Original Teardrop 4, 1980:
This is the first Moses bass ever made, made in 1980. It has a 26 position neck through shaft on a Black Walnut body. The sustain and growl are fabulous. It is an incredibly expressive bass.

Original Starhawk 4, 1989:
This bass was originally conceived of as 34" scale. It is now 38". The pickup/bridge system consists of Steinberger hardware tooled to mate with a quadraphonic Zeta bridge piezo system. It has both summed and discrete individual string outputs.

Original Kei 5, 1992:
This is 'the' prototype for all 'framed' portable performance/travel basses and guitars. This bass proceeded those framed instruments produced by Soloette Travel Guitar, The Traveler, Yamaha Silent Strings and such. It has a unique flipped tuner configuration, allowing the tuning keys to face towards the player by use of a sealed bearing system.

KP-4, 1996:
This is the older style, one of which is one display in Paul Allen's EXP Museum in Seattle. It is super compact and a joy to play. The pickup is a new generation of the ACS system, a not-yet-released style that represents a third leg in pickup technology, not magnetic nor piezo. The rocking forked foot allows for free movement and dancing with the bass, while not allowing the instrument to shift and twirl. It is so well balanced that I can bounce it off my belly and it will return to playing position handsfree.

Original VJB-4, 1997:
This is the original Vertical Jump bass prototype. It utilized an upright bass fingerboard on C/F neck through shaft and a pivoting upper bout. The pickup is an original Soloette Air Coupled Sensor. The tone is immense, warm and woolly. The fingerboard dimensions and string spacing shifts my playing focus and style towards that of a tricked-out short-scale upright.

Line 6 Variax Bass, 2005:
This bass has a hooked MJ-244 neck, with all stock Line 6 parts. The Moses neck dramatically improves the function of the bass. With 24 usable in-body programmable bass sounds, the versatility and range of sound is awesome. The 8- and 12-string modes a particularly fun.

NS/Stick, 2006:
This is one of the only a few fretted instruments that I have played in 25 years. The inset body plate is made with the Moses 3-D sculpturally-drawn Shift finish and Mother of Pearl inlays. It is strung as an 8-string bass, low B by fourths up to B flat. It has fabulous electronics and sustain, and surprising to me, is exceedingly accessible. As setup for my playing style, I think that it is the ultimate fretted bass. The 3rd octave, off the end of the fingerboard to the bridge, is especially impressive.

1964 Fender P-Bass:
This bass has a hooked MJ-144 Carbon Graphite neck with a Moses Cellulosic Bio-composite fingerboard. It is the bass on which I played acid rock in the mid-to later 60's. Its hard to deny the old Fenders for vintage tone and vibe. The Moses neck makes this warhorse growl like a Mother. A very
satisfying axe to play.

1790's German Flat Back:
Originally a 3-string, this bass has of course been modified over the years. It now has a Carbon Graphite fingerboard, a radically thin 1/10" thick bridge, tunable tailpiece, and stout C/F sound post. The non-wearing fingerboard increases the growl and tonal evenness, while the bridge moves an increased amount of more complete information, activating the top faster than wood. The tailpiece uses a yet-to-be-disclosed system that immediately dials in the exact weight required to insure full rich tone without woof. The sound post doesn't appear to do anything sonically, but the bass simply no longer goes in and out of tune. It is a great jazz axe and has spectacular bowed tone. With it I have played some truly memorable extended jazz over the years.