Dedicating yourself to only 1 Bass

[ThaCoast]

NAH. Like many others here who have multiples, each of my gear plays differently. They all have their particular tones & it makes swapping between each a breeze when i'm looking for the sound in my head to record with.

 

[The Deep]

I have dedicated myself to only one woman.

Now only one bass too? Er......no.

 

[Mastermold]

Victor doesn't have "a" Fodera. He has lots of them.

Stanley Clark had two main Alembic basses (one red and one brown), but he played and still plays lots of basses. (Interesting trivia. Stabe Bailey and Victor Wooten now own the red and brown Alembic basses).

Flea has been through several different brands. There's no one bass he's associated with anymore.

Geddy went through all kinds of basses. He has hundreds.

Billy Sheehan hasn't played his "wife" much since Talas. And he plays a different Yamaha every time I see him.

I like different basses for different gigs.

Bingo!
Basses don't all sound or play alike. If I ever get to where I only wanted one sound then maybe one bass would do but I like how different instruments play and sound. So I buy them.

 

[Rip Van Dan]

No.

I play each of my basses differently. I love them for different reasons. And I’d be bored with just one.

Full disclosure, they’re three very different basses (Jazz, Rick, JP90). I’m not one of these guys that owns three or four of the same model.

I've had a total of 4 basses since I started playing bass in 1965. First one was a "cheap" piece O crap Japanese bass that I bought in 1965. Bought it before I bought an amp. In 1966 I bought a 1965 Fender Jazz bass and got rid of that Japanese bass. I played that 1965 Jazz until it was stolen along with the rest of my music gear in 1976. Absolutely loved that bass. Toured with it in a nightclub group playing 5-nights a week, for 50-weeks a year, for three years. You could say I knew that bass really well.

After it was stolen I came to the stark realization that I not only didn't have the $$ to replace it, I couldn't even find one with a similar neck. In 1966 Fender/CBS changed the neck from a shallow C shape to a deep D shape, which was extremely uncomfortable to play. So in 1976 I started looking for another Jazz bass with the same neck that I knew so well.

Almost 10-years later, in 1985, I was working part time at a music store while I was picking up some college classes. We had 50 or 60 different Fender basses hanging on the wall, both P-basses and Jazz basses. I tried them all and just shook my head. Then one day this fellow brought in this mint condition Olympic White Fender Jazz with a maple neck and white binding on the neck. He didn't like it and traded it in for an Aria Pro II bass.

I had totally lost faith in ever finding a Fender Jazz with a nice neck ever again and paid little attention to it. After it had hung on the wall for three days, I finally picked it up to try it out. I played a few things on it and started smiling. Then I did the high run on the Beatles Revolution (slow version) up above and below the 12th fret and it felt exactly like my '65.

I asked Kelly, the owner of the shop, how much he's sell it to me for. He said he wanted to try to sell it at retail for a month, but if it didn't move he would make me a deal on it. That was about the longest month of my life. Kelly was good as his word and because they had made good money on the trade-in and subsequent sale of an Aria Pro II bass, he let me have it for a little less than what we gave the fellow on the trade in.

Was pretty tough to come home with the bass because I didn't have an amp to use it with, we were raising three young kids, and we were really tight on money. However, since I met my wife while I was touring in 1972, I was able to plead, "you know I've always made money playing music. It may take a while, but I will make money with this bass again." She grudgingly relented because I hadn't just made some money, I had made good money when I was touring - was able to pay in cash for the birth of our first child in 1973.

I did the old bit of leaning the butt of the bass against a closet door so I could use that door as a sounding board for a number of years. It was 1997 before I once again acquired an amp and started "making money making music". Never once regretted buying that bass. Specifics on the neck are: maple neck with 60's shallow C-shape and a 7.25 radius, rounded neck edges with white binding. Reportedly Fender only used the binding in 1966 and 1982 (some into 1983). From the part numbers in my bass, mine is very late 1982.

That's really the only bass I've used since my '65 was stolen in 1976 until about 2007 or so. I was playing in a group and we did some songs that required me to tune my E string to D. We did about 4 of those songs and after forgetting to tune back up between songs a couple of times I decided to get a 5-string, but I really didn't want to spend a bunch of money for a bass I would hardly use.

At the recommendation of a friend, I bought a Rogue LX405 Pro while they were still being made in Korea. Price was just over $200. Was amazed when I got it. It's beautiful bass with 24 frets, a 6-bolt neck, and both active and passive modes. The tuners are far more accurate than my Jazz bass, it's a couple of pounds lighter than my Jazz, Fit and finish is superb on it, and it has a surprisingly comfortable neck that I have set up with a low action.

Unfortunately not too long after I bought mine they moved manufacturing to China and quality became a hit or miss thing. I would not recommend just buying one online like I did. Go to a GC or other music store who carries them and check them out carefully. You can still find ones as good as mine, but there seems to be a lot of variation in the builds of them now.

