Talk about your basses...
OK, so this one might flop. So be it if it does. Just wondering what everyone thinks about their basses. I played almost all of mine this morning for fun and because I had time. Didn't change the amp settings or cab I was playing through. Just wanted to see/hear the differences. It was fun. I haven't played a few of them for a long time. Amy was my Micro VR. Cab was my homebrew Traynor 215 w/ EV Force 15s.
Epi T-Bird. Still meh. 8 months in and I still don't love this bass. Kinda bums me out. I've always wanted a T-Bird.
Yamaha BB-800. E (D) string is dead (it's tuned to D standard). Needs some love. I always called this one the "Evil P" and the Evil P it remains. Such a dark P-bass tone. It's awesome. Love this bass but it needs a new string.
Yamaha BB-1000. This was my player before I got my SB-2. The fat neck is great but... Just doesn't play like the SB-2. It's weird too... 1 model year and 200 more points (BB800 vs BB1000) and it doesn't have that dark quality of the 800. It's a little more tame. Still good, but tame... A little more Fender-like.
Reverend Rumblefish XL. I'll probably start playing this bass again. It's awesome. I honestly forgot how awesome this bass is. It's been in a case for a while because I have this "collector" mentality about it and don't want to screw it up but screw it. It's an awesome bass. Really awesome. Huge tone. Awesome playability... And it looks cool. I really need to break this guy out again.
Peavey Fury. It's my newest. Love the neck. Body is super light... So much so that it almost neck dives. Need to get used to the flats. First bass with flats and it's weird. We'll see.
G&L L-2000. Crazy how much output this thing has on its passive setting. It's easily 1dB+ louder than all of my other basses. Sounds awesome too. Neck is thicker than I like, but I might pick this one up again too. Huge tone.
G&L SB-2. It's awesome. My #1. Neck rules, tone rules... Not as "huge" sounding as my L-2000 and while it's kind of on par with the Reverend, the Reverend has a little more of something... Can't quite nail it down.
That's all for now. It was a good morning.
2012 Fender American Precision - my newest bass, only using for recordings. The Fender strings that came on it are starting to break in, time for new ones, lol. Will be recording with it probably until June or July or until the song is finished. Will be putting Rotosound 66 Steels on it in the heaviest gauge for the recordings unless for some reason I don't like them and they just aren't what I am looking for.
2003 Fender Deluxe Precision Special (passive)(removed the J pickup) - Has Fender 62 P pickup on it and Rotosound Flatwounds in the heaviest gauge. I will be turning this bass into my sort of "Billy Sheehan mess around" bass. So it will be getting the DiMarzio Willpower P pickup back in it and a set of Billy's signature strings, will not be used for anything official (recordings, live performances, etc.) but will definately be used alot. Will also be getting new Hipshot Black tuning hardware.
Late 80's/Early 90's Epiphone Accu Bass - Definately ready for action again. Also where the DiMarzio Willpower pickup is right now. Awaiting custom Warmoth 24 fret neck. Swapping out pickups with my 2003 Fender, so this bass will be getting the 62 P Pickup, and getting the current chrome tuners from the Fender to put on the Warmoth Neck. This bass will be used in one spot in the recordings for a run that reaches 23rd fret on the G string, and this bass will be played live.
That's about it so far.
Steve Harris P. Love it! Played it at my funk gig for the first time through my Orange TB500 last night. Hired.
Modulus FU J5 (Flea)All arounder warm sounder.
Bongo 6-played it a worship gig this morning. Used to be my funk gig bass, but too many strings. Luthier adjusted the pickups the other day. Really hot, like Stingray hot. Heard it on a radio show we played; careful with that attack, touch required. Now my experimental horse.
Custom Jazz Fretless 5 (by J Hunt of Surf Punks fame My Luthier). So modded, active, black tapes. Replaced my upright. Need a project for it.
Rick 4003. Love it. Only comes out for special occasions. Good for power trios.
I kind of like this thread idea!
I have a Peavey Fury with flats as well. It's a very nice instrument.
