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Has anyone "downgraded" from a boutique bass?

I have a Sadowsky Will Lee NYC that I love but for some types of music (roots, vintage sounds) even in passive mode it sounds somewhat modern. Sadowsky basses seem to have a certain character that is fixed. I also have a Moollon J Classic that plays and sounds just like a vintage 60's J bass and fits with roots music a bit better. It is adddition by subtraction by removing some modern overtones that exist on the Sadowsky but not the Moollon. Still experimenting....
 
yes.

it's a long story that's not particularly exciting,

but i went from handmade boutique basses to modded carvins and various other used instruments.

it was to fund a far more expensive upright purchase, and at a time in my life when i started playing less and less electric.

no complaints here. i've got a lot of cool stuff.


getting by on a modded $600 bass is not really that hard if you know what you want.
 
i had a tom clement custom bass that i really liked to play at home but had no use for it as I am mainly an upright player and i sold it to buy parts to build my own simple 4-string tele/pbass. much happier. still wish i had it around though - 6-strings are fun to play.
 
Proper blend between pickups and tone control ...

^^^ I picked up a Yamaha TRB 5 made in Korea as a 'get by' bass while I pair down the herd. Boy was I surprised. They are supposed to be somehow of lesser quality than the original Japan ones. Perhaps they degraded over time, dunno, but wow, I play nothing else now. 35" scale with 19mm spacing. 3-piece maple neck with Indian RW, tiltback head-stock, absurdly tight neck join, layered body of alder, quilted maple and some sort of mahogany accent layer ... just ridiculous and $999. And the B-string, among the best Ive ever played.

On the Hi-Fi side of things for sure and I was mostly a single coil guy but work with the pick-up (dual coil with dummy?) blend and a touch of tone controls and you can get everything from Jaco to Marcus to Gouché.

And as usual, string choice is EVERYTHING.
 
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Pull up a chair.

I owned two Alembic five-strings, a rare, red-tinted Series shape Spoiler, and a custom green tint Elan Five I had built for myself. Boutique with a Capital B.

They're everything you think they would be. Wood rarely seen anywhere else, and the woodworking and quality are in a class by themselves. They make their own hardware (even their own truss rods) and of course, mil-spec bespoke electronics and pickups. Who else specs stainless steel pickup screws so as not to disturb the magnetics in the pickups? And on and on. Nobody goes to the lengths they go to as far as building a lifetime instrument.

Some years ago, my wife's back problems backed us in the corner of requiring surgery. And as often happens, back surgery doesn't always go as hoped. She couldn't work any more, filed for partial disability, and we lost her income. And as anyone who's been there knows, Uncle Sam takes your money every week or quarter relentlessly, but file for disability and you're just gonna wait.

We were scrambling for money, and it became obvious that selling the two of them would pay our bills for several months (seven, as it turned out), so that was that and off they went. I'd bought them smart, made money on one and broke even on the other, so I'd owned two Alembics for free, couldn't complain about that ! There's no bass that's worth getting behind on bills or short-changing her, and thank goodness I could play those two cards. She comes first, and I'm glad I could do it.

But . . . . now I didn't have a bass in the house. And the play money budget was much tighter.

So I bought (the first 4 string I'd owned in 30-odd years) a Squier James Johnston Jazz Bass, as I was a sucker for that matching head Lake Placid Blue look. Then later I bought the Squier Active Contemporary Jazz 5 and the Squier P5. Amazing axes for the price, I'm in all three for a little over a grand. Wow.

So what did I find out?

While I sounded like a better Me on the Alembics, I still sound like Me on the Squiers. They're solid, stay in tune, they're quiet, and they feel right. And I enjoy playing them possible a little more as I don't have to worry about a little mark or bumping into something with an axe as grand as the Alembics. I've been around long enough to do my own setups and know what it takes to make a good bass solid, so they're fine. And the idea that I would derail our finances or put my wife out for a couple of basses was a non-starter.

It's the enjoyment, the buzz of doin' it that's simply not price dependent. It's just not. I have a ball with them and that's all that really matters to me, and were I still playing out, I would not hesitate to gig with them.

We buy instruments for hundreds of reasons, and a lot of guys ego would probably not allow them to go to Squiers after Alembics. I could, and I'm glad I did.

This is a great post, JW. You have your priorities straight, and not to sound cliche, but yeah, family first. I recently bought a 40th anniversary Squier Jazz, had it properly set up by my tech guy, and it's such a fun, solid bass to play. You have my respect, man.


 
I did get a used Squire but ended ip upgrading the electronics and hardware. I have a well done single cut probably a project not a well known maker but I paid less than a MIM Fender. Other than my Pedulla which is now my daughter's I haven't really had one.

