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How many basses do you own? (Currently) Part 2
- Thread starter smperry
- Start date
Slightly ashamed to say I currently own 26 basses 
Among them, I have 5 Warwick German-built beauties (Corvette bubinga 4, Corvette ash 5, Corvette black ash 4, Fortress flamed maple 5, and Corvette sunburst ash 5), a Stingray, a Fender American Ultra Jazz and American Ultra Precision, a Fender American 60th Anniversary Precision, a Cort A4 Ultra Ash (with the great new Fishman Fluence pickups), several Ibanez SR basses (from SR505 up to SR2600, plus a gorgeous "Premium" level SR1000 and a Gary Willis satin black fretless 5), a few Yamahas, and a whole bunch of MIM Fenders (Jazz and Precision). Oh and a v large Aria electro-acoustic fretless with black tapewounds on it, so that it really gets close to the sound of a double bass.
I bought quite a few of these as renovation or restoration projects, with the aim of selling them on for a little profit.... but I ended up feeling so protective of them once I'd got them looking & sounding tip-top that I just couldn't let them go! And I even grew too attached to those basses which I bought to be either back-up instruments or for use in small/hot/humid/dodgy venues! However, I *am* going to bite the bullet and sell at least several of them over the next few months.
Among them, I have 5 Warwick German-built beauties (Corvette bubinga 4, Corvette ash 5, Corvette black ash 4, Fortress flamed maple 5, and Corvette sunburst ash 5), a Stingray, a Fender American Ultra Jazz and American Ultra Precision, a Fender American 60th Anniversary Precision, a Cort A4 Ultra Ash (with the great new Fishman Fluence pickups), several Ibanez SR basses (from SR505 up to SR2600, plus a gorgeous "Premium" level SR1000 and a Gary Willis satin black fretless 5), a few Yamahas, and a whole bunch of MIM Fenders (Jazz and Precision). Oh and a v large Aria electro-acoustic fretless with black tapewounds on it, so that it really gets close to the sound of a double bass.
I bought quite a few of these as renovation or restoration projects, with the aim of selling them on for a little profit.... but I ended up feeling so protective of them once I'd got them looking & sounding tip-top that I just couldn't let them go! And I even grew too attached to those basses which I bought to be either back-up instruments or for use in small/hot/humid/dodgy venues! However, I *am* going to bite the bullet and sell at least several of them over the next few months.
I never thought I’d ever be able to own a pre-cbs Fender bass. But, now I have 4. My first was a 1952 P-bass, then a 1954 (my current number one), a 1963 Sunburst P with so much mojo it basically plays itself, and I recently managed to acquire my dream bass, a original finish blonde, contoured, soft-V neck profile 1955 P-bass. I love these ancient beasts. The 1955 is really special to me, because it’s comprised of all my favorite attributes in a single bass. It feels great, looks perfect and I believe that if I have the original pickup rewound it will be my number one lifetime bass.
I’m pretty interested in the ultra Precision. Is it something special? I have a bunch of P-basses - 1952, ‘63, ‘75, 2006. The ultra does look like a honest evolution and it may be a great bass, not just a gimmick version.Slightly ashamed to say I currently own 26 basses
Among them, I have 5 Warwick German-built beauties (Corvette bubinga 4, Corvette ash 5, Corvette black ash 4, Fortress flamed maple 5, and Corvette sunburst ash 5), a Stingray, a Fender American Ultra Jazz and American Ultra Precision, a Fender American 60th Anniversary Precision, a Cort A4 Ultra Ash (with the great new Fishman Fluence pickups), several Ibanez SR basses (from SR505 up to SR2600, plus a gorgeous "Premium" level SR1000 and a Gary Willis satin black fretless 5), a few Yamahas, and a whole bunch of MIM Fenders (Jazz and Precision). Oh and a v large Aria electro-acoustic fretless with black tapewounds on it, so that it really gets close to the sound of a double bass.
