Ibanez Roadgear RD500
Ibanez Talman
Cort Action Series
Ibanez Talman
Cort Action Series
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Basses you love that don't get enough recognition
- Thread starter birminghambass
- Start date
Not my go-to bass by any means (It's a Fender P/J of course
) but I really like this little fella, 1965 Gibson EB-3, with a tiny mod (different choke) this thing is usable in many types of music and other bass players are always curious about it when I bring it to jams, one guy posted it on stupid, errr, i mean facebook once he was so impressed by it, "Look what someone brought to my jam"
) but I really like this little fella, 1965 Gibson EB-3, with a tiny mod (different choke) this thing is usable in many types of music and other bass players are always curious about it when I bring it to jams, one guy posted it on stupid, errr, i mean facebook once he was so impressed by it, "Look what someone brought to my jam"
Jeff Berlin was key in this bass' development, and pimped them for quite a while... It was only after he and Peavey parted ways that he started taping the headstock... Definitely a great bass!!
-robert
Early 1980’s Tokais - spectacular.
These were completely restored by Mike Lull, Genius Luthier - RIP.
Forever basses
These were completely restored by Mike Lull, Genius Luthier - RIP.
Forever basses
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Here in Nashville, among guys that 'know' what they're looking at, these scarce Tylers are almost 'just name your price, I've got my checkbook'.
I think the Yamaha offerings are extremely solid in general. Breaks my heart see them resale for a fraction of the price.
I'm partial to the shape/ sound of the SB 500
I'm partial to the shape/ sound of the SB 500
Two sentimental favorites that I think foreshadowed today's axes . . . . in the 80's. TUNE was derailed by losing his control over their designs to Samick for markets outside of Japan, and have never quite recovered or came out with the rush of designs they did in the 80's, which would be hard for anyone to match.
The BASS MANIAC:
To me, the true beginning of a full 34" scale with the body and head shrunk down to minimums in a traditional shape. He made his own hardware and electronics. One of the first P/J off the rack basses, that tiny head with almost overlapping string paths, 24-fret neck with great access and great balance. The spiritual godfather of the Ibanez Soundgears, the first ones look exactly like these. P Bass Lytes, Soundgears, and all compact long-scale instruments owe this original design some props.
And The TUNE WB:
Another design jump by TUNE in the 80's. Semi-hollow, piezo only (with the electronics done by Ron Wickersham and Alembic in a contract job), unlike anything else at the time. Any number of currently available axes like this all lead directly back to this bass.
These axes are still made in Japan by the original owner in small numbers, and elsewhere by Samick. To think these designs are from 30-odd years ago and are still templates for more than a few current axes says to me just how groundbreaking they were, and still so useable today. That they were so groundbreaking amidst their contemporaries of that day (Yamaha BB, Ibanez Musician, Aria SB, and more) says a lot.
The BASS MANIAC:
To me, the true beginning of a full 34" scale with the body and head shrunk down to minimums in a traditional shape. He made his own hardware and electronics. One of the first P/J off the rack basses, that tiny head with almost overlapping string paths, 24-fret neck with great access and great balance. The spiritual godfather of the Ibanez Soundgears, the first ones look exactly like these. P Bass Lytes, Soundgears, and all compact long-scale instruments owe this original design some props.
And The TUNE WB:
Another design jump by TUNE in the 80's. Semi-hollow, piezo only (with the electronics done by Ron Wickersham and Alembic in a contract job), unlike anything else at the time. Any number of currently available axes like this all lead directly back to this bass.
These axes are still made in Japan by the original owner in small numbers, and elsewhere by Samick. To think these designs are from 30-odd years ago and are still templates for more than a few current axes says to me just how groundbreaking they were, and still so useable today. That they were so groundbreaking amidst their contemporaries of that day (Yamaha BB, Ibanez Musician, Aria SB, and more) says a lot.
Cort basses. Which is funny because the manufacture a lot of basses for other companies that get more recognition. I used to play a butterscotch Cort Action 4 that I really regret parting with.
I would say the P bass for the fact that some folks have the "NERVE" to call it a one-trick-pony.... 
Joking aside, I think the Squier VM basses are solid basses for the price and are not considered a "real" bass to some players.
Joking aside, I think the Squier VM basses are solid basses for the price and are not considered a "real" bass to some players.
For me it is the Warwick Thumb bass that gets crapped on all the time that I love and the Warwick Dolphin that gets no credit.
There are a couple of each in this family photo.
Was just scoping those out on Eastwood. How does it sound? As P-like as it looks? Kinda Mustangy?
Jerry Jones Longhorn. Of course, they get respect here on TB, and some producers regard them as secret weapons, but other than that, not too much awareness of them out there..
Nice!
Had a Ripper when I was a teenager back in the early 90’s. Of course, back then I wanted a pointy, hockey stick necked bass instead. Eventually, I either pawned it for gas money or some other dumb teenage expenditure (likely for catering a keg party).
Anyway, fast-forward to a few years ago, I found the case for it and listed it for sale. The gentleman who bought it brought his Ripper with him to make sure it fit (his had Gotoh tuners). When I saw his, I instantly had a “what was wrong with me?” feeling of regret. I felt just like my Dad would when went to classic car shows.
