are boutique basses really worth the $$$ ?

[Smallmouth_Bass]

I know the flame tops are only cosmetic, but they just look so good! It'll make you want to pick up the bass that much more.

 

[Bryan R. Tyler]

.... and I bet I could make a lot better music than the vast amounts of guys on here who seem to collect and look at their basses more than they play them.

That's a pretty boastful claim.

I've always wondered who people are talking about when they mention the "vast amounts of guys" at TalkBass who collect basses rather than play them. I can honestly only think of a couple off of the top of my head that have shown that they have a collection of boutique instruments but little in the way of playing skills (not that there's anything wrong with that either).

For example, I have a few really nice basses and I like looking at them and sharing pics with folks who are interested in them. But I also have had my recordings and samples available for anyone to listen to linked in my sig and other places, like the TalkBass compilation CD. Maybe it's because I go out of my way to check out the recordings posted by most of the users here. Can you really think of that many users who post about their boutique instruments and have proven that they are terrible players? Or are you just assuming that because they buy nice instruments and like to talk about them that they can't play?

 

[GSRLessard14]

A lot of people on here have settled with having the rather sad hobby of buying bass equipment. Sure, they might say "What makes it so different to liking cars?" or whatever, but really having a collection of boutique basses is not worth it.

I'd rather have 3 basses eventually - a 12 string tri-octaved one, 4 string vintage (or reissue) Jazz/Precision, and a modern bass. These could cost probably $6000 I'm guessing - and I bet I could make a lot better music than the vast amounts of guys on here who seem to collect and look at their basses more than they play them.

I don't think you're in a position to call someone's hobby "sad." A hobby is something you love. We don't love BUYING bass equipment, we love playing bass. Why is it sad compared to liking expensive cars? Or is that a pathetic hobby too? Is having a passion for anything secular sad? What are you, buddhist?

If you'll be satisfied with 3 basses and think you'll never have an urge for something new, then I'll be impressed when that happens. But then again, maybe you're 80 years old already. The number of instruments you own has zero correlation on what quality of music you can make.

Let people do what makes them happy, and don't consider yourself a superior musician because your point of view differs from ours.

 

[tribal3140]

A lot of people on here have settled with having the rather sad hobby of buying bass equipment. Sure, they might say "What makes it so different to liking cars?" or whatever, but really having a collection of boutique basses is not worth it.

I'd rather have 3 basses eventually - a 12 string tri-octaved one, 4 string vintage (or reissue) Jazz/Precision, and a modern bass. These could cost probably $6000 I'm guessing - and I bet I could make a lot better music than the vast amounts of guys on here who seem to collect and look at their basses more than they play them.

What do you really say to something like that?!?
If you like collecting go for it, whether it be stamps, trains, cars or basses its quite preposterous to qualify hobbies and then to judge thier hobbyists!

I have an expensive collection, but I also have been employed as a studio musician and have done commercials for car companies, as well as turning down more big offers for tours and gigs (and not for stand in background bassist stuff)than "90 percent of guys" will ever see in a lifetime.

I could never say that :
A.) I am probably better than 90% of anything at anything out loud
B.) My hobbies are better than anyone elses
c.) If I ever achieve les, flea, geddy status that anyone is beneath me.

gosh..........!

 

[BurningSkies]

A lot of people on here have settled with having the rather sad hobby of buying bass equipment. Sure, they might say "What makes it so different to liking cars?" or whatever, but really having a collection of boutique basses is not worth it.

I'd rather have 3 basses eventually - a 12 string tri-octaved one, 4 string vintage (or reissue) Jazz/Precision, and a modern bass. These could cost probably $6000 I'm guessing - and I bet I could make a lot better music than the vast amounts of guys on here who seem to collect and look at their basses more than they play them.

What a load of $@*!.

Most of the people here PLAY their basses. I have 5 of them, they're a 'collection', but they get used. I've been gigging for about 20 years and have used every bass I have on stage and in the studio. I'm not the exception to the rule. Most of the guys here are PLAYERS. Its easy to talk big about how you can 'make a lot better music than the vast amounts of guys on here' but somehow it sounds like all talk. Seems like someone is sore that others can afford nice gear.

 

[Brad Johnson]

I think it's a decreasing returns situation. All of this said "generally" and to illustrate a point. Don't ask me for model comparisons, that's not what I'm getting at:

An $800 bass might sound and feel twice as good as a $400 bass.

A $1600 might sound and feel twice as good as the $800 bass.

A $3200 bass might (might) sound and feel twice as good as the $1600 bass.

Beyond that, I think mostly you are paying for rare materials that don't have a distinct effect on tone or playability.

[Invalid or Expired Link Removed] is what Marcus Miller thinks.

Marcus "says" that yet plays a fretless Fodera.

Hmmm...

Generally speaking, I've found that none of those ratios hold water IME. I've never been in a position where I thought "This sounds twice as good as that" or "This is 34% easier to play". OTOH I have a/b'd instruments and come away thinking "Wow, this really didn't hold it's own against that".

