Russ

Endorsements are a two-way street - you get discounted (or occasionally free) gear, and the manufacturer gets publicity by having more visibility for their products. It has to be mutually beneficial. However, don't get tempted to endorse stuff you don't like, just because it might be free or cheap. A band I know scored themselves an ESP endorsement - the whole shebang, publicity, free guitars, everything. But the guys in the band actively disliked all the instruments they received (especially the bass player), so they muddled through for a while, but ended up having to give them all back. I had a short-lived endorsement with Warwick back around 2003, when MAD were running the show for Warwick in the UK. A lot of their higher-profile UK endorsers had dropped off the radar at the time (people like Stuart Zender, Glen Diani, etc) so they were looking for bands to do deals with. The band I was in at the time was doing fairly well (just put a CD out, played a big festival, done some touring, etc) so I approached them. They offered me a Streamer Jazzman 5-string at a serious discount, so I went for it. It was alright, but I just couldn't get along with it (it had that HUGE Warwick neck). So, in the end, I called it off, and sold the Streamer for pretty much what they cost in the shops, so I made a few quid on the deal too. I think it's unlikely that I'll ever be in a band again where the possibility of an endorsement might arise, but, even if I was, I'd probably give it a miss. At the end of the day, I'd rather play the gear I actually like, rather than gear that someone pays me (in kind) to like.

I'm a Sei guy (currently own 2, and have previously owned 2 others) and I love Martin's work and attention to detail. My singlecut 5-string has been my go-to bass for the past 9 years and hasn't missed a beat. It's actually got better with age too - the neck has settled, and the tone has, if anything, become growlier. Love it. I've also got to give mad props to Alan at ACG, Paul at Wal and Bernie at GB - they all make astonishingly good instruments and you won't go too far wrong with any of them.

[quote name='lxxwj' timestamp='1339695258' post='1692944'] -that guy in Korn -that guy in Avenged Sevefold -that guy in the Deftones (can't even hear him half the time) TL;DR pretty much every metal bassist besides the 2 from Tool.. [/quote] A7X's bass player is actually very good. It's just the band he's in that's s**t.

Ament, Trujillo, Grey and, to a lesser extent, Dirnt are excellent players. Not to everyone's taste, I'm sure, but worthy of a great deal of respect. Ament pretty much defined alternative rock bass in the 90s - who doesn't know the 12-string intro to "Jeremy" or the lovely fretless on "Oceans"? In that genre, he's almost peerless (with the exception of Eric Avery). And Trujillo... well, just watch this (back when he wasn't stuck playing regular 16th-note metal bass): [media]http://www.youtube.com/watch?v=Ob3buKk6ALc[/media]

Here's a video from Rick Wakeman's British Rock Ensemble, showing Lee doing his slappy thing (on a GB bass, no less) - there's a good close-up of him slappin' it good around the 1:50 mark: [media]http://www.youtube.com/watch?v=wbLMIQQUino[/media]

[quote name='EssentialTension' timestamp='1339025516' post='1682739'] ... but it's all the same techniques as playing guitar not specifically bass guitar. [/quote] I'd say that slap (the thumb method, not the double bass method) is ostensibly a bass technique (although I've seen some guitarists appropriate it since, mostly acoustic players), and fingerstyle on bass is technically rather different to how it's done on guitar. It's also being done on a bigger instrument with thick strings, wider string spacing and a long scale length, which necessitates quite a different approach than someone might take on guitar. Although, obviously, both instruments are from the same family so some crossover is expected.

[quote name='4 Strings' timestamp='1339014371' post='1682548'] I thought you hated this discussion? [/quote] I've done a lot of things I hate. Several ex-girlfriends spring to mind.

[quote name='BigRedX' timestamp='1339014429' post='1682550'] I wouldn't deny that at all. I use a more classical guitar picking style for several pieces and I only play 5-string basses. What I am saying is that to get the best out of an instrument with more than 7 courses you need to be looking at techniques (both left and right hand) that are different to those most commonly used on 4 and 5 string basses. [/quote] There's some basic differences, mostly to do with muting and adapting to closer string spacing, but other than that, I can't think of any ERB-specific techniques that I've ever seen. It's all the same old fingerstyle, slap, tap, pick, etc as most people use on a bass with fewer strings. Some people might use a more classical guitar-influenced style, some might use more tapping, but it's all the same techniques.