I use it for acoustic gigs with a bit a foam at the bridge and a small amp. I've tried an acoustic bass, but you just get covered up. :/
So yes, my Fury is from '92. It has great action and I love the neck. The previous owner put an EMG pup in. It still sounds great.
2009 Fender Classic 50's P:
This thing is awesome. The sound is so fat and it sets in the mix like a boss. It's my go-to for regular full sets.
2006 Fender FSR Jazz:
I LOVE this bass. But I prefer the P in a full-band situation.
I have the action sitting to give me a bit of clank.
I love how it plays when I'm working on a solo or jamming with one or two other instruments.
It's got DiMarzio Model J's in it. They give it a great tone.
Yup, those are my three. I love them all, but the J is probably my favorite if I had to choose.
Didn't play all my basses today but did play all four Rics and made slight adjustments to them due to weather changes and considered options for restringing the two Jetglos. I am thinking of putting Nickel Rotosound SB66's on it because I see a little bit of fret ware from the stainless steel 66's. And not digging the D'Adarrio black tape wounds on the fretless Ric so I ordered some Sadowsky Black Label Flats for it. But I am tempted to put this on the fretted bass. :)
Started out with some "fake" basses, one a fake fender and the other a fake gibson, and then my first "real" bass was a Gibson G-3. Added to that a fender short-scale while I was in bands in college and traded both plus some $$ for a mid-70's Rick. Let me just say here that if I knew back then, what i know now from years of playing, I would have appreciated all those basses SO MUCH MORE than I did back then!!!
I was pleased with those for quite a while until I decided to upgrade to a 5-string. Found a Fender Jazz 5, that worked quite well for me because I needed a slimmer neck. I decided to venture into the fretless bass and after research, found an inexpensive Warwick 4-string fretless to see if I could "master" the version of bass, and it worked out quite well due to a good ear and years of playing. (It's all about "muscle-memory", baby!).
Deciding to stick with the Warwick brand, (which sounded great in the 4-string), I got a Warwick 5-string fretless bass. After a year of playing it, I decided that the Warwick brand was for me, and I traded the Rick for a Warwick fretted 5-string bass and the two Warwicks are my main axes ever since. The Fender Jazz fell to the side in negotiations for an amp, so I now have twin Warwicks; fretted and fretless, that I have been using ever since. Great sound for me! Hope you all have similar feelings for your basses! Mine are all me!:bassist:
2006 German Warwick Corvette 5er: I love it more than any material object I have. It can do it all, and the signature growl is just beautiful to me. It's my go-to and that's probably not going to change anytime soon.
2000 MIM Jazz: It doesn't get much love since the Warwick arrived, but it's still a great bass. Need to lower the action some.
Oscar Shmidt acoustic POS: It had no real redeeming qualities besides the fact that I can lay on the couch and pluck away.
J Reynolds P copy: My starter bass. It's defretted and in pieces. I'd chunk it but I might find some use for it eventually.
Squier Musicmaster Vista-solidly built bass that's really fun to play. I love the black on black with the painted headstock. The only drawback is the pickup, sounds real P-bassy with the tone all the way down but quiet as a whisper. Turn the tone all the way up and it increases in volume, but much too trebley for my tastes. Will replace with an Aero pickup soon. Currently strung with rounds.
CIJ Fender Mustang-plays a lot like the Musicmaster only with a rounder fretboard. Pickup sounds great, not real versatile, but I love the tone: punchy and dubbish. For the life of me I can't figure out why these only come in white. I'm not a real big fan of the white/tort look, but I look past it. My main bass. Currently strung with flats, and likely to remain that way.
FrankenFender P-Bass-this is a 2001 MIM P-Bass body with a CIJ Jazz Special neck from the 80's. Typical P-Bass tone with a neck that plays like butter on a hot biscuit. While this isn't my everyday player, this bass is near and dear to my heart. It was my first bass and my only bass for 3 years. Not only did I learn to play on this bass, but I've taken it apart, rebuilt it, and learned the beauty of the instrument. I've loved it, abused it, learned to hate it, and learned to love it all over again. It really feels like a part of me. I consider myself a short scale guy, but I couldn't ask for a better full scale bass. It's on it's 3rd neck, 2nd bridge, and who knows how many strings. This beauty it wine red, with a black pickguard (actually a B/W/B pickguard but the white pinstripe has been filled in with a sharpie) a black Gotoh bridge, a black painted headstock, and black tuners. Currently strung with rounds, but flats are in the near future.
