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Show us your Martin Keith Basses
- Thread starter 77stingray
- Start date
Hi all….I just wanted to pass along some unfortunate news that Martin told me this morning. I believe some of you know Jonathon Sterne. I has been a frequent contributor in this thread, and he had commissioned Martin to build an 8 string touch style guitar that he called the space guitar, because of its gorgeous sparkle black finish. I hadn’t spoken to Jonathon is some time and now I know why. Jonathon has been fighting an aggressive form of thyroid cancer and he was just admitted to hospice. I wanted to pass this along as I’m sure others have had wonderful interactions with him, as I certainly have. He is a generous and intelligent and kind human being. I’m very sad to hear of what he has been going through. Sending a big hug to anyone that knew him at all, and lots of love to his wife and his family. What a beautiful soul.
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The blue isn't loud in normal conditions, it just happened to catch the stage lighting just right in this pic.
I mainly wanted to mention that a few weeks ago I brought the doublecut headless in for setup by a top local tech. He was Paul Reed Smith's #1 tech for decades, and has also worked with Joe Knaggs and other luthiers. Nothing wrong with the bass per se, I'd set it up well enough for half-step down tuning, I just wanted to give it a finishing touch by a pro. He'd previously setup my red Keith singlecut for full-step-down tuning (it's specifically used in the all-originals band I occasionally gig with).
I get to the tech's shop and he comments on my unusual taste in basses. He picks up the bass, gives it a once-over and says it's already playing well, but the fret ends could use some touch up. I said "yeah, first winter with this bass, I guess there's been a bit of sprout". He politely objected to the term, which was amusing because most of us know that "fret sprout" is misleading, but he's such a busy guy that I'm sure he does run into guitarists who take it literally! I could barely feel the "sprout" on my bass (it was from the fret tops alone, as the tangs are hidden), but this tech is a master of fretwork and notices such details so I gave permission to work his magic.
When I picked it up he asked how much I paid for it, and I told him. He said "The neck alone is worth that price! It has everything I look for: comfort, excellent fretwork, reacts perfectly to truss rod adjustments. So many manufacturers can't seem to build a proper neck" (he mentioned Fender in particular, custom shop included). He offered more compliments, including the excellent balance from the long upper horn. No arguments from me, of course!
Anyway: the bass was already playing well, but now it's "buttah".
I took my headless out on its first gig Monday night. I played a great bar in Bushwick called Tradesman with a group that I'm a part of (called Slow Tiger…first record coming soon). I was a bit nervous as it's a new bass and I've been worried that I need different strings or maybe different pickups to get the sound that I would like. I'm also used to playing my MK semi hollow in that band…a very different animal. I was playing through a Fender Rumble that the keyboardist was kind enough to bring. As soon as we started playing I never thought about the bass again…there was nothing to think about…plays like a dream and the sound was incredible. A couple of other musicians afterward asked about the bass…I mentioned that I had just received it and wasn't sure how it would go…the comment was "it's a strange looking bass, but it sounds great!"
Not sure I can ever go back. Headless is just so remarkably comfortable to play, and specifically a Martin Keith headless. I'll still try some different strings down the line, and I may try some Bartolini pickups in it (I'm having a love affair with Barts these days)….but if I never changed a thing then this would still be a dream bass.
Not sure I can ever go back. Headless is just so remarkably comfortable to play, and specifically a Martin Keith headless. I'll still try some different strings down the line, and I may try some Bartolini pickups in it (I'm having a love affair with Barts these days)….but if I never changed a thing then this would still be a dream bass.
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Fret sprout and buttah in the same post!View attachment 7187070
The blue isn't loud in normal conditions, it just happened to catch the stage lighting just right in this pic.
I mainly wanted to mention that a few weeks ago I brought the doublecut headless in for setup by a top local tech. He was Paul Reed Smith's #1 tech for decades, and has also worked with Joe Knaggs and other luthiers. Nothing wrong with the bass per se, I'd set it up well enough for half-step down tuning, I just wanted to give it a finishing touch by a pro. He'd previously setup my red Keith singlecut for full-step-down tuning (it's specifically used in the all-originals band I occasionally gig with).
