Cool photo. Did I previously commend you on being so rock star skinny?
Think I did and you credited poverty?
In any case, you look on par with your cool axe, keep up the good work (rich super models are hungry too!).
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Does anyone else name their basses if so what are their names
- Thread starter Robbbb
- Start date
Cool photo. Did I previously commend you on being so rock star skinny?
Think I did and you credited poverty?
In any case, you look on par with your cool axe, keep up the good work (rich super models are hungry too!).
If I ever did credit poverty, I was joking. It's all genetics.
Being broke just gives me bad gear, bad teeth and a diet with a lot more sodium than it should.
But thanks, man!
- Jun 6, 2012
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- I don't wait 30 minutes after eating, to go swimming.
One bonus internet, for you today!!!
Alan Ace Cooper
Supporting Member
- Jan 6, 2004
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- Endorsing artist: Devon Basses, DR Strings, EMG pickups, Bag End Cabs
- Jun 6, 2012
- 4,837
- 6,859
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- I don't wait 30 minutes after eating, to go swimming.
Perhaps it wasn't you then, but in any case, yes, the "poverty" line was proffered in irony by whoever I spoke to. Maybe he was posting from Argentina.
There IS a lot of sodium in cheap food. Sugar, too, gets packed into weird places as a filler, like dollar menu burgers in the US, some of which have as much sugar as a small cola.
In any case, you look handsome and glamorous, so there's that. Rock on!
Francine is the one in the picture. She is my brunette. Daisy Mae is my big blonde named after the blonde in the little Abner cartoon (she is upright, unless she is laying down). Also play with Blackie (a Sandberg J bass) and recently Thunder has joined me (Schecter extreme 4) and soon there will be the most incredible P bass hand made by John Kallas. She will be named too.
As has been mentioned, I call my basses what they are. My P bass is "P". My jazz bass is "Jazz". My Reverend is "Rev" or "Reverend". My Dingwall is "Dingwall".
I am having two basses built. One will be a PJ...and I suspect I'll call it "PJ". One will be a custom build that doesn't really fit in a category. Rick Wilson of Moonshine Custom Guitars is building it. It will be finished in blueburst. So it might get a name. Maybe "Ole Blue".
I am having two basses built. One will be a PJ...and I suspect I'll call it "PJ". One will be a custom build that doesn't really fit in a category. Rick Wilson of Moonshine Custom Guitars is building it. It will be finished in blueburst. So it might get a name. Maybe "Ole Blue".
Never thought about it but I guess I would name my two IBBY's Black Widow and Silver.
I wasn't going to join in but my daughter wanted her's noted.
Mine are as follows:
The SG
The Fender
Junior: Gretsch Jr Jett my very first upon returning to the bass world
My Daughter's:
Erica's bass and if you touch it you die- Hofner HCT 500/1 Contemporary
She is a bit possessive.
Bob and Erica (you touch her you die) ;{)
Mine are as follows:
The SG
The Fender
Junior: Gretsch Jr Jett my very first upon returning to the bass world
My Daughter's:
Erica's bass and if you touch it you die- Hofner HCT 500/1 Contemporary
She is a bit possessive.
Bob and Erica (you touch her you die) ;{)
That headless is really interesting looking? What model is that and can you expound a bit on your experience with it?
- Oct 18, 2012
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- Endorsing Artist: Fender, Spector, Ampeg, Curt Mangan, Nordstrand Pickups, Korg , Conquest Sound
I have never named a bass, car or any inanimate object. I honestly find it silly and don't understand why people do it.
When I was in grade school I named my first bass Thor. Since then I've been through the desert on a bass with no name.
It's a Mikro 28.6? scale. I added a cheap preamp and a headless setup (I'm on a severe budget). I also added a SD 1/4 pound bridge pickup for honk. It feels really comfortable to me.
I suck but here I am with the Mikro with the headless mod but before the preamp and 1/4 pound upgrade. It sounds much better with the upgrade. I'm going through a Line6 Toneport UX2.
Only basses that I am unlikely to get rid of get names.