I like 4 strings and the simplicity of a single pickup, with a single volume and tone knob. All 3 basses also have thumbrests installed.
Fernandes MB-85; MIJ Mockingbird copy. Neck through, dual EMG P pickups. Mahogany body, maple neck, rosewood board. It's got a big P style neck, and maybe my favorite 4-string neck I've laid hands on. The size and profile are right up my alley in a big way. It's unfortunate, I suppose, because while it's one of my favorite extreme body shapes, it's still extreme. Sounds massive, plays great, and with the Hipshot Ultralites on it, doesn't balance too terribly. I wish I could get everything about this bass in, say, a traditional P body, or something.
Fernandes FRB-85; MIJ P/J. Maple neck, ash body, active electronics. The neck is much smaller, and I was concerned about it; upshot is, it registers to my hands as "fast" and not "too small." Just barely, but it's enough. The electronics work, but I'm not hot on the tone. A little too clean/hi-fi/clear. Gonna swap them for something with some muscle and grunt later in the year. But I love the way it plays, and after a few years with the Mockingbird, I absolutely cannot get over how much I missed a bass that balances properly.
...I ended up with a couple of Fernandes by accident, not design, by the way.
2012 American Deluxe Jazz V (pickups replaced with Nordstrand Big Splits):
Great fat-sounding bass, toes the line between a jazz and precision sound. Currently my go-to for regular rock/blues/funk situations.
2012 American Standard Precision V:
Very resonant, big sounding bass with a really nice B string.
Currently has Chrome flatwound strings and is tuned down a whole step for my Pink Floyd copy band.
Nordstrand NJ5 (alder/cocobolo, big singles, Nordstrand 3-band):
Incredibly warm but focused sound, like growly chocolate, plays REAL NICE. My number 1 for a couple of years. The pitch of each note cuts through the mix even though it sounds warm and round. Can fit into any context, but not my first choice for rock, since it doesn't really CLANK and the pitch is a bit too precise and clear.
Peavey Cirrus 5 Fretless (millenium preamp):
Great modern sounding fretless. I never play this one out. Don't know why, I probably should, it sounds great, is very versatile, and plays very easily. It's my only fretless so I feel like I should keep it, but if I never play it...
Carvin SB5000 (alder/maple, blend/mids/passive tone, Big Single in the 60's bridge position):
Stunningly lively sounding and looking, this is a monster bass that sounds great, yet is a bit too bright and modern for my taste. All my other basses edge toward the fat and dark side of the spectrum, so maybe this should stay around to provide balance.
Ransom 6-string (maple/ebony, 35" scale, Big Singles, Audere 4-band):
Really nice fusion/smooth jazz sounding bass with the most stable and even sound all the way down the B string. Very low action, but overall a very big instrument (wide fingerboard, long scale). Just haven't found much use for a C string in the past few years.
Nordstrand VJ5 (reverse P/J, alder/Brazilian rosewood, bought but not arrived yet):
Haven't got my hands on this one yet, but I have HIGH hopes for a new #1.
My only 4-string, it's a cheapie P/J that plays and sounds really good. I can't sell it since my wife loves it (cuz it's orange).
Overall, I can see why it's not a super-popular configuration. Ideally, I'd have move the treble coils further away from the bridge. Which would result in your bog-standard humbucker in the bridge position, which is super popular. It looks neat, and while it requires a little more on-the-fly tweaking that other basses I've owned, I could live with another dual P. But I don't think I'd go looking for one, specifically.
IBANEZ SR505 - the action on this one is just a notch higher than on the others, but the tone is awesome: aggressive, with biting mids.
IBANEZ SR505M - I got this from a trade; it was in mint condition. Maple neck & fretboard - I was sure I'll hate it, but it turned out to be one of my favs; the tone is crystal clear, very guitar...ish, it stands out in the mix and it's perfect for that classic thrash tone (which it's what I'm playing with my band, anyway).
