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signature bass fail...
- Thread starter SanDiegoHarry
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Well, it seems pretty obvious to me that Bono is out of touch with reality. Plus, if he is so concerned about all those worthy causes it seems to me he might be able to give more from his own pocketbook rather than always trying to get other people to pay for it--many who can't really afford to do so. I don't mean to be judgmental and I hope I'm not. But this is my perception, for better or worse.
You're spot on, he doesn't event pay any tax in Ireland, apparently all his businesses are resident in the Netherlands, yet hes always on to the (cash strapped) Irish govt to spend more money in Africa or whatever's the popular charity 'du-jour'.
On stage he looks like a guy that just doesn't care. 'Root notes have made me millions, why would I do anything different'.
Hey No Biggie. Sarzo jumped all over the place. it is just a company using marketing for a bass they know someone has used to make them sales
I love Fender's signature basses and I actually think they're important to the brand. I only have direct experience with Fender's line, but I'm sure other companies are similar...
As a consumer, I don't see the actual artist being the selling point. I see the artist basses as a platform for really interesting takes on the old standards by adding some cool mods, finishes, and flair that you couldn't otherwise get a hold of.
Want a thin-neck 70's Jazz complete with 70's pickup spacing without paying CS prices? BOOM Geddy Lee Sig. Sherwood Green J with blocks and matching headstock? Clayton. Nitro finish P with a custom neck? Mendel. Etc.
I don't own any artist sigs (used to have a CIG Geddy), but I would buy the Sean Hurley CS model in a heartbeat if money were no object. Never heard of the guy by name till I saw his bass. Now I'm a fan of his work AND I want his bass. Early 60s profile with custom mute system and available in Charcoal Frost Metallic... droooooooolllllllll.
As a consumer, I don't see the actual artist being the selling point. I see the artist basses as a platform for really interesting takes on the old standards by adding some cool mods, finishes, and flair that you couldn't otherwise get a hold of.
Want a thin-neck 70's Jazz complete with 70's pickup spacing without paying CS prices? BOOM Geddy Lee Sig. Sherwood Green J with blocks and matching headstock? Clayton. Nitro finish P with a custom neck? Mendel. Etc.
I don't own any artist sigs (used to have a CIG Geddy), but I would buy the Sean Hurley CS model in a heartbeat if money were no object. Never heard of the guy by name till I saw his bass. Now I'm a fan of his work AND I want his bass. Early 60s profile with custom mute system and available in Charcoal Frost Metallic... droooooooolllllllll.
It is primarily about brand recognition folks. Fender wants to present a stable of musicians that endorse the product with representation from many genres. With less consideration for the individual talent of the players than their or their band's notoriety.
They are presenting the image that successful artists from all walks of life have chosen their instruments.
They are not trying to change the minds of avid enthusiasts that have very narrow tastes.
They are presenting the image that successful artists from all walks of life have chosen their instruments.
They are not trying to change the minds of avid enthusiasts that have very narrow tastes.
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Not for Adam Clayton, probably got at least one of each and a two pockets full of cash.
buldog5151bass
Kibble, milkbones, and P Basses. And redheads.
The biggest complaints I read about Fender, here and other places, is:
1 quality is not what it used to be
2 for the most part, no legitimate progress (keeps puuting out the same models for half a century)
I would say this sqares up pretty nicely with them just putting out these cosmetic models. This isn't fashion, it's music.
I've owned American Fenders since I started 20+ years ago (not the only brand I play) and I can say that the last 4+ years of their American line have had some of the best quality control I've seen from any brand I've owned (Modulus, MM, G&L, Warwick, Gibson, Ric, etc). In the last 4 years I've purchased an American Dimension, Jazz, and P bass and they've all been impeccable.
buldog5151bass
Kibble, milkbones, and P Basses. And redheads.
Yes, qc has improved (and it WAS pretty bad), but it's pretty consistent that we get those two complaints. Other companies strive to innovate, progress, and improve - Fender keeps talking about what they used to do.
Understand, all I play is Fender and Fender-style basses, but I think they are dropping the ball. Any time a company puts out something like this, be it a car or guitar, it's pretty clear that they are pushing an image.
Understand, all I play is Fender and Fender-style basses, but I think they are dropping the ball. Any time a company puts out something like this, be it a car or guitar, it's pretty clear that they are pushing an image.