I got my Pedulla Buzz in 90 and even then I paid MIM price for it. Current most money into a bass is my Stingray Special but it is not a boutique bass per se (not a limited, signature or BFR)
 
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Oh yeh: I moved from Alembic(s) to Sadowsky Metro. 100% better gigging bass IMO. Much easier to fit in the mix depending on all the factors that change from band to band, venue to venue, without infinite fiddling around.
I had a 2nd gen Alembic for a while. Amazing bass, amazing workmanship, super easy to play. But I just could not connect with it. Believe me, I tried hard. Then, like you say, I went to visit a friend who was selling a 60's P bass, and found in it, what I couldn't find in the Alembic. "Soul"?
 
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My three current basses are downgrades from nicer basses I used to own, but I love them more.

My main bass is an early 2000s LTD F-205 (which is one of their lower end basses; I got it preowned for next to nothing), my backup is a 2018 LTD D-5 (bought for a song as new-old-stock), and my retired bass is a heavily modded LTD HTB-600 (Children of Bodom sig model I got preowned for little coin)

Nicer basses I've owned:
1997 German-made Warwick Corvette Standard.
Had that wenge-necked beauty for years, toured with it, saw me through several bands, tone was incredible... but everyone else loved it more than I did. The bass simply didn't balance well on me standing up. It balanced well on everyone else who tried, it, though. I sold it to a jazz student (who's since finished music school and will take that bass with him to the afterlife. It's meant to be his). (Story: One time I was at a house party where a funk/soul band was playing. Their bassist let me try his Fodera. Incredible bass, but I thought, "I like the Warwick I have at home much better." So sometimes something better isn't necessarily nicer than what you have at home.)

Guitar Factory 6-string.
It was a preowned bass that was definitely a workhorse. It was built by two gentlemen in Florida who used to build basses with Michael Tobias in his early days. This was a top-notch, hand built, boutique bass crafted by true artisans using the highest quality woods and components out there. Easily the best bass that will ever pass through my hands. It was a Rolls Royce at a Chevy price. Unfortunately, it was a 12.5 pound BEAST that, even though it balanced well, ached my shoulder after 40 minutes. Were this bass closer to 10 pounds, I would still have it. It would be a forever bass. I sold it to a local bassist whose main is a Fodera and wanted a backup. He enjoys the bass a lot. Maybe it's not as refined as his Fodera, but he knows it's a top quality piece.

Spector ReBop 5.
Czech made. Excellent tone, light weight, killer B string... but it didn't balance well on me at all. Like the Warwick, it was too horizontal while I'm standing and first position felt like a miles away reach. It was a 2000s era bass, so it had the old bridge that lacked saddle screws, making intonation a hassle. I sold it to someone who loves it more.

And my "downgrade" LTD F-205 is far and away my favorite bass. It balances on me the way I like, the body snuggles against me just right, the neck feels made for my hands, the B string is good, tone/playability are what I like... so yeah, it worked out in my favor. Go figure, my "nicer" bass (my LTD D-5) is my backup. It's a fine instrument, but it's not my excalibur the way my F-205 is. I can play my F-205 with my eyes closed.
 
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I've had this argument with myself many times. I have nice basses. I don't think they are boutique. They are (Roscoe) in the $2,000 - $3,000 range, a modern active 5 and a passive P. I could sell them but wouldn't make much. They have been paid off for a while now, and one was a gift. I also have a G&L JB2 Tribute (also a gift) that I could play. It's not as sweet as the others, but certainly gig worthy. Looks beautiful. I'm going to try and get new electronics for it. I think that would really wake it up.
 
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I can only tell about my own experience: I own (and owned) some boutique bass, I really love and need them since I need extended range instruments due to the genre I play and for the sound I'm seeking both live and in the studio, but, if a 4 strings bass could have been enough, I have no doubt: a Fender Precision and nothing else, each and every time I grab my old P it feels like I'm back home after a long trip :bassist:
 
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Had all the top tier Peaveys, B-Quad, multiple Cirrus, TL-5/6, Millenniums. Alongside them are 2 Vigier and a mid 80's Tune which retailed at $2k.Not strictly boutique but not run of the mill items either.

Spent most of the last 9, soon to be 10, years playing a 51 P-bass copy; purchased new for £78. Despite 1000's of hours play that £78 bass still is original, stock tuners/bridge/pots & cap/pickup/strap buttons/jack socket; my only alteration was swapping strings to TIs.

Now the basses mentioned at the start are all active EQ, some carbon/graphite necks, some 35" scale and none of them were designed to be humble P-basses; my change in taste being the main reason to retire them.

Apples to apples would be my Fender Paisley P-bass. The sunburst photo flame finish on the £78 bass is nowhere near as pretty as the Paisley but it's satin neck is much more comfortable than the Fender's. Tone wise, the £78 pips the Paisley; it's stock Wilkinson SC is lovely, think Duncan SCPB-1 but with a bit more output.
 

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