IBANEZ SR605 - I'm not crazy about the tone (mellower, huge bottom with wooly lows), but I love its setup and playability. For some strange reason I can get the action really low on this one and the neck feels like butter (although in theory it sould be identical to the one of the SR505). It's usually the bass I'm noodling on at home because it's so comfy to play.
IBANEZ SR705 - it's one brutal mofo :) The tone is raw, but massive and in your face. And (surprisingly) any small "mistake" is very audible through its pickups & preamp. I can't quite explain why (I though it would be just a SR505 with a different top) there's such a big difference between this and the other SRs, but it does sound like a rabbid dog :) The neck is chunkier and the pocket for the neck joint is deeper than on the current SRs so it feelks like a NT. It came with a faulty nut so I replaced it with a Warwick JAN III - it turned out the neck width was identical. It solved the issue, but added a bit of clankiness to the tone (that I'm not too fond of). All in all I love the tone and highly figured top, but it's not one of my main players.
IBANEZ SRT905 - this one doesn't sound like any SR I've heard. The tone is very Warwick(y), growly as hell and it sounds like it has a compressor onboard all the time (it doesn't). Overall, a very meaty & aggressive voice, but hi-fi in the same time and any small turn of a knob is immediately audible (surprisingly versatile and sensible preamp). But it's very heavy (almost like a W Corvette) and the neck is chunky and wide. Very comfortable to play on, but it kills my back so I don't use it very often. Sounds great recorded though.
IBANEZ K5 - it arrived a few days ago. Overall the tone is a bit anemic compared to my SRs (it doesn't have the same drive and output), but it's hands down the most comfortable Ibby I've played so far. The neck is so narrow that it almost feels like a 4 string bass (it's a 2007 model). Surprisingly, the maple neck feels like you're playing on a medium scale bass. It's used, so I still need some time to get along with it and fix a few things to my liking (and a new set of strings) but it's a pleasure to play - too bad my bandmates don't like the tone that much, he he :)
I tend to play a different style on each different bass, 5string Ibanez, 5string headless spirit bass, and a 7 string maxetone, currently working on getting a 6 string fretless
The way I see it us, different bass, different approach/emotion/style/sound :)
Take your time (or sip your favorite soft drink) or just walk on: this' gonna be long
A full step dowtuned basses:
Yamaha Attitude Limited II lava red
Yamaha Attitude Limited II all black
Honestly, gettin' scarce playin' time
My favorite basses of all time. Long to set when about to use'em. The most powerful passive basses I've ever played: such a shame playin'em serial with closest-to-the-bridge output only. They work their double output attack with dual wireless to different head n'cab. Necks are among the chunkiest 4 stringer ever made (I love'em): you really bear a baseball bat in your hand. I feel, tone and neck wise, very menacin' with these yet, fearin' 'em gettin' stolen, I seldom let'em out
Fender S.Harris West Ham Precision
This is sightly different from the one you're guessin'
Select alder body, American Deluxe 21 fret bird's eye maple neck and fingerboard, Leo Quann's BadAssII bridge, Seymour Duncan Antiquity split pickup, Gotoh open gear Vintage tuners, mirror pickguard, splinter jack input, nitro finish, hand painted West Ham United forearm contour logo and body binding stripe. It's a tone monster even with current set of 45-105 midflats, but I'm probably gonna put a fatter full flat Fender's set on
Epiphone T.bird Pro (Hipshot Gb7)
Completely stock, detuner apart
Many dislike its electronics, but it's only because of its trademark passive sound being so iconic, that active version appears to be... too much
I love it: it's really thunderous and sits in every mix and, with electronics at full (I usually adopt many head and pedalboard equalization, so no need to open its active tones up) it can slap too: can you imagine something like that on Thunderbird?