As we all know, U2 arrived on the wider UK scene after being pushed hard on local radio in Ireland in the late 70's to early 80's. The early to mid 80's was a great time for bass players, particularly in the UK, with the likes of Japan, Level 42, Paul Young, Talk Talk, Associates, ABC, Duran Duran, King Crimson, Elvis Costello, Thomas Dolby, Kagagoogoo, Gary Numan, Roxy Music (to name just a few) making the bass (and/or the bassist) a prominent and stylistic element of the act.
U2 were almost the antithesis of this phenomenon. By creating a sound and style of their own, less out of design than necessity than given a limited 'talent pool', they managed to establish (thanks to some unique of-their-time mixed-media events such as the 'Red Rocks' and 'Live Aid') and maintain (thanks to a time-served loyal fan base) a place that was and remains largely immune to the fickleness of mainstream pop/rock fashion.
I am not a fan, but we cannot gloss over the fact that U2 have been recording and touring since before some of our younger members were even born and they are in the Rock and Roll Hall of Fame. As for Mr Clayton, I think we would all agree that as a bass player he is not 'the best', but then I don't think he has any pretentions to be otherwise. He and Larry Mullen (a very good drummer, IMO) work well as a solid, tight and reliable team within the context of the band - I see it as another case of 'right place, right time'.
Larry Mullen is an excellent drummer, and I think that without him and a highly charismatic frontman, things might have been a little different, but they are not. One might say the same of Mr Wyman and The Rolling Stones - adequate in their own right but perfect for the particular band!
EDIT: Just re-read and realised that there is nothing about signature instruments. I see nothing wrong with a prominent player endorsing this that or the other instrument in a particular colour scheme or configuration if it is synonymous with that player - the Bass of Doom, Pino's sunburst Stingray, Mark King's JayDee, Mick Karn's Wal or Bean. Almost every image of AC has him playing something different, so maybe that is where the fail is, assuming there is one?
U2 were almost the antithesis of this phenomenon. By creating a sound and style of their own, less out of design than necessity than given a limited 'talent pool', they managed to establish (thanks to some unique of-their-time mixed-media events such as the 'Red Rocks' and 'Live Aid') and maintain (thanks to a time-served loyal fan base) a place that was and remains largely immune to the fickleness of mainstream pop/rock fashion.
I am not a fan, but we cannot gloss over the fact that U2 have been recording and touring since before some of our younger members were even born and they are in the Rock and Roll Hall of Fame. As for Mr Clayton, I think we would all agree that as a bass player he is not 'the best', but then I don't think he has any pretentions to be otherwise. He and Larry Mullen (a very good drummer, IMO) work well as a solid, tight and reliable team within the context of the band - I see it as another case of 'right place, right time'.
Larry Mullen is an excellent drummer, and I think that without him and a highly charismatic frontman, things might have been a little different, but they are not. One might say the same of Mr Wyman and The Rolling Stones - adequate in their own right but perfect for the particular band!
EDIT: Just re-read and realised that there is nothing about signature instruments. I see nothing wrong with a prominent player endorsing this that or the other instrument in a particular colour scheme or configuration if it is synonymous with that player - the Bass of Doom, Pino's sunburst Stingray, Mark King's JayDee, Mick Karn's Wal or Bean. Almost every image of AC has him playing something different, so maybe that is where the fail is, assuming there is one?
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there are some signature basses where there's at least advertising copy that states a manufacturer worked with the signature musician for 'a year' to come up with just the right combination of elements to create the signature bass
I think when there's evidence that the design really did change based on signature artist input that it can be worth checking out as an extension and evolution of a given brand's models
when it's just cosmetic changes and a new color scheme and a signature decal on the headstock, then it's pretty obvious it's just marketing and not engineering.
I think when there's evidence that the design really did change based on signature artist input that it can be worth checking out as an extension and evolution of a given brand's models
when it's just cosmetic changes and a new color scheme and a signature decal on the headstock, then it's pretty obvious it's just marketing and not engineering.
I picked up an Adam Clayton a few months ago and love it. It sounds like any American standard jazz but I just love the looks. The Sherwood green and matching head stock, block inlays, I have played several shows with the bass and get a compliment at every show. Hey U2 is a good band and Adam is cool but I did not buy the bass for that reason, I liked it and did not mind the extra $$$ for the purely cosmetic upgrades, Bottom line, It's a cool looking American standard. I have to say that the build on my guitar is fantastic, very well made and almost custom shop quality, and yes my band plays a few U2 covers.
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