The official "Show your basses" thread part 19!

[badinage]

Responsive.

 

[Das Jugghead]

Little kids getting endorsements from Mayones... I quit, lol

Heck all I'm trying to do is get a string endorsement and I don't even know where to start.

But kudos to her. I won't begrudge anyone who scores an endorsement - she's a hell of a lot better bass player than I will ever be.

 

[SJLee]

View attachment 4909531

Responsive.

Outstanding!

 

[badinage]

Outstanding!

Thanks! That head is a 1965 or 1966 I think. I used to have three blackface Bassman heads. I bought two in San Diego for $200 each back in the 1990s (one was pointer knob) I bought that one at a little book store in NC. All three were in great condition but I just kept the one I thought sounded the best, had it "gone through" by Whit Pitcher and then didn't use it much until I found that all-original 1966 (or 1967) D140 Tone-Ring Showman cab. The seller had two, one extensively re-worked with new tolex, grille, sourced D140, still tone-ring. I bought the still-original one. I took my head and played the owner's Sadowsky through it and thought it sounded great, even the B string was pretty good.

Here's the kicker: I bought that red P from a local guitar mechanic who gets a lot of broken and abused instruments, many for free, and re-works them from his mountain of parts and gives most away to kids. He said he's sure that's a Squier body and pots, probably about 2008, not sure about the pickups, and the neck is definitely not. He allowed me to pay $240 for it because he thought that's "about what he had in it". I've had and still have some very nice old Precisions, but that one brings a special magic to that rig. Sometimes the stack-up just works.

 

[God's Favorite Bass]

Thanks! That head is a 1965 or 1966 I think. I used to have three blackface Bassman heads. I bought two in San Diego for $200 each back in the 1990s (one was pointer knob) I bought that one at a little book store in NC. All three were in great condition but I just kept the one I thought sounded the best, had it "gone through" by Whit Pitcher and then didn't use it much until I found that all-original 1966 (or 1967) D140 Tone-Ring Showman cab. The seller had two, one extensively re-worked with new tolex, grille, sourced D140, still tone-ring. I bought the still-original one. I took my head and played the owner's Sadowsky through it and thought it sounded great, even the B string was pretty good.

Here's the kicker: I bought that red P from a local guitar mechanic who gets a lot of broken and abused instruments, many for free, and re-works them from his mountain of parts and gives most away to kids. He said he's sure that's a Squier body and pots, probably about 2008, not sure about the pickups, and the neck is definitely not. He allowed me to pay $240 for it because he thought that's "about what he had in it". I've had and still have some very nice old Precisions, but that one brings a special magic to that rig. Sometimes the stack-up just works.

That last sentence. That's what's cool about Fenders. I've got a few I built how I wanted with the legit parts that measure right up with their counterparts. Leo said "A quality instrument is one that's easily repaired.". Now we can just assemble a great one.

 

[NoSlapForYou]

View attachment 4909531

Responsive.

I want that amp. There's a 1967 Bassman head and cab I saw for sale on FB Marketplace here, but I don't have the money right now. It wasn't as clean looking as yours, but that was part of the charm.

 

[badinage]

I want that amp. There's a 1967 Bassman head and cab I saw for sale on FB Marketplace here, but I don't have the money right now. It wasn't as clean looking as yours, but that was part of the charm.

One of these?



Oh yeah. My first amp. Usually totally inadequate for shows without augmentation, even when I was 14.

What is it about these things that we are reacting positively to? A "responsiveness" a "touch sensitivity", a "tone"? Over on the current "Tube Amp" thread those descriptors were used (I think aptly) early on. Or is it all just nostalgia?

Why did some big acts (that swung a big-enough hammer to actually get away with it) still carry and use (when possible) huge analog monitor mixing consoles for live shows well into the digital age? It sure wasn't "lazy familiarity" or "convenience", and they all knew it would soon-enough simply be no longer possible. They sure weren't just too wistfully sappy to "say goodbye to grandpa". There's a sound they preferred, wanted when they could have it, and they knew they were going to soon-enough and to-a-great-extent miss it.

For bass players and bass-amps, a tone and responsiveness also has to stay married to the necessity of producing and controlling the demanding side-issue of low-end (where a lot of old-school struggled). Add a proper foldback system to the equation though... See now it goes in just one circle of the many possible.

Such a dissection would probably lead to calamity a couple pages in.

 

[NoSlapForYou]

One of these?