Peavey IndoCirrus Bxp5
My unexpected cheapo
Very well crafted (35" neckthru and stringthru monorail bridge, three band equalizer active bass) it went new for ridiculously few bucks due to a defection into neck structure
No flaw whatsoever in the overall construction, just the neck suffer from uneven points throughout its length and needs to be specifically set to appear all the same flawless in sound too
That said is so sweet and modern and hifi in its approach I can't live without it:D
Warwick Corvette FL5
Ah ah... my challenge:)
It's my brand new take in fretless style playin'
I been thru many candidates (my thrash metal band Nowhere always asked me to go fretless, but I spent lotta time in findin' the one's fittin' me good) this one's gonna put fretless part on track on next Nowhere record.
G&L carved top L2500
My favorite 5 stringer...
Unfortunately, this comes with satin only finishin' (the 4er version is glossy: I love gloss:hyper:)
Wide open gear Vintage tuners, 21 fret rosewood fingerboard, bolton neck and stringthru system
I love this bass, it's really like I am
Looks plain and conventional, then kills whenever you play it;)
It's massive in serial (no matter active or passive the use) and
loud in parallel I love its tone! It comes second more powerful bass right away Yamaha Attitude
Limited II. I never need to push it more than a 9 o'clock volume/gain to nearly submerge my 7 stringers guitar bandmates in thrash band Nowhere
Regularly tuned basses:
Yamaha Bbn5 (my brother's)
It could be the only bass still completely stock, it's not: its nut (sorry for wordin') got replaced by a Tusq one to reach a way preciser approach.
It growls much like Fender Jazz (or G&L Sj2, if only 5er versions being available) it's very woody and nosy, but cuts thru like few others can do;)
Yamaha Trbj1004 (my brother's)
It's my (pretend to be) good boy bass.
The one always gettin' compliments for its look and behavior.
Honestly, it's not so cuttin' thru, that's why it's regularly tuned. I play it in Wild Peas, my cover band. Guitars are less compressed and passive 6 stringers, so I got more spectrum to play in:)
Yamaha Attitude (DiMarzio WillPower) (my brother's)
This one's the made in Taiwan Billy Sheehan's Attitude serial replica
It's in the lake placid blue Mr. Big's 1992 live in San Francisco dressings so, being it serial (mono) I added true DiMarzio WillPower neck and split pickups, had frets from 17th to 21st luthier scallopped and refinished in higloss and finally put Hipshot Bt7 bass extender on.
Yamaha Rbx350 (Hipshot Gb7/EMGhz)
My very first bass
Never ever sell your first bass, unless you need it to... in music and sport we're all very superstitious (I am) never do that...
My Rbx now sport restored electronics, a Hipshot Gb7 (Gotoh) bass extender, Fender flats and EMGhz P/J pickups
It still gets lotta playin' time
Epiphone T.bird Classic (Hipshot Gb7)
Completely stock, detuner apart
It's the white passive Classic with original Gibson soapbars. It's the one for Motley Crue covers, but much much better than Nikki Sixx's Blackbird
G&L carved top L2000 (Hipshot Bt7) (my brother's)
My other G&L carved top little brother
This one's glossy on both body n'neck
It sports a Hipshot Bt7 bass extender (I've to reach for that low D one way or another;)) and it's really as powerful and cuttin' as its big brother.
Fender Precision jr. (DiMarzio ModelOne)
A present to my son. He wasn't even born yet when I bought this one for him. A true Fender Precision bass, except 28,60" scale (bit like Ibanez Mikro basses) but this one is alder body and 20 fret neck, stringthru bridge with 19mm string spacin' and standard splitcoil pickup
Being my lava red Yamaha Attitude Limited II my all time bass, when I eventually knew he'd have been male I added the all black version too to keep it for myself and present him the lava red one instead, one day. In the meantime I put a DiMarzio ModelOne on the Precision Jr. Being it the Torino red one, now my son got his first short scale Attitude.
