How can Mccartney get such a great basslines out of it???
It still sound great when he plays it live, is it hard to play it??
It still sound great when he plays it live, is it hard to play it??
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Hofner basses.....not worth it?
- Thread starter 74rickbass
- Start date
I had a Hofner when I was in junior high school back in the 70's. It was a mid-60's version. I have to say that if it weren't for Paul McCartney using one for a while, I would have left in in the store. The truth is, they are fragile, have poor output, and just aren't very good. To top it off, I was forever traumaized on the day the glue that holds the neck on just gave out and the thing fell apart in my hands.
Remember, even Sir Paul said that his owning one was due to personal economics at the time
Remember, even Sir Paul said that his owning one was due to personal economics at the time
I have a 500/1 63 reissue and love it. I played it acoustically first for about 15 minutes waiting for the electricity to come back on in the store, and then plugged into an ashdown amp and was pleased w/ the vintage tone I got. It sounded even better when I played it through my Ampeg B-15. I found it extremely easy to play. I use a pick w/ it to give it more punch and for blues, reggae, and rock. They are fragile and delicate, but overall, My reissue is well made. My guitar player only wanted to play beatle covers after I brought it to practice! I don't take it out too much because I'm a klutz and dont want to destroy it. It gets third string behind my p-bass and my warwick corvette, but high in style points.
I bet the reissues are better made than the originals, but I still think the best thing about the bass is how nice it looks hanging on a wall. by he way, did someone say "Hofner" and "Reggae" in the same sentence. Only if you also say "B-15" in the same paragraph. You should have heard it through my old B-18! No high frequencies whatsoever. Yummy! Sorry about letting my sarcasm show, guys. I just could'nt help it.
If you look around, you can find real 60s Hofners selling for less than the (very pricey) reissues.
You can save even more by getting the similar model with the single cutwaway guitar body but has the same neck and pickups (the President?).
It's definitely weird when the reissues cost more than the real thing
You can save even more by getting the similar model with the single cutwaway guitar body but has the same neck and pickups (the President?).
It's definitely weird when the reissues cost more than the real thing
by he way, did someone say "Hofner" and "Reggae" in the same sentence. Only if you also say "B-15" in the same paragraph.
Robbie Shakespeare, one of the most-recorded reggae bass players of all time, used a Hofner through an SVT when he played with Peter Tosh. That was one of the main reasons I bought a cheap Hofner copy. I like that old-time thump. I haven't used it live yet, though, because it is kind of a one-trick pony, and I play a lot of different styles.
Robbie Shakespeare, one of the most-recorded reggae bass players of all time, used a Hofner through an SVT when he played with Peter Tosh. That was one of the main reasons I bought a cheap Hofner copy. I like that old-time thump. I haven't used it live yet, though, because it is kind of a one-trick pony, and I play a lot of different styles.
Thanks for backing me up Monkey. The Hofner works great for those kinds of tone, especially w/ a sans amp bass di driver. Some idiots just cant eq properly I guess.
Tell me which basses have a problem sounding "thumpy" when there are no "highs" present.
The fact is that the Hofner is a poorly conceived instrument that has to be handled like a delicate sculpture. It is not meant to take the handling that almost any old bass can deal with, without breaking. If I didn't have one, I wouldn't be so passionate about this point.
By the way, for "thump" try an old Gibson EB-0.
The fact is that the Hofner is a poorly conceived instrument that has to be handled like a delicate sculpture. It is not meant to take the handling that almost any old bass can deal with, without breaking. If I didn't have one, I wouldn't be so passionate about this point.
By the way, for "thump" try an old Gibson EB-0.
I had a Hofner back in the late 80's. It had the blade pickups and brown (factory knobs). I couldn't find a serial # on it anywhere and I think a lot of the early ones weren't numbered. I now have a Brice copy I bought from Rondo Music and I like it much better. It sounds really close to the Hofner and I think it's a lot sturdier bass. At 225. for the Brice, I can't see ever buying another Hofner. I love the sound and it's the easiest bass I've ever played.
I really dug the sound of the bass when heard it on all the Beatles albums it was played on. After I got a chance to talk to Chris Wood in 1994 I was sufficiently motivated to try to find one. Amazingly that same week I went to a local store (Mass Street Music) and looked up as I walked in the door. What did I see but a vintage 5000/1 Deluxe!
A local musician and collector had put it on consignment for $1100. After asking about the owner I got a little history about the bass. Somewhere along the line he somehow managed to break the neck off!! He apparently was a respectable instrument repairman as well and epoxied it back on with the addition of a large screw that enters in between the 15th and 17th frets into the heel block. The face of the screw was then filled in with some kind of black substance and you can't even tell it's there unless you're right on top of it. I'm convinced that the neck is much more stable now than it was when it left the factory in Germany! In somewhat of a wierd paradox he failed to realize that due to its fairly fragile hollow body you absolutely cannot use regular flatwounds. Consequently the bridge feet collapsed and there are very deep marks in the finish where the bridge sits on the top, not to mention minute cracks in the wood. Somehow the bass survived for however long in this state and that's a testament to its real-world sturdiness. I replaced the bridge ($50!) and strings ($60!) and it's been nothing but butter since.