My named basses are as follows:
My named basses are as follows:
- Sweet and Lowe -Epiphone Thunderbird IV Classic Pro (Named after Garry Lowe from Big Sugar who passed away from Cancer)
- Oni - Ibanez RBK 900 (As this is a made in Japan Premium Range Ibanez this bass is called Demon in Japanese)
- Maybellene - Fender Frankenjag (I named this bass after the Chuck Berry song of the same name.)
- Julie - Fender Players Series P-Bass (Buttercream p-bass named after the girl in The Clash song Julie's Been Working For The Drug Squad
I was watching an old Late Night with David Letterman on Youtube the other night and saw BB King admit that there had been "many, many" a 'Lucille' throughout his career. In other words, he stuck with the moniker and gave it every subsequent #1.
Brilliant bit of branding, as everyone in his day knew of "Lucille." And of course changing up or replacing instruments is not something the casual punter gives much thought to in any case, so no need to throw a spotlight on such details unless a snarky David Letterman asks a gauche question.
more info...
Lucille's beginnings date to 1949, when King, then in his early 20s, was performing at a nightclub in Twist, Arkansas, in the dead of winter. To heat the cold room, King recalled, "they would take something that looked like a big garbage pail, half fill it with kerosene, light that fuel [and] set it in the middle of the dance floor." All well and good, but on this night, a fight broke out between two men, and the pail was knocked over. "It spilled on the floor, it looked like a river fire," the guitarist said. "And everyone started to run for the front door, including B.B. King."
The blueseman managed to make it to safety outside — only to realize he had left his guitar behind. He raced back inside to retrieve it even as the wooden building, he said, "started to fall in around me." The next day, he learned that two men had died in the blaze and that the fight that had set off the tragic chain of events had been over a woman who worked at the club. Her name was Lucille.
The original Lucille — the guitar King rescued that night in the fire — was an inexpensive, small-bodied Gibson L-30 archtop. The singer would go on to play a range of guitars over the ensuing years, attaching the Lucille name to each one. He was particularly drawn to Gibsons of the semi-hollow "ES" (Electric Spanish) variety, such as the ES-335 model that can be heard on his legendary 1965 disc, Live at the Regal. He eventually arrived at the ES-355, a top-of-the-line model boasting stately looks (gold-plated hardware, multi-layered binding, big mother-of-pearl fretboard markers) and a sharp but sweet tone bolstered by dual humbucking pickups and stereo and mono outputs.
Brilliant bit of branding, as everyone in his day knew of "Lucille." And of course changing up or replacing instruments is not something the casual punter gives much thought to in any case, so no need to throw a spotlight on such details unless a snarky David Letterman asks a gauche question.
more info...
Lucille's beginnings date to 1949, when King, then in his early 20s, was performing at a nightclub in Twist, Arkansas, in the dead of winter. To heat the cold room, King recalled, "they would take something that looked like a big garbage pail, half fill it with kerosene, light that fuel [and] set it in the middle of the dance floor." All well and good, but on this night, a fight broke out between two men, and the pail was knocked over. "It spilled on the floor, it looked like a river fire," the guitarist said. "And everyone started to run for the front door, including B.B. King."
The blueseman managed to make it to safety outside — only to realize he had left his guitar behind. He raced back inside to retrieve it even as the wooden building, he said, "started to fall in around me." The next day, he learned that two men had died in the blaze and that the fight that had set off the tragic chain of events had been over a woman who worked at the club. Her name was Lucille.
The original Lucille — the guitar King rescued that night in the fire — was an inexpensive, small-bodied Gibson L-30 archtop. The singer would go on to play a range of guitars over the ensuing years, attaching the Lucille name to each one. He was particularly drawn to Gibsons of the semi-hollow "ES" (Electric Spanish) variety, such as the ES-335 model that can be heard on his legendary 1965 disc, Live at the Regal. He eventually arrived at the ES-355, a top-of-the-line model boasting stately looks (gold-plated hardware, multi-layered binding, big mother-of-pearl fretboard markers) and a sharp but sweet tone bolstered by dual humbucking pickups and stereo and mono outputs.