- Older Schecter J and P copies from over 25 years ago.
- the already mentioned Tyler basses.
- the already mentioned Tyler basses.
It'd be my Chapman MLB-1, I suppose.
My local store had both the 4- and the 5-string version in at a discount when I bought the 4-stringer last year, and to my knowledge the 5-stringer is still gathering dust there to this day.
It doesn't seem to sell, and I can scarcely believe why. Both the 4- and 5-string versions of it sound fantastic, are amazingly playable with fast necks, incredibly lightweight and (to my eyes at least) straight up beautiful. I just love the silky smooth finish of it.
My local store had both the 4- and the 5-string version in at a discount when I bought the 4-stringer last year, and to my knowledge the 5-stringer is still gathering dust there to this day.
It doesn't seem to sell, and I can scarcely believe why. Both the 4- and 5-string versions of it sound fantastic, are amazingly playable with fast necks, incredibly lightweight and (to my eyes at least) straight up beautiful. I just love the silky smooth finish of it.
Dial Humbucker EBMM Sterlings are wonderful but seem to fly under the radar for some reason.
Under-the-radar bass I own:
1) One of my basses is a LTD HTB-600, Henkka T. Blacksmith (Children of Bodom) sig model. I bought it for an absolute steal preowned and was originally meant to be a backup. It was sitting around collecting dust at the store. I figure nobody wanted it because it had an unconventional body shape and a big ol' COBHC graphic on it. Metal elitists saw Children of Bodom as a commercial band so those circles would label you a poseur for having that bass. I didn't care, though. When I picked it up, it played better than expected for a neglected bass, had quality components, was worth more than the $250 or so I paid for it... all it needed was some love. So I had a luthier friend give it a custom paint job, swap out the active EMGs for passive Duncans, give it a good setup... and it's one of the best sounding basses I've ever owned. I've toured up and down the east coast with it, and it crushes. I've thought about retiring that bass from the stage, but it doesn't want to quit.
Under-the-radar basses I don't own, but have tried:
1) Fieldy gets a negative rap among bassists, but one time at a music store I played an Ibanez K5 just for the heck of it. It was one of the early 2000s models with the padauk body. And I must say, it was a much better bass than I anticipated. There is that stigma regarding signature model instruments, particularly Fieldy's, and that whole mentality of "I don't want to be/sound like that guy"... but I'm not Fieldy. When I played that bass, I sounded like me. I EQ'd it the way I like and it sounded quite good.
2) Another time at a music store, I managed to play one of those Ibanez Ergodyne A basses. Yeah, the luthite body had an odd odor to it, the tuning pegs where you wind the strings backwards made me scratch my head, and the tone was a bit cold and boxy... but damn the ergonomics of that bass were incredible. The body balanced incredibly well, the bottom cutaway really let me dig in deep for pops, the top cutaway gave me several places to anchor my thumb, it truly felt like an "ahead of its time" futuristic bass.
3) Ibanez SRX line. A friend of mine had an SRX500 and I really dug that bass. Pity the SRX line didn't catch on, because I loved those necks. SR necks were too skinny, BTB necks were too chunky, but SRX necks were just right.
1) One of my basses is a LTD HTB-600, Henkka T. Blacksmith (Children of Bodom) sig model. I bought it for an absolute steal preowned and was originally meant to be a backup. It was sitting around collecting dust at the store. I figure nobody wanted it because it had an unconventional body shape and a big ol' COBHC graphic on it. Metal elitists saw Children of Bodom as a commercial band so those circles would label you a poseur for having that bass. I didn't care, though. When I picked it up, it played better than expected for a neglected bass, had quality components, was worth more than the $250 or so I paid for it... all it needed was some love. So I had a luthier friend give it a custom paint job, swap out the active EMGs for passive Duncans, give it a good setup... and it's one of the best sounding basses I've ever owned. I've toured up and down the east coast with it, and it crushes. I've thought about retiring that bass from the stage, but it doesn't want to quit.
Under-the-radar basses I don't own, but have tried:
1) Fieldy gets a negative rap among bassists, but one time at a music store I played an Ibanez K5 just for the heck of it. It was one of the early 2000s models with the padauk body. And I must say, it was a much better bass than I anticipated. There is that stigma regarding signature model instruments, particularly Fieldy's, and that whole mentality of "I don't want to be/sound like that guy"... but I'm not Fieldy. When I played that bass, I sounded like me. I EQ'd it the way I like and it sounded quite good.
2) Another time at a music store, I managed to play one of those Ibanez Ergodyne A basses. Yeah, the luthite body had an odd odor to it, the tuning pegs where you wind the strings backwards made me scratch my head, and the tone was a bit cold and boxy... but damn the ergonomics of that bass were incredible. The body balanced incredibly well, the bottom cutaway really let me dig in deep for pops, the top cutaway gave me several places to anchor my thumb, it truly felt like an "ahead of its time" futuristic bass.
3) Ibanez SRX line. A friend of mine had an SRX500 and I really dug that bass. Pity the SRX line didn't catch on, because I loved those necks. SR necks were too skinny, BTB necks were too chunky, but SRX necks were just right.
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