After opening the case for the first time I noticed a zip-lock bag with a bunch of electronics inside. Apparently the original 5000/1 Deluxe basses were shipped with these "complex" active tone-shaping controls. I didn't know that they had been implementing active circuitry so early. The previous owner removed the huge panel and replaced them with simple passive volume and tone knobs and thankfully kept the original circuitry. I have no idea what the active panel will, or should, sound like.
There is a large spot on the back that was also repaired that seems to be the product of a nasty collision. Being the curious person that I am I decided to investigate the repair(s), if any, to the inside. After removing a small gold-colored plate from the back I was able to see, quite clearly, the internal construction. It was at this point that I noticed that the woods used everywhere were laminated! I was under the impression that the instruments were "hand-carved" and they're certainly priced like they are. A close friend and music store manager reminded me: "If it doesn't say 'solid' woods are used anywhere you can be almost guaranteed it's laminated".
The Pyramid strings really shine on this bass and I like them better than the "Hofner" brand I tried first from North Coast Music. I realize that they're supposed to be the same thing but there's definitely something different about the two. The only problem I've had with this bass was when I opened up for John Scofield and his group with my band The Yards at the Fox Theater in Boulder. The night before we opened up for them again at Mississippi Nights in St. Louis and I was using my modern SVT rig (350-CL). It sounded great and I had more than enough headroom to hear myself. However, when I played at the Fox the FOH mains were up so loud that the Hofner was useless. Even with the 810 silent the bass would feed back terribly. I hadn't ever had such a problem but a hollow instrument is a hollow instrument. After trying to reason with the FOH engineers I ended used my '59 P to do the show.
If you can find one that's from the late 60's and into the 70's they can be quite affordable. I believe mine is an early-70's model. Despite some cosmetic flaws such as finish checking and cracks here and there the bass is solid and I use it regularly at home, in session and on the road. After bringing the Hofner to a session just once I am immediately bombarded with pleads to bring it back. I will leave you with a quote from my friend and engineer I recently tracked bass for with the Hofner. "That's the most amazing f@&*#! bass sound I've ever heard go straight to tape. Where'd you find that bass, again?"
A local musician and collector had put it on consignment for $1100. After asking about the owner I got a little history about the bass. Somewhere along the line he somehow managed to break the neck off!! He apparently was a respectable instrument repairman as well and epoxied it back on with the addition of a large screw that enters in between the 15th and 17th frets into the heel block. The face of the screw was then filled in with some kind of black substance and you can't even tell it's there unless you're right on top of it. I'm convinced that the neck is much more stable now than it was when it left the factory in Germany! In somewhat of a wierd paradox he failed to realize that due to its fairly fragile hollow body you absolutely cannot use regular flatwounds. Consequently the bridge feet collapsed and there are very deep marks in the finish where the bridge sits on the top, not to mention minute cracks in the wood. Somehow the bass survived for however long in this state and that's a testament to its real-world sturdiness. I replaced the bridge ($50!) and strings ($60!) and it's been nothing but butter since.
After opening the case for the first time I noticed a zip-lock bag with a bunch of electronics inside. Apparently the original 5000/1 Deluxe basses were shipped with these "complex" active tone-shaping controls. I didn't know that they had been implementing active circuitry so early. The previous owner removed the huge panel and replaced them with simple passive volume and tone knobs and thankfully kept the original circuitry. I have no idea what the active panel will, or should, sound like.
There is a large spot on the back that was also repaired that seems to be the product of a nasty collision. Being the curious person that I am I decided to investigate the repair(s), if any, to the inside. After removing a small gold-colored plate from the back I was able to see, quite clearly, the internal construction. It was at this point that I noticed that the woods used everywhere were laminated! I was under the impression that the instruments were "hand-carved" and they're certainly priced like they are. A close friend and music store manager reminded me: "If it doesn't say 'solid' woods are used anywhere you can be almost guaranteed it's laminated".
The Pyramid strings really shine on this bass and I like them better than the "Hofner" brand I tried first from North Coast Music. I realize that they're supposed to be the same thing but there's definitely something different about the two. The only problem I've had with this bass was when I opened up for John Scofield and his group with my band The Yards at the Fox Theater in Boulder. The night before we opened up for them again at Mississippi Nights in St. Louis and I was using my modern SVT rig (350-CL). It sounded great and I had more than enough headroom to hear myself. However, when I played at the Fox the FOH mains were up so loud that the Hofner was useless. Even with the 810 silent the bass would feed back terribly. I hadn't ever had such a problem but a hollow instrument is a hollow instrument. After trying to reason with the FOH engineers I ended used my '59 P to do the show.
If you can find one that's from the late 60's and into the 70's they can be quite affordable. I believe mine is an early-70's model. Despite some cosmetic flaws such as finish checking and cracks here and there the bass is solid and I use it regularly at home, in session and on the road. After bringing the Hofner to a session just once I am immediately bombarded with pleads to bring it back. I will leave you with a quote from my friend and engineer I recently tracked bass for with the Hofner. "That's the most amazing f@&*#! bass sound I've ever heard go straight to tape. Where'd you find that bass, again?"