I bought quite a few of these as renovation or restoration projects, with the aim of selling them on for a little profit.... but I ended up feeling so protective of them once I'd got them looking & sounding tip-top that I just couldn't let them go! And I even grew too attached to those basses which I bought to be either back-up instruments or for use in small/hot/humid/dodgy venues! However, I *am* going to bite the bullet and sell at least several of them over the next few months.
Slightly ashamed to say I currently own 26 basses
Among them, I have 5 Warwick German-built beauties (Corvette bubinga 4, Corvette ash 5, Corvette black ash 4, Fortress flamed maple 5, and Corvette sunburst ash 5), a Stingray, a Fender American Ultra Jazz and American Ultra Precision, a Fender American 60th Anniversary Precision, a Cort A4 Ultra Ash (with the great new Fishman Fluence pickups), several Ibanez SR basses (from SR505 up to SR2600, plus a gorgeous "Premium" level SR1000 and a Gary Willis satin black fretless 5), a few Yamahas, and a whole bunch of MIM Fenders (Jazz and Precision). Oh and a v large Aria electro-acoustic fretless with black tapewounds on it, so that it really gets close to the sound of a double bass.
I bought quite a few of these as renovation or restoration projects, with the aim of selling them on for a little profit.... but I ended up feeling so protective of them once I'd got them looking & sounding tip-top that I just couldn't let them go! And I even grew too attached to those basses which I bought to be either back-up instruments or for use in small/hot/humid/dodgy venues! However, I *am* going to bite the bullet and sell at least several of them over the next few months.
D'oh my Ibanez SR1000 is a "Prestige" model (their top designation) rather than "Premium" (which is used for the SR1200 models upwards. Illogical I know, but there we are!
I keep encountering discussions and other bassists (including pros) who hold the rigid belief that the only "true" MIA P-bass is the original-style passive. They also maintain that the tonal quality of those standard MIA P-basses is sacrosanct and should never be meddled with.
But..... frankly when I'm playing - especially gigging - I want much more than a single PU, a single volume pot, and a single tone pot. I recognise and respect the underlying arguments about the passive single-PU model. But to me, the Ultra version - with its extra humbucker or Jass PU (depending on the year of manufacture) at the bridge position, its onboard pre-amp, and its 3-band EQ for tone control - a) is exactly what I need at my fingertips when playing, and b) has all the attributes of the trad passive model, but with many additional options.
See: if you want to precisely match the trad P-bass sound when using the Ultra P, you can easily do so by panning the PU blender all the way over to the trad mid-placed P-bass PU, and flatting out the EQ. The woods and construction of the Ultra are just as good (and actually better, most probably) than those of the standard MIA P, so you still get that "classic" P-bass sound if you want it. Yet there are many instances (in my opinion) where you want/need to expand your possibilities, and exert decent control over how your bass fits into the mix. And this is exactly what the Ultra allows you to do.
Even when I gig with a sound engineer, I need the ability to adjust my bass sound/tone/timbre myself. Different venues have different damping/reflective properties, with different standing waves which were can greatly alter the presence and tone of the bass. While a sound engineer should account for most of this at the desk, I always want the ability to tweak things on my instrument. Including the ability to alter my bass sound in-between different songs for optimum place in the mix.
I therefore totally recommend the MIA Ultra range. They are as good which I greatly prefer.(in fact better IMO) than the standard models at sounding like those standard models, and then on top of that you have the abilities to open up different sonic possibilities in ways that the standard models could never hope to do. As a small additional factor, the Ultra models place the output jack on the side of the body - which I greatly prefer - rather than the front face. And they're the very best (non-Custom-Shop) basses that Fender make.