[quote name='BigRedX' timestamp='1339012142' post='1682499'] Actually most players of these instruments seem to favour a technique that has more in common with classical guitar than traditional bass guitar. Most of the clips that get posted are of solo pieces. Anyone got some links to 9+ string being played in a band context? [/quote] The classical guitar-style technique that some ERB players use is equally applicable to players of lesser-endowed basses - I use it a lot for various things. It's one of a range of extended techniques that can be used on the bass, including slap, tapping, etc. These sorts of techniques tend to get used a lot on ERBs, mostly because the people who choose to play them are, almost by definition, more adventurous players. Nobody would call Matt Garrison any less of a bass player because he uses a classical guitar-derived thumb-and-fingers technique on the bass. I've also noticed a lot of players who use ERBs are readers - on a 7-string, you've got the entire range of a regular 4-string bass under your hand in fifth-fret position, which makes reading easier since there's no need to do big leaps up the fingerboard to get to the higher notes.

I hate these sorts of discussions. For me, it's pretty cut and dried. A 9-string bass is a bass because, a) it shares a very similar scale length and form factor with the regular bass guitar, b ) it's played with the same techniques, c) they feature similarly voiced electronics, and d) they're primarily played by bass players who have graduated from the 4-string instrument and are hence played with the sensibilities of a bass player.

I know Lee from years back, when he worked in Rockbottom in Croydon and played in a band called Moondigger (who actually sounded a lot like It Bites). He was stupidly talented even back then, 20-odd years back, and, as for his little bit of slapping with Grace Jones, this is a man who I've seen play Mr. Pink at double speed, left handed and upside down - it's something to behold. I'm glad he's gone on and done well - he deserves it. Local boy made good and all that.

Roland Handsonic + keyboard amp = awesome.

Been back and forth to the US with basses many times. Never had a problem. Then again, my cases are all a little roadworn, so they hardly look like new instruments! One thing to consider, if the Status is a headless, it might fit in a guitar gig bag, which means you should be able to take it into the cabin instead of checking it! Tom/thisnameistaken - We lived in NJ for quite some time, we're in PA now, and we're heading home to the UK in July. The US was fun for a while, but we've both had enough!

I saw a David King bass for sale in Notting Hill Music Exchange years ago - interesting beast. Nice wood, lots of clever carving, and it had a funky built-in tuner. They only wanted £600 for it too. Not really my thing though - not a fan of headless basses.

I've been wanting one of these for a while, but I heard about the reliability issues shortly after they came out. It's a shame to see they haven't resolved them yet. So I think I'm going to pony up the difference and get the SVT-7 instead.

[quote name='Immo' timestamp='1332071213' post='1582716'] Anyway, I like the computer games, it's not the way of wasting time (like: '[i]I really need to do something or I'll die of boredom[/i]' or something like that). I really enjoy it and see no problem with it as I usually go to bed on time. The fatigue and stress comes out of this unstable job situation. And that situation itself is another reason for me to quit - if within a month I'd had an job offer from the city located far away, I couldn't take it because of the band in which I don't feel good? Those guys dropped out of school to [i]play rock and roll[/i]. They're dedicated. I'm not. I'm not a complete wreck of a person I'm glad that the weather's changed and now we have a springtime in Poland - I can finally take my bike for a ride! [/quote] The games business is notorious for burning people out - I worked in it for about 5 years, and, despite the work being interesting and quite fulfilling, the hours required (especially when approaching the launch date - the dreaded "crunch") took its toll on me. I can't understand how people in the games business manage to have normal lives outside of work, since there's a huge amount of pressure to do 12+ hour days and to work weekends. Back then, I was young, free and single, and I can't imagine doing that job now that I'm married with a kid. It also leaves you no energy to put into anything else, especially something like music that requires time, effort and creativity. I'd say find a new job - the EU's a wonderful thing when it comes to jobhunting, since you can work anywhere. Take a look at http://www.change-job.com or http://jobs.next-gen.biz. There's always lots of games jobs in the UK. And you might score a job with one of the few games companies who believe in work/life balance, and you'll have enough creative energy left over for music!

Oh, and yes, I'm another lefty playing righty.

[quote name='paulconnolly' timestamp='1329853057' post='1548617'] Hey guys sorry for the thread revival but I saw Lee Pomeroy with Steve Hackett's band last night. A great gig and Mr. P. looked to be enjoying himself immensely especially on the old Genesis tracks. Great sound from the Rick too! [/quote] Lee's a real sucker for all that old prog stuff. His technique is astonishing - ever seen someone play Mr. Pink (faster than the original) upside down and the wrong way around?

