A different take on the "Top (x) Basses" poll threads

[TTA]

A fellow bass player buddy came over to my house and he was having fun playing some of my basses. Those basses of mine were:

• P Bass
• Jazz Bass
• Rickenbacker 4003
• Gibson Thunderbird
• Crappy low-quality fretless conversion thing that's kind of fun to dink around on

My buddy asked me why I have the basses that I have. I explained to him that I'm slowly transitioning from an active professional musician to more of a hobbyist. After 31 years of rocking out, I think it's time for me to take my final bow on stage soon. I went on to explain that my current choices in basses are beginning to have a little less to do with road worthiness and more about my deep appreciation for the bass models that primarily shaped rock music.

He then asked me which basses I still wanted to get for this collection. I didn't have a good answer. There are so many bass models that have had a huge impact on rock. I'm not really sure where to start, other than I would need to limit it to maybe only 2-3 additional basses.

So, I turn this over to the expertise of Talkbass. In the poll you will find bass model options that I believe are candidates for the remaining basses that have been a big part of rock music's history. You can choose up to three candidates. What do you choose and why?

I had a similar mantra to you and had started going your direction. Jazz. Picked up a longhorn cause it was cheap/different. But i got two rics… than another… than another. Than i found dingwall and got a 5. So i ordered a custom 6.

 

[PennyroyalWe]

Honestly, I don’t think you need any more. The P, J, and Ric cover nearly all the important rock sounds. That said, I’d think the music man, as far sounds that are unique and have been impactful that you don’t already have.

 

[Mickey666]

Got a couple P's,all I need is a Ric and a Thunderbird and I'm good.

 

[JW56789]

I think you may have missed the point. By no means am I’m trying to sound like the greats. Like you, I am a firm believer that the player is the most important component in the chain. My interest in this specific endeavor is to enjoy playing the models that have had the biggest impact to one of the biggest influences in my life: rock music.

I can certainly understand that. When I was a kid, reading CREEM and HIT PARADER and all the rest, I hung on every picture I could find of what my heroes were playing. Been there, for sure.

 

[A9X]

Alembic because Ron completely changed how a bass could sound, as well as construction and appearance and Steinberger because it was a completely different view on the construction and especially ergonomics of the instrument.
It's irrelevant to me whether famous people played them or not, they were influential on other designers which affected bass design. Nearly everything else I've ever seen is a just another FSO variant.

Honourable mention to the T40 as the passive electronics are pretty cool and powerful in their tonal variation.

 

[Energy]

Which brush has been most important to Impressionism?

 

[Roger W]

Which brush has been most important to Impressionism?

I’m gonna actually answer that. Type of brushes not so much, the innovation that was very important was the packaging and sale of pre-ground paint in metal tubes that could be opened and closed as the painter desired thus keeping the paint fresh indefinitely. That meant that Monet could grab his tubes of paint, some brushes, a canvas or five, and go out to a field and directly paint hay stacks instead of making field drawings and painting from the drawings in the studio. Tools matter.

The 3 I picked were the Hofner because the “combo” as it was called was on its deathbed before the Beatles rejuvenated it, the EB_ because of Cream, Free, Mountain, and Big Brother fronted by Janis, and the Guild because of Jefferson Airplane, the Byrds, and Berry Oakley sticking a Guild pu in his Jazz Bass.

 

[Energy]

Type of brushes not so much, the innovation that was very important was the packaging and sale of pre-ground paint in metal tubes that could be opened and closed as the painter desired thus keeping the paint fresh indefinitely. That meant that Monet could grab his tubes of paint, some brushes, a canvas or five, and go out to a field and directly paint hay stacks instead of making field drawings and painting from the drawings in the studio. Tools matter.

The 3 I picked were the Hofner because the “combo” as it was called was on its deathbed before the Beatles rejuvenated it, the EB_ because of Cream, Free, Mountain, and Big Brother fronted by Janis, and the Guild because of Jefferson Airplane, the Byrds, and Berry Oakley sticking a Guild pu in his Jazz Bass.

Granted, artists need tools, no doubt. I still believe the art is in the artist rather than in the tool.