Slightly ashamed to say I currently own 26 basses
Among them, I have 5 Warwick German-built beauties (Corvette bubinga 4, Corvette ash 5, Corvette black ash 4, Fortress flamed maple 5, and Corvette sunburst ash 5), a Stingray, a Fender American Ultra Jazz and American Ultra Precision, a Fender American 60th Anniversary Precision, a Cort A4 Ultra Ash (with the great new Fishman Fluence pickups), several Ibanez SR basses (from SR505 up to SR2600, plus a gorgeous "Premium" level SR1000 and a Gary Willis satin black fretless 5), a few Yamahas, and a whole bunch of MIM Fenders (Jazz and Precision). Oh and a v large Aria electro-acoustic fretless with black tapewounds on it, so that it really gets close to the sound of a double bass.
I bought quite a few of these as renovation or restoration projects, with the aim of selling them on for a little profit.... but I ended up feeling so protective of them once I'd got them looking & sounding tip-top that I just couldn't let them go! And I even grew too attached to those basses which I bought to be either back-up instruments or for use in small/hot/humid/dodgy venues! However, I *am* going to bite the bullet and sell at least several of them over the next few months.
If you ever need to find another home for that Fortress 5, please look me up
OK, why not.
- 1962 Fender Jazz Bass (stacked knobs) [AVRI, mfg. Corona 1989]
- 2020 G&L L-1000 CLF Research 40th Anniversary in Pharaoh Gold [Fullerton]
- 2020 G&L L-1000 CLF Research 40th Anniversary in Blueburst [Fullerton]
- 2005 Fender American Precision Bass
- 2014 Gibson EB 5-String
- 2019 Fender Fretless Jazz Bass [Escanada]
- 2013 Fender Geddy (slightly modified w/Aguilar 70's), currently hanging on the wall down at my local music shop waiting for a buyer cuz I never play it anymore and why let it sit and collect dust if I never play it anymore, right?)
WRONG!! You love it and cherish it like any of the other children! Would you sell your son when he outgrows playing catch with you? What do ya s'pose that discarded Geddy is thinking when the store lights go out at night? "...what did I do wrong...?" "...Daddy...?"
Tim
WRONG!! You love it and cherish it like any of the other children! Would you sell your son when he outgrows playing catch with you? What do ya s'pose that discarded Geddy is thinking when the store lights go out at night? "...what did I do wrong...?" "...Daddy...?"
Tim
Dear God... WHAT HAVE I DONE?!
*races off to local music store to fetch son*
"I'M COMIN' FOR YA BOY!!"
Just four.
Xuechang Sun full carve 3/4 double bass,
Fender Aerodyne Jazz non export,
Fender American Special Precision, and a
Yamaha 735A.
Xuechang Sun full carve 3/4 double bass,
Fender Aerodyne Jazz non export,
Fender American Special Precision, and a
Yamaha 735A.
Does it alarm many of you that over 200 people voted 21+ basses? I think some members may need counseling.
Let's see: 89 Kawaii FIiB, 86 fender power jazz bass special, mensinger pike 5 string, G&L fallout tribute, ibanez afb 200 semihollow, ibanez rb 630, reverend houser fatfish 32, 91 yamaha mb-III, ibanez tmb 100, cort steinberger copy, ibanez m i k r o, gresch jet Jr. 12.