I get to the tech's shop and he comments on my unusual taste in basses. He picks up the bass, gives it a once-over and says it's already playing well, but the fret ends could use some touch up. I said "yeah, first winter with this bass, I guess there's been a bit of sprout". He politely objected to the term, which was amusing because most of us know that "fret sprout" is misleading, but he's such a busy guy that I'm sure he does run into guitarists who take it literally! I could barely feel the "sprout" on my bass (it was from the fret tops alone, as the tangs are hidden), but this tech is a master of fretwork and notices such details so I gave permission to work his magic.
When I picked it up he asked how much I paid for it, and I told him. He said "The neck alone is worth that price! It has everything I look for: comfort, excellent fretwork, reacts perfectly to truss rod adjustments. So many manufacturers can't seem to build a proper neck" (he mentioned Fender in particular, custom shop included). He offered more compliments, including the excellent balance from the long upper horn. No arguments from me, of course!
Anyway: the bass was already playing well, but now it's "buttah".
And yeah…the neck…..I had this MK headless with me when I was recently working with Brian Ristola for fatbasstone.com (Brian built the bass that I have used the longest…an amazing instrument!)….after playing my headless a bit Brian immediately commented on how amazing the neck feels. He actually had a whole lot to say about the brilliance of the bass all around…the balance, the comfort, the wood work, the way Martin hides the fret ends…on and on. Brian is one of the most organized and meticulous people I’ve ever met. I was happy to hear he felt the way that I did about Martin’s workView attachment 7187070
The blue isn't loud in normal conditions, it just happened to catch the stage lighting just right in this pic.
I mainly wanted to mention that a few weeks ago I brought the doublecut headless in for setup by a top local tech. He was Paul Reed Smith's #1 tech for decades, and has also worked with Joe Knaggs and other luthiers. Nothing wrong with the bass per se, I'd set it up well enough for half-step down tuning, I just wanted to give it a finishing touch by a pro. He'd previously setup my red Keith singlecut for full-step-down tuning (it's specifically used in the all-originals band I occasionally gig with).
I get to the tech's shop and he comments on my unusual taste in basses. He picks up the bass, gives it a once-over and says it's already playing well, but the fret ends could use some touch up. I said "yeah, first winter with this bass, I guess there's been a bit of sprout". He politely objected to the term, which was amusing because most of us know that "fret sprout" is misleading, but he's such a busy guy that I'm sure he does run into guitarists who take it literally! I could barely feel the "sprout" on my bass (it was from the fret tops alone, as the tangs are hidden), but this tech is a master of fretwork and notices such details so I gave permission to work his magic.
When I picked it up he asked how much I paid for it, and I told him. He said "The neck alone is worth that price! It has everything I look for: comfort, excellent fretwork, reacts perfectly to truss rod adjustments. So many manufacturers can't seem to build a proper neck" (he mentioned Fender in particular, custom shop included). He offered more compliments, including the excellent balance from the long upper horn. No arguments from me, of course!
Anyway: the bass was already playing well, but now it's "buttah".
Hey, now! Perhaps I didn't make it clear enough, but the "buttah" didn't happen until the tech eliminated the (barely perceptible) fret sprout. Always happy to see Mr. Spock, though.
I know what I like, but it is really cool to hear unsolicited, effusive praise from a highly qualified and impartial source.
Martin still has my old 32” scale 6 string fretless for sale if anyone is looking for the perfect fretless bass
Here are a couple of phone video clips from a trio session today with my new headless…I still feel like the luckiest bass player alive to get to play this bass every day!