The price is the price, it has little to nothing to do with what the ultimate result is IME... too many other variables to quantize it as such.

 

[Brad Johnson]

That's a pretty boastful claim.

I've always wondered who people are talking about when they mention the "vast amounts of guys" at TalkBass who collect basses rather than play them. I can honestly only think of a couple off of the top of my head that have shown that they have a collection of boutique instruments but little in the way of playing skills (not that there's anything wrong with that either).

For example, I have a few really nice basses and I like looking at them and sharing pics with folks who are interested in them. But I also have had my recordings and samples available for anyone to listen to linked in my sig and other places, like the TalkBass compilation CD. Maybe it's because I go out of my way to check out the recordings posted by most of the users here. Can you really think of that many users who post about their boutique instruments and have proven that they are terrible players? Or are you just assuming that because they buy nice instruments and like to talk about them that they can't play?

*raises hand*

I have a bunch of basses. In spite of that, I (think I) can play. I took two nice ones out yesterday evening on a short gig and made $200. On Monday I'll take two more out. On Thursday, I'll do the same. Then I'll do it again next Saturday. That's potentially using 8 different basses in the course of about a week. Why? Because I like them.

I play part time and I seem to be in demand (knock on wood) in spite of having a lot of basses. Guess I'm just lucky.
That should take care of strings for a while.

I find myself in the strange position on not really considering myself so much a "collector" as an opportunist who finds killer basses I can gig with and, ultimately, make money. And yes, I do gig with most of my instruments. That's why I got most of them... and they pay for themselves.

 

[Brad Johnson]

What a load of $@*!.

Most of the people here PLAY their basses. I have 5 of them, they're a 'collection', but they get used. I've been gigging for about 20 years and have used every bass I have on stage and in the studio. I'm not the exception to the rule. Most of the guys here are PLAYERS. Its easy to talk big about how you can 'make a lot better music than the vast amounts of guys on here' but somehow it sounds like all talk. Seems like someone is sore that others can afford nice gear.

Without knowing the capabilities of the vast majority of people here, it's a pretty ___ statement to make. Heck, "I" wouldn't make it, even if I didn't know it was true

Who exactly is he talking about anyway? This should be fun.

 

[JacksonsMen]

A wish come true.

dum dum chshhh

 

[Fuzzbass]

I have a Fender and a Sadowsky. I appreciate the extras on the Sadowsky: it has clearly superior fit and finish, a more even response up and down the neck, fancier wood. But I don't play any better on Sadowsky than I do on Fender. In other words, I don't need it.

I've always said that if I ever ran into desperate financial straits, I'd sell all my pricey basses and get an import Fender, Lakland, or MTD. I'd do just as well on them. Korean/Mexican gear doesn't have the "gee whiz" factor of boutique or even MIA gear, but the music I'd play on it wouldn't be any worse than on my current stable.

Don't get me wrong: I love my Sadowsky and think it was worth the $$$ (if I didn't have the money for it I wouldn't say that... no gear is worth the $$$ to those who can't afford it). But I honestly don't believe players *need* spendy gear, aside from guys who play basses with 8 or more non-doubled strings: they've gotta go the boo-teek route. Or a guy like Michael Manring: his Zon Hyperbass.

So - why do most famous players use boutique or custom shop axes? Because they can easily afford 'em, and want the "gee whiz" factor of having unique gear.

 

[calebplaysbass]

Geddy and Jaco played pawn shop basses that cost them a couple hundred bucks tops. Entwistle often played all kinds of basses he'd buy off-the-shelf here and there or assemble himself from parts left over from smashing whole ones. The list is nearly endless.

Yes geddy played a pawn shop bass. But he also played Rics and Steinbergers and Wals which probably cost a chunk of change. Entwistle did do the whole off the shelf thing. But he also had an arsenal of custom made Alembics or from various other makers.

So i guess what i believe is that custom made basses are a great way to get exactly what you want with no risk of construction flaws or other things you don't like(unless it's a wish ) but you could always get lucky and find that bass of your dreams hanging on a pawn shop wall for a fraction of the price.

 

[The Mule]

Within a year after I started playing bass I had a collection of four Alembics (all bought secondhand, each and every one of them were great deals). I couldn't rationally justify having this collection when compared with my 'modest' playing skills, but I never felt the need to do that. I bought them with my own hard-earned money, I loved playing every single one of them, I loved looking at them, working on their setup etc. etc. Great fun and a very useful learning experience.

But as time went by I went searching for my own sound and basses that fitted me like a glove. At this moment I own one boutique bass, one middle class bass and one budget bass (and one project bass just for the fun of it). Because I'm not afraid to change the collection rather than holding on to every instrument so I consider myself to be a player, not a collector. But I dig both kinds of people, I understand their motives and love 'talking bass' with all of them. IMHO everyone can learn form everyone and it makes you a nicer and more openminded person in the process. Would be a good concept for some people around here to explore for themselves...