[quote name='Austin7' timestamp='1328202542' post='1523628'] Your posts such as this one and the one that follows it are excellent. Anyone who wants to know what is really going on in the U.S. would do well to read carefully and consider what you've stated. [/quote] Thank you. It works both ways - many people in Britain have no idea how the healthcare system in the US really works. If they did, there'd be a hell of a lot less moaning about the NHS and there would be full-on riots happening over Lansley's reforms (although, with the amount of people who are against it now, seriously, this could end up being Cambot's poll tax). Also, hardly anybody I've ever spoken to here in the US has any idea about how medical systems work elsewhere. The range of reactions I've seen from Americans when I tell them about how the NHS works (no bills, no insurance payments, no co-pays, all prescriptions cost the same, subsidised dentistry and optometry, etc) range from disbelief and suspicion to outright hostility. So many people have been brainwashed about the so-called evils of "socialised medicine" through the likes of Fox News, even many of the more left-leaning of the people I know.

[quote name='ScreencastTutor' timestamp='1328754471' post='1532303'] Whats the cheapest you could get a 2nd hand Jaydee for, purely out of interest? Love the sound of them. [/quote] I've seen them for £500-ish before, but buyer beware - many of the older ones have that bendy neck problem. I guess they're not a "fashionable" bass so they can be had fairly cheap.

[quote name='noelk27' timestamp='1328014635' post='1520248'] Your attention seems to be solely focused on the cost of healthcare in the US, but not also on the earning potential and taxation system there. Over his professional life, Mr Rainey has been taxed at a lower level than self-employed people in the UK, and has been entitled to a higher level of deductibles. Without getting into the numbers in detail, for every dollar Mr Rainey has earned he has had between 10 and 15 per cent more in his pocket than those of us in the UK. Here, those of us who operate self-employed contribute in terms of class 2 and class 4 national insurance, as well as through the sums gathered in general taxation. It's also the case, without the backup of an employer, have to make provision for those scenarios which may/will arise, such as absence from work due to illness of other events. For someone self-employed in the UK, it is sensible to carry both private health cover (to expedite the time in which healthcare services can be accessed) and various insurances (to cover for loss of income), to reduce the impact that any absence from working can have, and that in addition to the cost of building up a fund for retirement. My experience tends to be that there are those people who live their lives thinking "it'll never happen to me" and those who live their lives thinking "what if?". If Mr Rainey, living and working in the wealthiest nation in the world, with the level of opportunity available to him, and the greater level of wealth left in his pocket after his federal government has taken its share in taxation, has either made no or inadequate provision for the "what if" then his predicament is his own cross to bear. He's had a lifetime of opportunity to make provision for this moment, and should be in a position to support himself without resort to internet begging. By contributing to Mr Rainey, all that you are doing is sending out a message to others, that it is all fine and well not to make provision for the future, that someone will come along and hand you the finance you need, when you need it, encouraging more and more people to labour under the misapprehension that, not matter what, no matter what they do, no matter how they live their life, no matter how little provision they make for their future, someone else will come along and pay for everything they want and/or need. [/quote] Regarding the taxation situation, you're wrong. Firstly, the tax burden in the US isn't, as most people believe, less than the UK. In addition to federal income tax, there's state income tax (which varies depending on the state, and you may have to pay more than one if you live in one state and work in another) and social security (which covers a contribution to a small state pension, Medicaid and unemployment benefits). The real killer in the US though is property tax - assuming you own a home, your property tax (which covers local state expenditure and schools) can cost thousands a year - an order of magnitude more than your average Brit pays in council tax. What's more, if you don't pay it, the state can put your house up for tax sale, which doesn't happen in the UK. Add all this together, and your average American's tax burden is actually higher than your average Brit's, and that's not factoring in health insurance, which, as I said before, is prohibitively expensive if you're self-employed, and especially so if you're old. This is why you get octogenarian greeters sitting by the door at Wal-Mart - they're working there to get health insurance. Some things are cheaper (petrol, sales tax) but, when a loaf of (nasty, gritty, sweetened) bread costs $3-4 instead of 80p at Tescos, and an average American car gets ~20mpg and Americans have to do a lot more driving, you can see you're not really saving any money. Also, regarding earning potential, you're also wrong, especially in recent years. Outside the major metropolitan areas, wages are very low, even for musicians, with work becoming increasingly thin on the ground in this era of DJs. The minimum wage is pathetic, many workers only survive because of tips, and, franky, in Chuck Rainey's situation, where his work has touched many people's lives, he's in the fortunate position of being able to have people to ask for help, which must take a huge swallowing of pride. And it's not like he can go out and get a greeter job at Wal-Mart to get insurance - he now has a pre-existing condition which will preclude him from coverage. Basically, you're under the misapprehension that it's actually possible to prepare for all eventualities. It's not. Especially in the US, with the healthcare and taxation situation. A health insurance company can come along and cancel your policy retroactively, even if you've had a procedure you were supposed to be covered for (look up "recission"). Obama's health reforms are going to go some way towards helping this situation somewhat, but most of the provisions don't kick in until 2016. You also have to realise that the Democrats in the US, on the policital spectrum, are actually somewhat to the right of the Tories in the UK, despite supposedly being the left-wing party. The political centre in the US is very much skewed to the right, mostly thanks to all the anti-communist stuff that everyone was subjected to during the Cold War. And, finally, have a heart. This is a well-respected musician whose work has affected millions who's fallen on hard times and is looking for a little help. Chances are you've heard his playing on the radio regularly and not known that it was him. The curse of the bass player, I guess.