Oh yeah and Dondi, for some reason it has unbelievable output. I end up setting the volume knob no higher than half.
I dont like them. My bass teacher has one, and i was like "ooo let me play" but its like...the string spacing is 2 small to so seriously crazy fingering. I dont like them all all. They sound like...idk...bad. It depends on what you play, how you play, and what your going for.
- w00t
- w00t
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I have benn using Hofner Basses since the early 1960's. I have owned the 500/1 the G 500/11 and 500/2 basses. Pobably a total of ten Hofner Basses. I have sold them all except for a G 500/1 ,the Blone beatle bass with the pearl inlay Hofner logo. In 1975 i had Rex Bogue install Bartolni pick ups and a discreet stereo l/r string panning circut. The bass has a great sound. I feel Hofners are fun to play.light weight and despite the odd bridge ,sounds great with the right strings.
If you like the sound,thats what matters. I decided i was not a vintage bass collector ,so i sold my 63', 64' and so forth.. The 500/1 will always be associated with Paul Mc Carttney. it has collector and sentimental value. I have had my Hofner over hauled by Jim williams and had all the chips replaced with high speed chips,etc. The bass no longer needs an external power supply ,but runs from to 9 volt batteries. It gets the ultimate 'phat' bass sound that is similar to an upright. i think that many basses are over priced ,but it seems everything else is as well. If you like the bass,pay the price and be happy. I always loved my Hofners and will keep the on I have.
Funny how as time passes what was mediocre becomes sought after as it becomes rarer. I'm a player from the sixties and played on the same billing as a lo=t of famous bands of that time - but in London. Now the Beatles may have been selling a lot of records as a pop band, but in London it was all R&B, and Tamala Motown with bands from the Stones to the Who and nobody would have used this bass. You couldn't play these at volume, the fact that people inn Liverpool played these was not a plus, they sounded muddy and they were short scale. Players who liked this sort of semi-accounstic went for the Epiphone or Gison bass (the one like the 335) but most of those guys traded them in for soemthing clearer - Rickenbackers, Thunderbirds, and Jazz. Think of bands like Led Z, The Who, the Stones, Cream, Free, - tell me again where this Hofner bass fits? I think this is just a marketing dept seeing the possiblity of cashing in on an old brand. Anyone for a Framus bass, or an old Selmer - see what I mean? You'll be telling em you all want to drive Trebants from E Germany and Beetles made in Mexico next! OK so the beetle is an icon so you got me there.
I just played a cavern bass the other night and the basses being made now are far superior to the vintage pieces. Their is much more stability in the neck and it seems intonating them is easier. These are a littel hard to play if you are a large person. I have big hands so it isint allways the best fit but they really are great.
It's one of the only basses I've played that
actually makes me sound worse than I am.
These things for me, are unplayable.
Slug
actually makes me sound worse than I am.
These things for me, are unplayable.
Slug
It's funny, my dad was playing professionally in the '60s, and some joker in a TV studio knocked his Hofner off the stand and separated the glue on the neck. Once it was unplayable, my dad took it to a music store and traded it for a new '68 jazz (plus $100 the store gave him for the trade). Not too shabby.
I remeber in California inthe late 60's, you could buy a Hofner from George Rose ,an import company , for $89.00
later Sorkin music in new Jersey sold them for $139.00 . I think at the time the look of the violin shaped bass was cool.The sound of the bass on Beatle tracks such as 'Rain" and "Paperback Writer" was the Hofner sound at it's peak. Remeber that the bass was inexpensive and although Mc Cartney could have afforded a new bass by 1966 ,it was part of the whole Beatle image. I never could get mine to intonate,and after growing up ,my hand felt cramped on the small scale fretboard.
No big op acts used the Gibson Violin shaped bass,so the Hofner had an impact. alot of players wanted to have the Hofner ,the Rick electric 12 and the Gretsch Country gentleman after seeing the Beatles. Back then guitar manufacturers were into 'gimmicks' like Vox and the "Guitorgan" amd i think i might have had a Hofner with a built in "Fuzz Tone".The 500/1 has a tone that makes it easily recognizable. I feel that if you like it ,buy it.
later Sorkin music in new Jersey sold them for $139.00 . I think at the time the look of the violin shaped bass was cool.The sound of the bass on Beatle tracks such as 'Rain" and "Paperback Writer" was the Hofner sound at it's peak. Remeber that the bass was inexpensive and although Mc Cartney could have afforded a new bass by 1966 ,it was part of the whole Beatle image. I never could get mine to intonate,and after growing up ,my hand felt cramped on the small scale fretboard.
No big op acts used the Gibson Violin shaped bass,so the Hofner had an impact. alot of players wanted to have the Hofner ,the Rick electric 12 and the Gretsch Country gentleman after seeing the Beatles. Back then guitar manufacturers were into 'gimmicks' like Vox and the "Guitorgan" amd i think i might have had a Hofner with a built in "Fuzz Tone".The 500/1 has a tone that makes it easily recognizable. I feel that if you like it ,buy it.