 

[The Mule]

Link Removed

 

[lump]

So all expensive basses are "better"? What if I find that fancy woods make zero difference to my playing and tone? What if I feel most of them look silly? What if I don't like active electronics or $1500 inlays? What if I find that lessons and practice make exponentially more difference in my playing and tone and ability to get paying gigs than a smaller neck gap (or whatever failings people kid themselves that all sub-$2000 basses have)?

I might then still like to have something costly, but I won't pretend I need it or go on with all manner of weak rationalizations (not saying your post is, but many are).

Wow--you have issues, dude. Why are "rationalizations" even necessary? It's just a piece of wood. Everyone here is worthy of a nice one. Even you.

The only reason you feel uncomfortable with your purdy boutique hammer is that you give a rat's @$$ what others think. I don't. If someone doesn't like my hammer, they can bl** me.

I'm sure there are plenty of $200 Holy Grails hanging in pawn shops waiting to be snapped up. I just have no inclination to try to track them down. I'd rather spend the cash on what I know is a reliable product and get on with my life. While YMMV and all that crap, based on my PURELY ANECTODOTAL experience, I think it is reasonably safe to say that IN GENERAL, a $3K bass made by a reputable luthier will be a more consistent product than a $300 mass production bass.

If a $300 bass floats your boat, rock on. But why begrudge others who make a different choice?

 

[bassplayer2106]

Last June I finally bought a used but mint Alembic Stanley Clarke deluxe.
I'd wanted one for over 20 years but it took until last year for me to finally get it - to me it's the best bass that I've ever owned.
I've previously had Wals and Jaydees etc which used to be a lot cheaper especially in the UK.
I just love the thing to bits - it gets played for a least 4 hours everyday and then gets polished off and put back on its stand.
I look forward to playing it - not just to playing bass, because it is my dream bass.
On recordings it just sounds so right - every engineer and producer that has heard it has commented on it.
So called boutique or to use a better phrase , custom guitars are in my opinion worth every penny/cent but at the end of the day if you can get 'your sound' from a £200 MIM precision then that's that's cool .

 

[lump]

Smash,

I suggest you have issues because you are the one who came in here with guns blazing. I can't find a single post in this entire thread suggesting that boutique basses are the only way to go. In fact, everyone has been pretty much been "whatever floats your boat" other than you. You are finding slight where there is none. Obviously, the subject has touched a nerve.

And by the way, if your $5 hammer is a metaphor for a vintage Fender, it's actually a $9,000 hammer.

 

[zink182]

ok lets say I was famous and all the kids would go and buy a MIM just like me they could never get my sound.. the fact is that most artists always modify there instruments slightly.. strings are enough to completely change your sound..

but for my tastes..

this owns

this

 

[hasbeen]

there's lots of stuff going on here-
* reverse snobbery- this is a real practice. I have a friend who won a $3000 Breitling watch but insists on wearing his $30 Timex. Not because it doesn the job but because it makes a statement that "I'm better that the guy with the Rolex is needs the status". I always tell him that I'm not so why don't you let me give you my Seiko watch for that little old Breitling over there?
* Another stance here is that boutique basses are all about looks/cosmetics/fancy wood. My high-end basses are ash except for one. When I buy a bass already made I don't care if it is purple, pink, quilt or flame. I test it unplugged to see how it resonates up and down the neck. If it is one of those "special" instruments that I find tough to come by, I get it even if it is flame/quilt. If I'm ordering one to be built it is natural ash.
* With many of the Fender type boutiques, it is about material selection....the sound quality of, not just the looks. Mike Lull, Dan Lakin and Sadowsky go to trouble to pick the right wood. Hence, their ash bodied basses come in at the weight that they (and I) like. All of them have said that light weight ash is relatively easy to get as long as you pay for it. I find it funny that they all say its easy to get yet 90% of the ash Music Man Rays I pick up weigh well over 10 pounds.

I drive an 8 cylinder SUV. A guy driving a hybrid car this past summer decided to take me on about what I drove. He asked me why I need it. I said I don't but last I looked, in the USA we can get something because we want it. At least for now.

 

[hasbeen]

further-
I really love my job. I work with artists and artisans all day. A bass to me is a tool yet I appreciate well made tools. Artisans are more and more rare as people these days often can't distinguish quality and/or don't care to pay for it.

Heck, this is just me but all other stuff aside (tool aspects) I'm happy to give the Roger's, Mike's and Dan's my business because I appreciate what these artisans do. It is evident they give a damn about what they put their name on and I respect that. We do our best to emulate that with our product so I recognize in others.

 

[hasbeen]

wow, I'm chatty this morning-
Story:
I was doing a bass demo at an event last fall. While I was playing (a Fender patterned boutique bass) Will Lee walked up. He was listening and looking at my right hand, not the headstock of the bass.

He asked if he could play. Sure! I handed him this plane looking boutique bass and he started playing. After only a few seconds he said "holy crap, what I nice Jazz bass". At that point he turned it to look at the headstock. That's when he saw who built it. So, without any pejudice one way or the other, he heard and felt "the worth of it".