It sickens me to my stomach that people in the US have to resort to this sort of thing to pay medical bills. We might bitch about it a lot, but the UK is so lucky to have something like the NHS. What's more, nobody in the UK really understands quite how f**ked the American system is. As a Brit in the US, let me spell it out for you. In the US, even if you're pension age, like Chuck Rainey, you still have to have medical insurance. There is a government-administered scheme for OAPs called Medicare, but it doesn't cover much in the way of treatment, has very limited coverage for prescriptions (only the basic generic stuff that comes under what's called "Medicare Part D") and practically no coverage for what the Americans call "major medical" - ie, hospital visits and treatment for chronic conditions. What's more, if you've been ill before, there's a very good chance the insurance company will rack up your premiums to eyewatering levels, and, even then, there's the possibility that they'll deny your insurance claim, at which point you're responsible for the entire cost. Many, many people go bankrupt in the US from not being able to pay medical bills. The cost of insurance is also outrageous - in the UK, for those of us who are lucky enough to get private health insurance like BUPA as a job perk, it might cost you maybe £200 a month to cover your family. In the US, if you want to cover your family (say, two adults and two kids), you could be talking up to $2000 a month (or even more if you or any member of your family has a pre-existing condition). And then you still have to pay a "co-pay" to go to the doctor (anything from $25 to $100). If you get your insurance through your employer, it's not quite as expensive as the employer pays towards it, and the employer gets a discount for having multiple people on their policy. However, if you're self-employed (as most professional musicians are), you don't get to take advantage of these group discounts and you have to pay the full whack. Most people in the UK can't even begin to comprehend these sorts of numbers when it comes to healthcare - we're all used to just going to the doctor. I'd never seen a medical bill in my life until I moved to the US. I broke my ankle about a year ago, and, despite having health insurance, I couldn't get it fixed thanks to a loophole that meant that the insurance company didn't have to pay for the operation. So now I have a misaligned ankle joint that causes me a fair amount of discomfort. Andrew Lansley and David Cameron want a system like this for the UK. Be very, very afraid.

Germany and Holland might have bigger selections, but the EU's a wonderful thing when it comes to being able to order from anywhere. On Thomann: http://www.thomann.de/gb/fender_50th_anniversary_jazz_bass.htm £1660, with free shipping. The Gallery also has one: http://www.thebassgallery.com/product_details.cfm?ID=1998&type=Bass%20Guitar ... but they want £2200 for it. Although they say they'll price-match. Nice basses - I played one last year. Although, If you want a candy apple red Jazz, Jon Shuker or Sandberg will build you one for quite a bit less than that, if you can live without the Fender name on the headstock.

I've decided I want to track down my old 4-string Sei - it was my first fully custom Sei, I got it in 1999 and, to be honest, never really gave it a chance. Lovely instrument (as expected) but I didn't "bond" with it at the time, and so it went back to The Gallery six months later. The spec: 4-string Flamboyant headed Wenge body Ziricote facings Ebony fingerboard with striped binding and red LEDs Black hardware Lane Poor pickups (MM (bridge) and wide-aperture humbucker (neck)) Last I heard, the subsequent owner had requested that gold hardware should be fitted to replace the black. Pic attached - if anyone knows of its whereabouts, please let me know. [attachment=98015:1999_sei.jpg]