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Does the name on the headstock really matter?

#41
It's not the name that counts re: being more inspired to be a better player, it's the quality of the individual instrument. If I have a crap Fender (and yes, it does happen ;)), I won't get as inspired to be a better player as I would if was playing a good quality Squier. (and yes, it does happen ;))
 
#43
If I had a dime for every giggle or snide comment I heard when I mentioned that my main bass is a First Act Custom, I'd be rich by now. In Southern California, unfortunately, the name on the headstock seems to be everything.

I have shut several of those people up by letting them try the bass out, however. :smug:
 
#45
Acye nailed it.

The name on the headstock matters in direct proportion as to how much work you're getting.

If your playing doesn't blow them away, well, they'll just wish the Sadowsky, Laky, Fender, Boo Hoo Narrow Spacing Music Man 5 or SX was in the hands of someone who could play.

The setup should be great, so you don't have to fight to play the damn thing.
Of course the headstock matters, as in, if you're get a call to sub for a blues gig, is the 9 String flame top green burst Stammy the one to bring to the gig?
 
#49
If you think the name matters, it does. Honestly, I think many people buy basses and gear based on what their favorite bassists play or based on popular name brand. If you're told Fender is the best when you're starting off or you see your favorite player using one, you're going to believe it is the best or that it's right for you and you're going to develop brand loyalty even without a whole lot of comparison.

In some cases, certain brand names have become known for better quality (I'm not talking about boutique basses where you expect top-quality with no excuses because you're paying top dollar) and so some people by based on that.

Looks, playability, tone, weight, balance, overall feel and yes even the name play a part in what "matters" to the player. I've played some really gorgeous work of art, big name instruments that I didn't care for how they played. Top quality, top build, beautifully crafted... and not for me.

Some guys here are just starting out and may be limited in skill or budget while others have been playing for decades, have a million hours strapped to a bass, and have test driven hundreds of different makes and models and have zeroed in on what they like best - and that's what they play.

The bottom line is, the name on the headstock matters if you think it does. Play what you like (and what you can afford) and let others worry about the name game... :bassist:
 
#52
It can.

To some extent the full "experience" is important to know what the real deal with the instrument is truly capable of. In great part you're becoming more educated and knowledgeable as a result of playing something with the name you associate with that sound and tone.

Once you feel comfortable then you can branch out and see what else is out there. I think alot of mistakes are made by folks settling for something that they perceive as a knock-off and not really being truly happy. It quells the GAS somewhat, but not for the long term.

I find it better to plunk down the money, get your hands dirty with the real deal and go from there. On more than one occasion I've had the "real deal" and within six months sold it off for a copy of it that was typically less expensive or perceived as being a copy. And in doing this I don't find I've lost anything in the process but instead made some money back and found an instrument I'm comfortable with.
 
#53
I am a firm believer that a better instrument has the potential to inspire you to be a better instrumentalist, but my best examples come from outside the world of bass.

When I began playing acoustic guitar going on two decades ago my parents bought me the best $150 Yamaha they could afford. I thought it sounded like gold, until I stumbled across a Martin D-18. I knew in that instant that a better instrument could make you sound better, and that in time you would be inspired to be better.

I earned my stripes on that Yamaha, but it can't hold a candle to my Martin OM.

To me, however, the world of the electric guitar/bass is a little different. With Fenders/Squiers especially. There are so many ways you can tweak and hot-rod them that outside of resale value and your own ego the name doesn't determine the quality in as drastic a fashion.
 
#54
LowNotes1 said:
Maybe the only way to settle this issue would be to get Victor Wooten, Marcus Miller, and Geddy Lee to all switch to using Squiers, and then see if any music critics say that they sound lousy. ;)
Click to expand...

Maybe we need to conduct a experiment that i believe was done by a researcher from the University of Paris at an International compition in Indianapolis in 2010. They got 22 of top violin players to test six models, three modern models, two by Stradivairus and one by Del Gesu, the three Itailian classic were made early 1700s and worth around $10m for just those three.
The test had them wearing welders goggles rather than a blindfold, so they could see the outline of the instrument but no real discerning features markings or finishes. Each chin rest was scented so no smell of any instrument could help give it away.

They stood in a dimmed room behind a dividing curtain and each instrument passed through to them. They had to play each instrument and mark each one in terms of playability,projection, response, and tone colours.
The players preferred the newer models, and funny enough overall there was one Stad they were not keen on at all.
After each had choosen their favorite one, they could not say whether it was old or new.

So if say we could get some of the top players around that were say Fender Jazz ( Marcus and Geddy could be in) or P players and conducted the same sort of experiment and conditions with a range of genuine and copy instruments i wonder how the would fare? I wonder how my SquierJV57 would hold up if put in the P bass section? Maybe a NAMM booth test.

see the links for the details.

Stradivarius Fails Sound Test versus Newbie Violins: Scientific American Podcast

Link Removed
 
#55
Ultimately, your musicianship takes priority over the instrument. In that sense, the instrument is not so much of a concern, and certainly not the name on it. If that is your question, then no, not at all.

I will say that I play a bit differently on different instruments. But, there again, the name has zero to do with my interaction with the specific instrument; more the varying characteristics of the instrument.

Now, when you get to auditions or the studio - whole different story. And, as I mentioned above, since a player tends to interact a little differently with each instrument, one needs to be aware of those differences and try to fit the whole thing to the specific gig. In some cases, yes most definitely, the name on the headstock can determine whether the band will hire you or the sound guy will work constructively with you. Maybe more subtly, whether the band or some members of the band are comfortable playing with you, so you can focus on the music together. Making music is usually not a solo effort. One needs to be aware of all the surrounding interactions that are going on, musically and personally.

Don't know if that helps, but IME.
 
#57
bucephylus said:
Ultimately, your musicianship takes priority over the instrument. In that sense, the instrument is not so much of a concern, and certainly not the name on it. If that is your question, then no, not at all.

I will say that I play a bit differently on different instruments. But, there again, the name has zero to do with my interaction with the specific instrument; more the varying characteristics of the instrument.

Now, when you get to auditions or the studio - whole different story. And, as I mentioned above, since a player tends to interact a little differently with each instrument, one needs to be aware of those differences and try to fit the whole thing to the specific gig. In some cases, yes most definitely, the name on the headstock can determine whether the band will hire you or the sound guy will work constructively with you. Maybe more subtly, whether the band or some members of the band are comfortable playing with you, so you can focus on the music together. Making music is usually not a solo effort. One needs to be aware of all the surrounding interactions that are going on, musically and personally.

Don't know if that helps, but IME.
Click to expand...

If I audition for a band, and they base their decision on whats on the headstock, I wouldn't want to join them anyway. The band is obviously more interested in "image first, substance later"
 
#58
Who are we talking about here? I think we have several options.

1. The person playing the bass,
2. The nameless, faceless audience
3, The audience the person playing the bass THINKS they're playing to.
4. The audience the person is ACTUALLY playing to.

IMO, #1 should be the most important one. If the bassist loves the feel and tone he gets from the instrument, and it works for the type of music he's using it for, then a name is just a name. It's a tool, after all. The rest is fluff.
 
#59
I think we're definitely to the point where we're not really reading the question in the OP. the question is not does it matter to audiences, or to potential bandmates, or to your neighbor's grandmother. The question was, can it have an effect on your musicianship. Can an ostensibly "better" instrument make you want to practice harder and play better or at least not serve as an excuse when you don't put in the time to develop your skill?
 
#60
It definitely matters to Petey,

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Tabdog
 

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