Hey all! I’ve been taking my new headless on every single gig to get used to it. I forgot how a new build takes some time to open up…I almost sold my old six string TWICE when I got it because it didn’t feel like home right away. This is my first headless, and it’s been a new experience. Trying to find the right strings for a new instrument is its own thing….and playing a bass enough for it to begin to open up…to warm up and find it’s own sonic space…..it takes patience. I’ve been on a three week gig and I feel that it’s really starting to become what it wants to be. I’m still interested in trying some different pickups, but now I know what the BigRigs sound like in this bass, and they sound great. The bass has such a thick sound on its own that the BigRigs can be a little more of the same thing in this bass….it won’t work for everything. It’s such a unique instrument, and it’s really a pleasure to get to spend time with it. Someone leaving the theater last night after the show stopped me and said how great the bass sounded in the house…was asking me about the bass. He said that the bass sounded really thick in the house (I’m using an outboard Sadowsky pre for this particular gig). I know from experience that that sound won’t work for every musical experience (was once told by a big music writer/arranger on Broadway that my bass sound was boring and dark 
….that was a great learning experience….know the gig expectation)……anyhow, I’m still learning what this beautiful bass wants to be when it grows up, and having a great time along the way.
This bass has one of the best sounding low B strings I’ve ever heard in my life….33” scale. The low end hits like a hammer. So crazy
….that was a great learning experience….know the gig expectation)……anyhow, I’m still learning what this beautiful bass wants to be when it grows up, and having a great time along the way.This bass has one of the best sounding low B strings I’ve ever heard in my life….33” scale. The low end hits like a hammer. So crazy
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Also, I put some GHS Pressurewounds on this bass and they sound incredible. I would definitely recommend
Hey all! I’ve been taking my new headless on every single gig to get used to it. I forgot how a new build takes some time to open up…I almost sold my old six string TWICE when I got it because it didn’t feel like home right away. This is my first headless, and it’s been a new experience. Trying to find the right strings for a new instrument is its own thing….and playing a bass enough for it to begin to open up…to warm up and find it’s own sonic space…..it takes patience. I’ve been on a three week gig and I feel that it’s really starting to become what it wants to be. I’m still interested in trying some different pickups, but now I know what the BigRigs sound like in this bass, and they sound great. The bass has such a thick sound on its own that the BigRigs can be a little more of the same thing in this bass….it won’t work for everything. It’s such a unique instrument, and it’s really a pleasure to get to spend time with it. Someone leaving the theater last night after the show stopped me and said how great the bass sounded in the house…was asking me about the bass. He said that the bass sounded really thick in the house (I’m using an outboard Sadowsky pre for this particular gig). I know from experience that that sound won’t work for every musical experience (was once told by a big music writer/arranger on Broadway that my bass sound was boring and dark
This bass has one of the best sounding low B strings I’ve ever heard in my life….33” scale. The low end hits like a hammer. So crazy
Beautiful bass! Have you had the GHS on it for a while? I've been wondering how long they last.
Maybe a couple of months in and they’re just now mellowed perfectly…I have a good friend who has had a set on his bass for years and they still sound great!
Hey all! I hope everyone has been well. Here’s a recent clip playing my headless MK. I’ve been playing it for everything to get used to it, and it’s been a real pleasure. Martin’s the best!
I hope everyone has been well! I’ve been on an Off Broadway gig, playing a Yamaha 5 for the run….hoping one day I can track down a used MK 5 for this type of work..or ask Martin to whip something up…my MKs spoil me…the Yamaha feels like an awkward tank compared to my basses from Martin!
All is well down here in Georgia! An Off Broadway gig sounds fun! Hopefully it has been!
Haha I hear you on the MK making all the other basses feel "not as good". I find it hard to play any of my other basses as well!
I played my F Bass VF-6 for a gig a few weeks ago because I felt that the tone would fit better in the music being played (it was a gospel set). I was right about the tone but man, it didn't feel as good as the MK. The F Bass is a GREAT bass and I do really like the ergonomics. But it is (to me) NOTHING like my MK!
Haha I hear you on the MK making all the other basses feel "not as good". I find it hard to play any of my other basses as well!
I played my F Bass VF-6 for a gig a few weeks ago because I felt that the tone would fit better in the music being played (it was a gospel set). I was right about the tone but man, it didn't feel as good as the MK. The F Bass is a GREAT bass and I do really like the ergonomics. But it is (to me) NOTHING like my MK!
