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Does the name on the headstock really matter?

#61
Ayce said:
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"
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Ya, music's never been about image, has it? ;) Fight it or roll with it...it's your choice. But those who roll with it have a much easier time getting gigs.
 
#62
JimmyM said:
Ya, music's never been about image, has it? ;) Fight it or roll with it...it's your choice. But those who roll with it have a much easier time getting gigs.
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Right on, Boomie! As much as I don't think much of the Fender mystique, some years ago I had to break down and buy a bass with a real Fender headstock!

Now my Fenders happen to have 5 strings and I'd have to draw the line at anyone insisting on 4 strings (unless a 5er really didn't fit the music). But while I've received many a huge ration of crap over bringing the "wrong" headstock in the past, somehow nobody ever seems to count the number of strings on my Fenders! They just take one look at that classic headstock with "Fender" on it and they pad off happy as clams. (I'll spring the Modulus Q6 on them later... :) )
 
#63
I'm sorry to pop this theory's balloon but no student or pro should ever use an excuse about a name on the headstock affecting their playing abilities. If a student is having difficulty with an instrument that is poorly setup I will help to set it up properly but a well setup Squier Affinity will out perform a poorly setup MIA Bass every time.

Other than the instruments playability nothing else should inhibit anyone's ability to play up to their highest level. If the brand of what they play affects them that severely that person will always be looking to blame anything else but themselves for their lack of skills.

If I took my Squier Bass and put in a row with several other Fender Basses and they all had their brand names masked off I wouldn't guess more than 10% of the players could tell which bass was which. There may truly be bad of defective basses which inhibit playing but that has nothing to do with whose name is on the headstock.

The only bass I ever owned that had to have it's neck replaced because it was defective was a $2000 Modulus with a graphite neck and that was the most expensive bass I've ever owned.
 
#67
I think the OP is right that a better quality instrument will improve the technique of a dedicated beginner. But assuming name as a marker of that quality is an acquired taste. High quality stringed instruments can really sound like crap if played with poor technique or improperly maintained while a poorer instrument can mask technique and playability issues. So it's a bit of a double edged sword at first but it pays off in the end.

JMHO
 
#68
EagleMoon said:
Who are we talking about here? I think we have several options.
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Any player that believes he will be a better player with a top branded bass. Inferring it is the instrument not him that is holding him back,

Please remember that this is based on players that are learning, and as such all will sound different because they have not developed how to play consistent, so they look to justify there progression, or lack of it, on anther reason apart from them. Another point to remember is any new player is not qualified to critique correctly what they are doing even to the point of changing teachers, looking for new ideas, trying to find a quick way to the excellence they believe is in their grasp.......just look at some of the posts along the lines of, " been playing a year, spent a week learning Portrait of Tracy, and I suck, can anyone help me out." .
 
#69
bassbenj said:
Right on, Boomie! As much as I don't think much of the Fender mystique, some years ago I had to break down and buy a bass with a real Fender headstock!

Now my Fenders happen to have 5 strings and I'd have to draw the line at anyone insisting on 4 strings (unless a 5er really didn't fit the music). But while I've received many a huge ration of crap over bringing the "wrong" headstock in the past, somehow nobody ever seems to count the number of strings on my Fenders! They just take one look at that classic headstock with "Fender" on it and they pad off happy as clams. (I'll spring the Modulus Q6 on them later... :) )
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6 strings and graphite...nice!

You and I have similar strategies, except I use my more upscale basses as an excuse to use my cheap pieces of crap. I've got carte blanche in my band to use whatever I want as long as it's not covered in skull stickers, and I've gotten away with using some seriously cheap-ass basses at very huge gigs.

I always tell folks if all they can afford is a $100 bass and a beat up old amp, then they should show up and play it with pride and dignity, and if they're good at playing it they can still get the gig, and don't ever use it as an excuse for not playing well. But the ugly truth is that if you show up to an audition for a paying gig with a $100 bass as your only bass, you can end up fighting an uphill battle for acceptance. You don't have to spend a fortune, but psychology is a pretty big part of getting gigs that are desirable, so if you can afford to upgrade from the $100 bass, it only helps your first impression cred. Doesn't have to be a Fender either, although I have never played a gig where a Fender wasn't welcomed.
 
#73
Ayce said:
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"
Click to expand...
No, you are reading into my post what you think and missing the point. I understand your perspective. I agree that an act that would hypothetically just look at the headstock and pay no attention to the playing would not be my first choice either. I was more referring to the fact that there are an awful lot of regularly gigging bonds out there with VERY experienced players; and some of those are less impressed with a bass player coming in all geared out than coming in with a well used Fender. They don't know the other names so well; and truly this is unfortunate, because they are surely missing some of the progress. Nevertheless, it is what it is.

The band I am currently working with is composed of some really experienced cats behind some less experienced but talented front folks. Kind of the Motown model (if you will allow the blaspheme). The auditions for this band were pretty competitive. The guy after me showed up with like 8 basses - F Bass, Smith etc etc. I won the audition with a Fender MM5; and the drummer, who was a very vocal advocate in the decision making told me that part of it was I just showed up with a Fender and got down to playing. Translation: this is a gigging band and they were not looking for the next virtuoso or a whole lot of arts and crafts. They wanted a solid player and the Fender made them comfortable.

You can take away from that whatever you want. But, I am very happy with this band. Excellent players and singers. BTW, I can pretty much show up for gigs these days with everything from my Alembic short scale to my Tobias 6, and they are good with it. But, listening to the YouTube recordings, I have to be the first to admit the Fender fits like Cinderella's slipper (though I do use the Sadowsky outboard and btw the Sadowsky works like a gem as well).
 
#74
I get where you're coming from, and I may have misinterpreted the post. I was thinking along the lines of a new band comprised of image seekers who grew up on MTV, where image trumps all. Then again, with experience comes gigs comes $$$. In that regard, as I think I mentioned earlier, as you gain experience, you can afford better gear. That's just from my own experience, though.
If auditioning for an established group, then I would take my best rig, logo notwithstanding.
 
#76
For me, its a bit like women.
It's the "looks" that get ya first noticed, first touched, first played.
But as often as not, there are a lot of also-ran's and not-so-attractive pieces out there that, once you get through the flash and the bling, the real beauties emerge.
So at first, the label matters. After that, doesn't matter. So in the long run, no, it doesn't matter.
 
#79
I am slowly converting back to all american made gear. That said, all the epiphone stuff i have owned or that my son currently has has been pretty good. We have 2 epiphone acoustics in the house that are great (one is from the late 60's a J-200 copy) and a les paul special bass that is pretty decent. I just got rid of a thunderbird that was for all purposes a great bass and a great player. have a douglas and an agile guitar in the house that are also fine instruments. But.. for my stable of working gear I am using 2 american fenders and a pile of american made amps and cabinets.
 

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