My Fender Jazz is still my main bass. In fact, I think I've played my 5-string just once this year. And, I wouldn't even have it if I didn't need that extra low string. So for me, my 1982 "White Lady" Jazz Bass IS my bass.

 

[kesslari]

No, I don’t believe it’s important to focus on one particular bass, especially for advanced/ pro players, who’ve been playing for many years. Gary Willis, for example, could probably pickup any bass & absolutely play incredible stuff. I do think a structured daily practice regimen is vital though. I currently own 5 basses & I play them all very frequently, & they all are set up very similarly with low action. I strive to play cleanly & use a very light touch. My technique will be very consistent from bass to bass.

Gary is a funny example. You're right, he could pick up any bass and play incredible stuff.
OTOH, he talks about ensuring that all *his* basses have the exact same ergonomics, which is why there's a fretted version of the Ibanez GW bass even though they are seldom sold and seldom seen. He says it helps build precision into muscle memory.

Me? I play one bass 99% of the time, fretless Zon that fits like a glove. Other 5 string basses with similar ergonomics (particularly 34" and 16.5 - 17 mm string spacing) feel natural to me. I also have a Yamaha fretted that I use for slap stuff, different configuration (19 mm string spacing). When I play it fingerstyle I feel the difference.

 

[MegaSwing]

I had a 'one bass' policy for years, before waking up to the error of my ways. Regardless of how much you love a bass, or how much trust you have in it, it is pretty foolish for a working pro not to carry a backup. It doesn't matter a plugged damn what your hero did. Stuff gets knocked over; wires come loose; things break. So, I eventually got over that. These days, my main rationale for having more than one bass is strings. I'm not going to re-string a single bass every time I want to appreciate the difference between rounds and flats. That would be absurd. The basses already take up too much time, just with maintentance and adjustments.

 

[RVRSCO]

I think it’s fine to have one bass as your go to main player, but I also think it’s important to be diverse style wise which is only aided by the addition of other basses with different configurations. Most of my music buddies know me for playing only jazz basses. It’s what I am most comfortable on. However, sometimes a song just calls for the Musicman stingray tone.

 

[JW56789]

This is very common in symphonic circles, lots of players find that one violin, viola, etc., and play it for years, with one or two backups as prudence would require. They will often have favored bows as well.

I was struck in my Alembic days to find that Jimmy Johnson has stuck with his Alembic S2 fives to the exclusion of anything else since the late 70's. Rare for a session player, those guys can show up to track with a steamer trunk with everything delivered by cartage. I've often felt it was his way of simplifying the gear end of things, and let him master one instrument, and can amazingly describe the extremely small differences between his axes. Though I had to giggle in that even for him, the possible range of tones available in a Series Two is so huge, he uses tiny stick-on arrows to mark his 'sweet spot' in the settings !

 

[electracoyote]

In my world, I can nail it and have a successful gig with a wide variety of basses, so that's often how I roll.

I do have one particular fiver that I am more bonded with, and I have two that of them that are identical in all ways except finish/color. My bands prefer I bring two basses to all gigs, and I like to have a little aesthetic flexibility.

However, I respect and admire the mentality that bonding with one and only one bass helps you improve, progress, reach potential, etc. Without even trying I can think of a lot of very accomplished guitarists/bassists who are closely identified with one instrument.

Whatever helps you meet goals and expectations.

 

[fhm555]

In early 1990 i walked into a music store in Pensacola FL and they had a new model from Fender called the Jazz Plus. The one they had was a reverse blue/silver burst and after a few minutes of playing it i wanted it in the worst way but i was in the middle of changing jobs and moving to another state so i had to hold off.
A few months later i’m all moved and settled in to my new home, job, etc so i decide it’s time to get that J Plus i wanted. Called Rhythm City in ATL and they had three, but they were all natural ash. I asked about ordering the blue frost and found out it might be several months before it would be available so that weekend i made the drive to Atlanta and after looking at the ash bodied basses, and playing them, i got one. As i was in mid quest for the bass that was gonna take me to the next level i had a decent stack i was plowing through in search of that one. In less than a week i knew i’d found it in the Plus and sold off all my other basses and used some of that cash to buy a like new SWR Basic 350 and a Hartke 410XL cabinet. Less than a month later i started playing in a very busy band, usually working 3~4 nights a week and stayed with that group for almost eight years before it went belly up. I quickly got another job working every friday and saturday and a lot of thursdays as the local colleges weekend started on Thursday and the bars would often book bands for thursday nights or the whole weekend. I did all that work with the same rig and didn’t own another bass or amp that whole time and never had a problem. I eventually bought a second hand MIM J bass and a couple of Peavey MK IV heads and 215 cabinets for a string of outdoor shows in NW Florida in high summer when moisture at sundown is so heavy it drips from things and i didn’t want to risk ruining my favorite bass. I’ve been messing with MIM J basses for some time now and usually keep three or four (or more) around all the time and i’m having a ball with them and a couple newer amp rigs as well, but i’ve still got my Plus and the SWR Hartke rig. I think about selling the amp and cab from time to time but i’ve never once considered selling the Plus.