Axl P.McCartney Violin
My praise and worship
I'm serious: after thrash metal band Nowhere and cover band Wild Peas, I started play in church too
I initially thought about using the following Eko Florence acoustic electric bass for it (the Eko is wonderfully crafted and sounds "in your face" much like an "acoustic Harris Precision", I fully discovered thru unplugged shows with Wild Peas in the period with vacant drummer slot) but it was too rough for church's natural reverb, while the violin bass is small enough (30" scale) to allow for tiny choir/band positioning, loud enough when turned off to practice between chants (hollow body) and round and deep to play along pipe organ and acoustic guitars with no problems or feedbacks
Eko Florence Acoustic
(see above) my "no drummer=acoustic sets only" bass
As briefly anticipated, even if it needs to be amplified as much as the majority of acoustic basses out there it sounds way more "in your face" and cuttin', almost refusin' to get too much tweaked and set.
Its Eko pre's very lowfi in a way yet loud and rich in harmonics
Of course, comin' from metal, I'm no good boy at all
It's equipped with steelwounds, not bronze strings;)
Ibanez Rd 900 F.Maple
The first of my "unvolunteer Offspring's Greg Kriesel tribute"...
I happened to like the Offspring from '92 Ignition on (Brett Gurewitz has two of the most "foreseein' ears" in the biz, I think) yet these basses are mine for I really love'em despite Greg playin'em
This is a 2005 model I think
It sport Seymour Duncan Bassline "MusicMan" bridge humbucker and neck "J"
Two band equalizer with on/off switch and volume push/pull coiltap to wire pickups parallel instead of serial.
Mahogany body with thick (1") flamed maple top and brass himass AccuCast bridge higloss body/neck finishin' and 24 fret superflat fingerboard.
Ibanez Atk200 Limited
No match with, say, former Ibanez Atk310, tho' I admit it's gettin' extended playin' time because of its superflat action and nononsense approach
I call it "security" bass (I placed a wide red SECURITY sticker on its upper horn): partly because no shame if it gets stolen, essentially because, being Made in China, its quality control and value for the price is astonishing (it's the soda blue limited edition, ladies n'gentlemen) yet, even if sportin' bridge double humbucker only, whereas both MIJ 1200 Prestige/MII 800 Premium add neck Arch pickup to it, its body is ordinary ash, not light ash: in case of need I can bear it as a 12lbs axe for self defence
If you're still there, thanx for readin' everybody:)
Dillion 5204, cheap Chinese 54 P copy, single coil pickup. It's just ok, needs some fretwork but I slapped a set of flats on it when I first got it a year ago, so I haven't bothered yet. Eventually I'll get to it, there's a few high frets that keep me from my normal super low action. Still gets a ton of play at home, just a cool vibe.
2011 MIA Fender 60th Anniversary P-bass. Best bass I've ever owned, I'll be buried with this one. It's in the same range as the AV series, and the neck and body are nitro. The body is showing some cool signs of wear. I got this one in January of 2012. Plenty of dings around the edge of the body, and the Blackguard Blonde finish is starting to yellow. You can really see it when the pickguard is off. Super low action, totally effortless to play. This bass will ALWAYS be with me.
Xaviere P-bass. Bought as a mod platform, currently awaiting new neck as the stock one arrived with a nasty ski jump.
Epi Thunderbird IV, currently disassembled awaiting my return. I've got some mods planned but play my P-basses more often so no rush.
Self-made Thunderbird. This one is my baby, still awaiting final setup. I built it a few years ago before my back problems stopped me from using my shop. Beautiful cocobolo top on Korina core, neck through three piece flamed maple neck w/Birdseye fretboard. 24 frets, no face markings (didn't want to hide the insane Birdseye on the fretboard), red fiber optic side markers. Hipshot D bridge, Duncan SSB4 pickups. Gonna be a great bass if I ever manage to finish it.
Great Thrad Idea, I'll play;
1966 St. George Rosewood and Black Hollowbody Bass.This bass was a rescue from Evilbay.Was in dead condition when recieved but now a very good bass. Paid 125.00 came with a cracked neck 1 dead pup no pick guard,roofing nails for strap pins. Talked to the seller got 75 bucks back,which paid for the SD mini bucker to replace the bad pup.That and 200 bucks worth of repairs and tunners etc,had the neck professionaly repaired,cleaned waxed and set up,plays and sounds great.I get that old 60's sound and a deep, woody, airy bass sound out of this girl,My tech and I took this on as a major challenge,but we are Happy now.
