This is a fair question, and one that I get asked quite a lot, so I thought I’d try to take a few minutes and address this question, here. My original plan was for this magazine to come out quarterly, but after some discussion, we opted to shoot for a bi-monthly publication schedule. However, a venture such as this must go through its growing pains, and we certainly have experienced our fair share. As such, we have failed to hit our mark of six issues per year. The reasons have been multiple and varied. We have tweaked our bench tests and upgraded our testing equipment. I could have pushed forward and put out more issues, but when I realized that we really needed to have a full-on Audio Precision system to do some of the tests we wanted to do, I put the brakes on and focused on obtaining such a system. My thoughts were that I’d rather delay the next issue than crank out more tests that would just have to be redone later on.
But then, once we got our testing equipment up to speed, we found that our Publisher didn’t have enough free time in his increasingly schedule to crank out Bass Gear Magazine (and Bass Gear Weekly) as quickly as we had hoped. This set the stage for another paradigm shift, and following issue #4, we have been working on migrating to another graphics layout person. I am happy to say that he is now getting up to speed, and we hope to have issue #5 out as soon as possible. Most of the content is done, it’s just a matter of getting the graphics all set up. We have already done a good chunk of the work for issue #6, already, and as we clear each hurdle, I see us getting closer and closer to our bi-monthly pace.
I have taken over the task of putting out the Bass Gear Weekly for now, and my goal is to get something out each week (go figure!). Topics for the Weekly will include show reports (like our recent Summer NAMM coverage), new product announcements, industry news, mini-reviews, and anything else that seems like it might be interesting to bass players. I’m open to suggestions, by the way!
For those of you with paid print subscriptions, please note the subscription price covers you for six issues, not for one year. So you will get all six issues, and we will certainly try our best to get those to you sooner, as opposed to later. I am very excited about the future of Bass Gear Magazine. It has been a real joy to be working with Ed Friedland again, and Tom Lees is doing amazing things with his technical reviews. And of course, the gear that is getting sent our way keeps getting better and better! If you ask me, it’s a great time to be a bass player!
Thank you again for your support, and your patience!!
Tom Bowlus
Editor-in-Chief
Ernie Ball brought only new models to the show. This included the Stingray Classic (which now come with either a flamed or birdseye maple neck, standard!), the Reflex (a somewhat trimmed-down version of the 25th Anniversary SR HH), the Big Al 5-string (which Ed Friedland reviews in issue #5 of BGM). Check out those flamed maple necks!
One of the real gems of the show was the Lakland booth. They had some phenomenal basses on display, and a rather interesting story to tell. Everyone knows the Lakland name, but there are some very interesting developments taking place in Chicago. Rumors had been floating of an external purchase of Lakland (possibly by some folks out in California), but as it turns out, control shifted within the company. A group led by Hanson Musical Instruments, Ltd. (who have been making the Lakland pickups since 2005, and who are located within the same building as Lakland in Chicago) bought the company, and former Lakland COO and Global Sales Director John Pirruccello takes over as President of the new entity, Lakland Guitars, LLC. Dan Lakin is no longer involved with the company, but it appears that all Lakland luthiers and support staff will be reatained. This is going to be a very interesting story, which we will delve into much deeper in future issues of Bass Gear Magazine. I have to add, though, that playing an alder/rosewood USA-made Joe Osborn (now known as a “44-60”) was a transcendent experience! Leo also showed me an equally cool “Joe Osborn” that had been made for Adam Clayton.
The GK mini-might MB112 made its debut, and joined the MB115, MB210, and MB212 in GK’s lineup of killer, lightweight, powerful, affordable combos. And yes, it too passes the “pinky test!”
Newcomer Better Audio had some interesting cabs based upon 6” and 8” woofers married up with planar tweeters. In addition to this 4×8, Better Audio featured two 4×6” bass enclosures (straight-front, and one with the top two drivers angled up), as well as small “monitors” and some 4×6” guitar cabs.
Brian Barrett always brings the goods to the Summer NAMM Show, and the Low End booth was a Mecca for bass lovers. He brought several LEJ’s, a Benavente or two, some vintage instruments, and even a Ritter. One of the more intriguing offerings was the new Low End T-bird. It’s about time people started loving the ‘Bird, if you ask me!
GK always delivers, even when the crowds are small (this was a fairly down year, as far as the Show goes). They had several newish products on display, including the MB-200 and MB Fusion (both of which are mere weeks away – they are just waiting on some parts to reach the factory).