Loving those moon inlays on that one too. I think they're stunning. Not sure how it'd go over in my metal band though.
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