1960 Silvertone/Danelectro 1444 (my first bass - and in factory metallic green!)
1962 Fender Jazz (natural - finish stripped before I got it)
1966 Fender Precision (faded chocolate sunburst - verified factory original) - my main stage bass for about 15 years.)
1967 Hagstrom H-8 eight-string bass (tuned in octaves)
Late 60's/early 70's Precision Fretless "Partscision" - Mitey Mite neck & ash/walnut body (Olympic White)
1973 Rickenbacker 4001 - transitional features( late '73 trim but toaster neck pickup)
2004 Upton "Hawkes" 3/4 Romanian double bass (acquired as a restoration project - had to re-set neck and restore shattered ebony fingerboard (I performed all work - thread in upright forum)
1990's Rogue 32" mid-scale/small body acoustic/electric
2015 Hadean silicone-string bass uke - fretless acoustic/electric
2018 Warwick Alien Deluxe full-size Rockbass 5-string fretless (last year for full-depth body, gloss finish & piezo-only electronics. 34" scale)
2019 Eastwood TB-64 6-string bass - black (30" scale; pickups; tremolo - slightly refined copy of rare 1964 Teisco TB-64)
2020 Warwick Alien Deluxe thinline Rockbass 5-string fretless (semi-gloss finish; piezo bridge pickup; magnetic pickup embedded near end of fingerboard with blend control. 34" scale)
1962 Fender Jazz (natural - finish stripped before I got it)
1966 Fender Precision (faded chocolate sunburst - verified factory original) - my main stage bass for about 15 years.)
1967 Hagstrom H-8 eight-string bass (tuned in octaves)
Late 60's/early 70's Precision Fretless "Partscision" - Mitey Mite neck & ash/walnut body (Olympic White)
1973 Rickenbacker 4001 - transitional features( late '73 trim but toaster neck pickup)
2004 Upton "Hawkes" 3/4 Romanian double bass (acquired as a restoration project - had to re-set neck and restore shattered ebony fingerboard (I performed all work - thread in upright forum)
1990's Rogue 32" mid-scale/small body acoustic/electric
2015 Hadean silicone-string bass uke - fretless acoustic/electric
2018 Warwick Alien Deluxe full-size Rockbass 5-string fretless (last year for full-depth body, gloss finish & piezo-only electronics. 34" scale)
2019 Eastwood TB-64 6-string bass - black (30" scale; pickups; tremolo - slightly refined copy of rare 1964 Teisco TB-64)
2020 Warwick Alien Deluxe thinline Rockbass 5-string fretless (semi-gloss finish; piezo bridge pickup; magnetic pickup embedded near end of fingerboard with blend control. 34" scale)
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Hmm, let's see...
- Warwick Thumb NT 5
- Warwick Thumb NT 5 fretless
- Warwick Thumb BO "Dirty Blonde" limited BO 4
- Warwick Thumb PS BO 5 fretless
- Warwick Alien Acoustic 5 fretless
- NS Design Omnibass 5 fretted
- NS Design Omnibass 5 fretless
( - NS Design NXT Cello 4; not quite a bass, but fills a bass-like function I suppose)
- Harley Benton 7
- Steinberger Synapse 5
- Hamer Chaparral 12
- Mihado FingyBass 5 fretless
- Kiesel Zeus 6 fretless
- Warwick Thumb NT 5
- Warwick Thumb NT 5 fretless
- Warwick Thumb BO "Dirty Blonde" limited BO 4
- Warwick Thumb PS BO 5 fretless
- Warwick Alien Acoustic 5 fretless
- NS Design Omnibass 5 fretted
- NS Design Omnibass 5 fretless
( - NS Design NXT Cello 4; not quite a bass, but fills a bass-like function I suppose)
- Harley Benton 7
- Steinberger Synapse 5
- Hamer Chaparral 12
- Mihado FingyBass 5 fretless
- Kiesel Zeus 6 fretless
Last weekend I got this Samick SAKB Fretless 5-string.
Höfner Cavern '61 ('90-ties German re-issue)
Yamaha BBN5II fretless
Samick SAKB Fretless 5-string (active)
Rok Axe USA Performer fretless [DiMarzio DP121 G & DP146 P, Gotoh Bridge]
Hohner B2A FL (fretless)
Ibanez EB3 [DiMazio model One + Allparts mini humbucker, Schaller 460 bridge]
Dynacord Thin Body Bass [restored with Höfner 512b (sharkfin) pu & Crucianelli (toaster) humbucker]
1965 type Cougar bass (probably Élite, needs work)
NS Design Omni Bass CR5 (purchased, on its way)
NS/Stick (daily driver)
Highly modded entry-level acoustic bass guitar
NS/Stick (daily driver)
Highly modded entry-level acoustic bass guitar
