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Chef
In Memoriam
fwiw; all Reverends (guitar and bass) are Korina, and they're quite nice.
Reverend say korina is a very resonant and lively sounding wood and has a strong fundamental note attack with less compression, and good presence in the mids.
Reverend say korina is a very resonant and lively sounding wood and has a strong fundamental note attack with less compression, and good presence in the mids.
Thats what I found too- good description IMO. I wont be at Bassacre but I hope to try the AC while in LA this month.
It's here! 2013 St Valentines Day Bassarce Who's going?
Looks like fun! I'd love to hear Oskar play live. He's wonderful!
pls can i take opinions for kbp bass? i had a 62ri then i had to sell it,now i am lookin for a really good sounded vintage precision bass,i was thinking pino p,i am so confused
I had a KBP4. It was very nice - about as good as the best P bass I've owned. The neck was a little big for my tastes otherwise I'd still probably have it.
pls can i take opinions for kbp bass? i had a 62ri then i had to sell it,now i am lookin for a really good sounded vintage precision bass,i was thinking pino p,i am so confused
The Pino I played was simply magnificent, and had the very sleek neck versus the more chunky P neck of later years. I HATED that fake relic thing though. I would assume Jimmy could build you that sort of Pino hybrid thing (with the J neck or whatever Pino's bass has). Price would probably end up being about the same.
thanks for your thoughts,in fact i dont like hybrid style,i like thicky precision necks,i agree with you about the relic look of pino bass,i guess i should go for AC
I replaced a really good 1963 Fender P that I bought from Jimmy with my KBP4 and have never looked back. Continues to be the best P I have ever had and gets even better with age. My 5 is a KBP5 and it, too, is a sublime instrument.
Does Jimmy have a booth at NAMM? He's not in the app yet, and I don't see anything on the web site.
I have the CS Pino sign P bass and it has a chunky neck profile, it's FAT and the most wonderful P bass I've ever played on. Never sell it !!
I never could figure out why Jimmy would spend all that money on NAMM, given that he has more orders than he can fill, and he doesn't go through dealers. Never made sense to me. Good for him. That money can be spent in much better ways.
I think some forget that NAMM originally was meant as a 'shopping mall' for retailers/mom and pop music stores for the following year's products.
Not really sure why NAMM still exists in these days of the internet and a very limited number of retailers (Edit: I guess for US companies trying to sell overseas, and overseas companies trying to sell in the US, it makes some sense, at least Winter NAMM). I REALLY can't understand why summer NAMM exists at all.
Anyway, good for Jimmy!
Coppolo not doing NAMM. Sadowsky not doing NAMM. Suhr not doing NAMM. It appears the smaller highly successful builders no longer find NAMM necessary to facilitate their business goals.
+1 Bergantino does not do NAMM either (nor does Glockenklang, Walter Woods,Mesa Boogie, etc., etc.). There are some small builders/companies that share a booth to control costs, but again, NAMM is primarily there for manufacturers to sell into dealers. That used to be a pretty big deal when there were a zillion mom and pops and no big box/internet retailers. Today, not so much.
In addition, many of these more boutique brands have a very small dealer network that they could easily visit personally at a fraction of the cost of a NAMM membership and/or booth, (or they sell mostly direct which would eliminate any need for NAMM participation).
That being said, for the big boys who sell internationally or depend greatly on the big box guys (GK, Fender, Paul Reed Smith, etc.), I guess it still makes some sense (at least Winter NAMM).
I am heading to NAMM this year, for a few reasons.
Its nice to speak face to face with builders/owners, I like having a "hand shake", and get to know the person, somehow it seems more personal, which is becoming a lost art.
I also like to see and hear the vibe about the economy, and listen to where they feel the industry is headed, which you cannot get from the internet. Its also nice to catch up with some musicians that you would never get to speak to in any other situation.
Its also a great time and place to reconnect with old friends and share a cocktail, catch up, visit in person.
And lastly, as allot of you know, in the lower section of the NAMM building you never know who is going to be the next Jimmy, Kerry, Lull, or Sadowsky, all of whom I have met downstairs as startups. There are allot of folks down there that have a passion for making instruments and amplification.
There is something to be said about holding, handling, smelling and hearing what the next batch of instruments are all about, which you can't get from the internet without the possibility of "returns" which cost someone money.
So its still quite enjoyable, and I can see everyones point.
This is my take - Cheers
MG
Its nice to speak face to face with builders/owners, I like having a "hand shake", and get to know the person, somehow it seems more personal, which is becoming a lost art.
I also like to see and hear the vibe about the economy, and listen to where they feel the industry is headed, which you cannot get from the internet. Its also nice to catch up with some musicians that you would never get to speak to in any other situation.
Its also a great time and place to reconnect with old friends and share a cocktail, catch up, visit in person.
And lastly, as allot of you know, in the lower section of the NAMM building you never know who is going to be the next Jimmy, Kerry, Lull, or Sadowsky, all of whom I have met downstairs as startups. There are allot of folks down there that have a passion for making instruments and amplification.
There is something to be said about holding, handling, smelling and hearing what the next batch of instruments are all about, which you can't get from the internet without the possibility of "returns" which cost someone money.
So its still quite enjoyable, and I can see everyones point.
This is my take - Cheers
MG
No doubt, for the player who gets in and gets to cruise around and meet luthier's and hang, and check out the new stuff, that is a blast. I enjoy it myself every 10 years or so
That would be a bit of a different topic though.
I agree on those points, but I think another (secondary) reason in the mix for some manufacturers is to develop new artist relations and have existing artists " show the flag".
This helps create and continue a "buzz". I'm not saying this aspect is the main reason they attend but I think given the coverage by media, online sites and forums, and having the opportunity to include NAMM happenings in their advertising to the public, NAMM adds some value generally for marketing. Maybe now especially with the internet.
NAMM also creates a consumer focus and some anticipation amongst a growing number of consumers...it does create some buzz and excitement beyond the seed of manufacturers just selling to retailers IMO. But I agree not every company wants or needs that though as you say.
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