View attachment 4911313

Oh yeah. My first amp. Usually totally inadequate for shows without augmentation, even when I was 14.

What is it about these things that we are reacting positively to? A "responsiveness" a "touch sensitivity", a "tone"? Over on the current "Tube Amp" thread those descriptors were used (I think aptly) early on. Or is it all just nostalgia?

Why did some big acts (that swung a big-enough hammer to actually get away with it) still carry and use (when possible) huge analog monitor mixing consoles for live shows well into the digital age? It sure wasn't "lazy familiarity" or "convenience", and they all knew it would soon-enough simply be no longer possible. They sure weren't just too wistfully sappy to "say goodbye to grandpa". There's a sound they preferred, wanted when they could have it, and they knew they were going to soon-enough and to-a-great-extent miss it.

For bass players and bass-amps, a tone and responsiveness also has to stay married to the necessity of producing and controlling the demanding side-issue of low-end (where a lot of old-school struggled). Add a proper foldback system to the equation though... See now it goes in just one circle of the many possible.

Such a dissection would probably lead to calamity a couple pages in.

I don't really play out. So for me convenience and volume don't really enter into the equation. I'm always looking for stuff to record with or practice through.

I used to take my bass to a guy's house to have work done. He had an old Bassman I'd test my bass out on after he'd worked on it. Granted, I was always playing at low volumes. And the cab he had for it was small. But there was a clarity I really loved. So many bass amps are tubby and loose sounding.

Maybe that's the "responsiveness" other people were describing?

Also, let's be honest. It just looks cool. As shallow as that is, I think it matters. If every time I walk by a piece of gear, I get a little thrill just from looking at it, I'm more likely to stop and play it. And the more I do that, the better I get. Therefore attractive gear can actually make you a better player.

 

[SJLee]

I don't really play out. So for me convenience and volume don't really enter into the equation. I'm always looking for stuff to record with or practice through.

I used to take my bass to a guy's house to have work done. He had an old Bassman I'd test my bass out on after he'd worked on it. Granted, I was always playing at low volumes. And the cab he had for it was small. But there was a clarity I really loved. So many bass amps are tubby and loose sounding.

Maybe that's the "responsiveness" other people were describing?

Also, let's be honest. It just looks cool. As shallow as that is, I think it matters. If every time I walk by a piece of gear, I get a little thrill just from looking at it, I'm more likely to stop and play it. And the more I do that, the better I get. Therefore attractive gear can actually make you a better player.

Let’s face it, the basses and gear we play through is “art”. At least IMO. It’s all playable art.

 

[God's Favorite Bass]

Let’s face it, the basses and gear we play through is “art”. At least IMO. It’s all playable art.

That's exactly what my non musical wife says...they are art. That's how I get away with a living room museum . She thinks they are beautiful.

 

[SJLee]

That's exactly what my non musical wife says...they are art. That's how I get away with a living room museum . She thinks they are beautiful.

We are fortunate! According to my wife, I have two basses I’m “not allowed to sell”.

 

[badinage]

Let’s face it, the basses and gear we play through is “art”. At least IMO. It’s all playable art.

That's exactly what my non musical wife says...they are art. That's how I get away with a living room museum . She thinks they are beautiful.

You guys definitely represent my take on it also... "Functional Folk Art" I call it. I don't have to understand "why" or "justify a logical investment". ...I recently got a thumbs up to bring home a piano "because it sounds just like that one Derrell Stewart used to record with..." It doesn't have to make any more sense than that.

 

[Phoenixxxcian]

We are fortunate! According to my wife, I have two basses I’m “not allowed to sell”.

We are fortunate! According to my wife, I have two basses I’m “not allowed to sell”.

Which 2 would that be?

 

[SJLee]

Which 2 would that be?

That would be the 58 Hofner RI and the 39 Kaye.

 

[Hnz]

That Hofner!

 

[SJLee]

...I recently got a thumbs up to bring home a piano "because it sounds just like that one Derrell Stewart used to record with..." It doesn't have to make any more sense than that.

This^^^^^

 

[SJLee]

That Hofner!

Thanks! When it’s not getting played it serves as wall art.

 

[bassmike2010]

That would be the 58 Hofner RI and the 39 Kaye.

View attachment 4911548 View attachment 4911549

That Sadowski!

 

[SJLee]

That Sadowski!

 

[bassmike2010]

View attachment 4911600