 

[Chris 'Wighat' Jordan]

I play one (type of) bass. All the benefits stated in the OP are real. I am one with the instrument. I played a jazz bass for a set the other night that is totally different from my usual bass and it was fine but it required my attention.


I am having a new bass made. It will have a different body, headstock and pick-up configurationfrom my current basses but the exact same neck.

 

[lermgalieu]

Here’s my deal: I have a very nice MIA P bass that I could happily play for all purposes. But our rehearsal space is 1.5 hours away and I am lazy, so I bought a MIM P to leave there. Guess what? At least for Rock I ended up loving it, and it is similar enough to the MIA that they can be interchangeable, and I have a backup if I need it. I recently got a Mustang for giggles, but I admit that it’s totally unnecessary. I have a Stingray in its case that plays beautifully but just not my cup of tea anymore sonically. I would sell it but it was a gift from my wife (and it’s really nice looking - ‘96 tobacco burst). Other than my upright and my u-bass that’s it lol. I definitely could get by with just my MIA and my upright, but it’s nice to have options.

 

[SoonerBill]

I have tried having multiples of things and it just doesn’t work for me. I raced bicycles for years and had many at a time but found myself riding only one. Same with motorcycles. Same in school when I played viola in the orchestra. Only time I really did the multiple thing was with women during my first marriage. As you can assume it ended badly.

 

[interp]

For nearly four years I’ve essentially been playing only one bass. It is the highest quality instrument I’ve ever owned, or even laid hands on. It now feels like an extension of my body and is appropriate for 90% of the material I play. I have another bass that is perfect for that other 10%.

 

[Pet Sounds]

I have way too many basses, but strangely I tend to play out with the same ol' modded '79 Fender Precision Bass with flats. It sounds good, stays in tune and is easy to eq for the room. Plus, it just feels so familiar. I don't like bad surprises at gigs, and this bass always delivers.

 

[dbsfgyd1]

Those of you who have dedicated yourself to one particular bass, what impact - if any - do you feel like it has had on your playing?

I remember watching a video with Joe Hubbard where he talks about how it's better to have 1 instrument and become intimately acquainted with it.

And if you think about it, a lot of well known bassists have one bass they are known for. Like Marcus Miller's Fender, Jaco's "bass of doom", Victor's Fodera, Stanley Clarke and his alembic, Flea and the Music Man (or Modulus), Chris Squire's Rickenbacker's, Geddy's jazz bass, Billy Sheehan and his Fender P Bass - later the Yamaha which was modeled after that Precision.... the list can go on and on.

Of course, at times these bassists also played other instruments, but for the most part seem to be known for one bass (or at least one similar style of bass).

Personally, I tend to be a GASoholic and swap basses out pretty regularly. Although, I know that it's not the bass that matters so much as the musicianship.

So what do ya'll think? Have you noticed a difference when you are monogamous to 1 bass?

To me it’s a tool. As long as you can get the job done with one, that’s great. I have 2 and they serve entirely different purposes, and I very rarely play the same songs on both.

 

[NOVAX]

As a "gear slut," I couldn't do the one bass thing these days even if I tried. I tend to change basses like Victorian women changed hairstyles...

I do generally gravitate towards Fender Jazz Basses (and Mustang basses), but even if I decided to never play anything besides a j-bass... I'm sure I'd soon have at least four or five of them lying around the house. You can't have too many j-basses, right? You can always add a new color or neck profile, no? I mean really, if you are going to have a j-bass with a Custom Shop "U-profile" you'd have to also have a Geddy profile and Flea profile and Adam Clayton profile and American Performer modern C profile and American 70s beefy profile and 60s blah blah blah profile, etc... wouldn't you? See, those are the kinds of excuses I use for "needing" another j-bass.

And that's just J basses!

 

[db59]

that's just TB heresy!!!!

 

[Brother Goose]

I cut my teeth on a P bass. Played it till the frets were almost gone . I was pretty stoked just to have a bass.

Probably the finest instrument I ever owned was a Smith BT 6 and my only other instrument at that time was a Fretless pj.

Long story short. I could be happy with an excellent extended range bass but I'd need to have a Fretless to scratch that itch . Singer-songwriter gigs, trad jazz, and indian-classical fusion just scream for my tasetless vibrato, poor intonation, and overly enthusiastic 16th note Jaco funk.

It def takes two for me.

 

[rashrader]

I’m definitely into polygamy when it comes to bass playing.