Next up will be my 1982 Westone Thunder 1 .This has been my workhorse bass for a very long time,extremely well crafted, Dimarzio P pup,one of the best I have ever played.
Next up will be my 1986 Westone Pantera X750PW J/P bass.My only pointy head bass and a great Rock bass,not only sits in the mix but is a stand out in a band situation.
Next will be my 1999 Ibanez BTB1000E.Active Ibanez pups and pre,35 inch scale.Doesn't get much better than this one. Gives you just about any tone that you need and the Quality of this bass is unbelieveable, one of my favorites.
Next up will be my Squire Heavily Modded Jazz Bass, Badass II bridge Active EMg pups,Schaller tunners, Emg electronics,a new pickguard on the way. Has that sound that is in my minds ear. Very heavy but gets a lot of play time. A good friend.
And Last but not Least My Number One right now,My Fender USA JP90,great thin Jazz neck with a JP pup configuration.The perfect Fender tone in a bass that weighs around 8 lbs. This is my favorite bass in my fourty years of playing,she just got a custom paint job and a bunch of new hardware, a facelift for my best.
I love that paintjob. That bass needs it's own thread!!
Flame maple, cherryburst top. Washburn's version of DiMarzio P/J pickups. Neck diver. Made into fretless (with brass inserts into fret slots to match the "O" brass fret markers). Looks like a beast, sounds like a little girl. Too sweet for rock, to dark for 'pop', but does a good job as a fretless, if an odd shape.
Bought new in the early 80s when Pete Way from UFO was using them.
Warmoth/Mike Haney Jazz:
Walnut body (with gun-stock oil/wax finish), bird-eye maple neck (finished by Phil Kubicki in shellac for a beautiful aged look), rosewood fingerboard, Gotoh tuners, Shaller bridge, Seymour Duncan Hot Stack Jazz p'ups. Mother of pear and abalone rose inlaid into the headstock.
Heavy. Very heavy. Great sound, though. Almost impossible to see the side markers on the neck in poor/stage lighting. Currently wearing a set of chromes and mostly used for home studio work.
Bought on CL for a a song and was 'almost' unplayable. Bound mahogany P bass body with thick curly maple top. Nice precision neck (maple/rosewood). EMG Select Jazz pickup configuration. Stripped it down and refinished with stain, gunstock oil, and wax. Put a curly maple veneer on the headstock. Shielded the cavities (back routed) and wired for series/parallel with a push/pull on the front pot. Wearing chromes. The series mode is HUGE. Rear p'up giving me some hum/buzz, so I need to have a look. Not a bad player. Also heavy.
Squier 60s CV Precision:
Bog-standard FR/RW version (jack changed to Switchcraft). No tug bar. Lightweight, comfortable, wonderful sounding bass. Gets most of my time lately as my band's sound seems to 'require' a Precision sound. One of the best basses I've played. Wearing GHS rounds.
JB Player 'Artist' Series ABG:
Single cutaway, RW sides, spruce top, mahogany neck (I think). Nicest neck in existence in my experience. Fast.
Huge sound when plugged in. Apparently Bob Dylan has one and it's his favorite bass. Whatever. I love mine, though.
American Standard Jazz Bass, Name: Pupy. Strung with flats. Very low action. Plays and record incredibly. Many times I wanted to sell it to take the same but with the low B but everytime I was picking it up it was like beging me not to sell it and after play it some seconds I was like, man this think plays like no one and finally will stay with me and will never be modded.
G&L L2500T, Name: Mighty Night. Heavely modded. Glockenklang pre-amp, 2 string trees (for B&E and A&D), spacers between the saddles for full 18mm string spacing, parallel / SC / series toggle for each pick-up, Kenīs bridge mod (5 bolts trough the bodyīs option stringing to hold the bridge better on the body). The beast plays wonderfully with a low action (+/- 2mm at the last fret on the B string), it records great too and can go from passive classic to sparkling active hi-fi and in between tones. This one I did it really mine.
And thatīs the story of my basses
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