I have 4 basses, and that is more than enough for me.
I don't have a fretless though.......
I don't have a fretless though.......
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basses (and guitars) - how many is too many?
- Thread starter pcake
- Start date
The answer is none... none too many
For me, too many / much is anything I'm not using and don't have plans to use in the foreseeable future. I'm a bit compulsive about getting rid of stuff, sometimes a bit too quickly, and then I end up having to re-buy it later on.
Right now, I have three basses. I could do with just two of them, fretted and fretless 4-strings. The other doesn't get any use, but I'm resisting getting rid of it because it is one of the very few material possessions I own that has any sentimental value for me.
Right now, I have three basses. I could do with just two of them, fretted and fretless 4-strings. The other doesn't get any use, but I'm resisting getting rid of it because it is one of the very few material possessions I own that has any sentimental value for me.
I had too many basses half my collection ago 
20 basses & 41 guitars. I probably have too many but there's a few others I'd like to have.
I think more than one is too many. Having said that , I think I have 14 right now.
I think I've got 6 bass guitars and an upright, plus several guitars in various states of repair and playability.
I don't know if I have too many, but I definitely have enough.
I don't know if I have too many, but I definitely have enough.
I have 6 guitars, 5 basses, an acoustic of each (bass, guitar) and a banjo.
I still want more.
I still want more.
For a long time I thought that seven was the magic number. Now I realize that was folly! 
I like to give them room to breathe - so spaced on all the available walls and halls 'one about every three feet' is a good formula...
I like to give them room to breathe - so spaced on all the available walls and halls 'one about every three feet' is a good formula...
I think the Einstein picture in post #18 deserves some thoughtful consideration. Music is by nature an emotional exercise. The emotions felt by the composer and performer are the same ones they attempt to evoke in the audience, thereby conveying the whole mood of the work (both intellectually and emotionally). If the audience isn't moved by a work, it loses its power. A performer chooses their gear (or "tools of the trade") based on a number of factors. Among them is the ability to amplify the emotions. A dead sounding, antiseptic, generic, downright BORING tone may be what is needed for a song brooding about a lifeless existence. It is not the first choice for anything else. Why do we spend so much money on pickups, bridges and fancy mods? To make our instruments give life to our music, thereby projecting the desired emotion to the audience. Now that that concept has been hammered home, it's time to figure out which gear is most efficient in providing it. This is where it gets tricky. How many emotions are present in a given piece of music? Which combination of gear choices will best display them? At a typical gig with many songs, which is the best combination of gear to fully share all of those emotions with the crowd? That's not to mention that the performer (i.e. YOU) has their own set of emotions added to the mix, too. Now that has to be accommodated. This will result in a large warehouse full of instruments for those more emotional performers and only one for those with little imagination or purpose. This never-ending quest has only one dreadful and despicable outcome: WE WILL NEVER TRULY KNOW WHAT IS THE BEST BASS FOR METAL!!! 
The only time I think about it is this time of year when the AC is off and the furnace gets turned on. There are 24. Some of them need their truss rods tweaked. And fret sprout happens occasionally. I'm one of those who believes basses are meant to be picked up and played often so they hang on walls. The maintenance can get to be a little tedious.i'm having a barely suitable time keeping up with 6 axes. it requires some work (compared to having one) and sometimes i get a little behind in the maintenance.yet i'm getting ready to bring in a 7th....scary!
and i have the pleasure of playing my 'creations', mods and parts axes. i really like being able to pick up different axes, each with a slightly different feel, and enjoy both the differences and the similarities.
i've only had this experience in retirement. it's fun. it's indulgent. and of course, it's really, really fun.
I'm not even really sure how many bases I have anymore.........12? 14?
Most I've stabled at one time and playing a lot is (8):
Alembic Series One 4 string 32" scale
Steinberger XM-2
MMSR4 Fretless
Fender AVRI '57 Precision (relic, of course, real sweet)
Custom 4 string
Pedulla MVP5
Guild EB-30 Acoustic (jumbo body, 30", piezo)
Chapman Stick (that counts!)
These days...
I have one custom Precision Bass and that's all I need.
Centerfold....it's just more fun!
It's great being good with having one Bass, no envy...
Alembic Series One 4 string 32" scale
Steinberger XM-2
MMSR4 Fretless
Fender AVRI '57 Precision (relic, of course, real sweet)
Custom 4 string
Pedulla MVP5
Guild EB-30 Acoustic (jumbo body, 30", piezo)
Chapman Stick (that counts!)
These days...
I have one custom Precision Bass and that's all I need.
Centerfold....it's just more fun!
It's great being good with having one Bass, no envy...
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Martin Keith fretless Elfin 5 with TI Jazz Flats.
Martin Keith fretted Elfin 5 with D'Addario XLs (40-125).
Rickenbacker 4004L with TI Jazz Flats.
Rickenbacker 4004L SPC with TI Jazz Rounds.
Custom Martin OM-18 - standard tuning (most of the time).
Yamamoto Talus VS-12 - usually stays in DADGAD, although it is currently in open D.
Taylor NS-62ce - always in standard tuning.
Yamamoto MS-12 - usually in DADGAD, occasionally, some other tunings.
I've been fine with these eight instruments for many years now, then, last Thanksgiving time a 1978 Guild B-301 came home to live with the other instruments! It is currently strung up with a set of D'Addario Super Soft Chromes (40-55-75-95; the stock 60 D was replaced by the 55 to produce a nicely balanced set).
Martin Keith fretted Elfin 5 with D'Addario XLs (40-125).
Rickenbacker 4004L with TI Jazz Flats.
Rickenbacker 4004L SPC with TI Jazz Rounds.
Custom Martin OM-18 - standard tuning (most of the time).
Yamamoto Talus VS-12 - usually stays in DADGAD, although it is currently in open D.
Taylor NS-62ce - always in standard tuning.
Yamamoto MS-12 - usually in DADGAD, occasionally, some other tunings.
I've been fine with these eight instruments for many years now, then, last Thanksgiving time a 1978 Guild B-301 came home to live with the other instruments! It is currently strung up with a set of D'Addario Super Soft Chromes (40-55-75-95; the stock 60 D was replaced by the 55 to produce a nicely balanced set).
One guitar and one bass in my truck is one too many , at home I could always go with one more
Don't really play much but either have a project or thinking of one , I haul gear for a living
Don't really play much but either have a project or thinking of one , I haul gear for a living
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D
I've reached my limit. Im not saying what it is in case I change my mind but for now, my limit has been reached.
Oh, great, now I can see a reason for another pair of acoustics. The market is in the toilet to sell some of the dust gatherers at the moment though to raise the cash to buy them.
