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The Stable - What do you play and why?
- Thread starter Gyver
- Start date
On wall, left to right:
- 1984 G&L L-1000 (acquired 3/2023, local brick & mortar)
- The why: because I didn't want to miss out on the black hardware combo of the bridge and the control plate. Plus it is older and something about that spoke to me (not a birth year bass). I have not gigged with it yet but I'm finding the lower action gives a lot of fretboard clank which gives it a really aggressive sound. Still learning it's sounds, but I am definitely smitten.
- 1996 G&L SB-2 (acquired 8/2007, eBay)
- The why: it was my #1 for years. Something about resting my thumb on that bridge pickup, dialing that bridge volume back a hair, and going for it served me well for years. It looks great, it sounds great and I adore that bass.
- 1999 Epiphone Thunderbird IV (acquired 3/2022, via TB/local seller)
- The why: I fell in love with a band last year called Elle Macho. Their bassist, the mysterious Butterfly Boucher, played a white Gibson T-bird and I fell in love with her sound, playing, and look. Thanks to the Thunderbird Club, a local TB'er had a Epi IV that he was willing to move for a fair price, so I picked it up. I've played it at a few shows with my originals band, as well as recorded it, and it definitely has its place, but recently, I'm thinking it's gonna be on the bench for the foreseeable future.
- 2018 G&L CLF reissue L-1000 (acquired 2/2019, Reverb store)
- The why: If I remember correctly, I mainly wanted this bass for the color and the chrome control plate. I loved how it looked. I already had the SB-2 and I had GAS for more G&L. I ordered via Reverb and it showed up to Seattle in a snowstorm. Since 2019, it's been my #1 by far and until I can get the other L1K figured out, it may continue to be my #1. Lots of great gigs, recordings, pictures and rehearsals with this bad boy.
- 1999 Fender Mexican P-Bass (acquired 1/2022, Craigslist)
- I wrote about it here. Long story short, fell in love with the Etsy pickguard (vain) and the pickup/bridge covers, checked it out, brought it home. I just last week put rounds on it and it is really bright sounding now, but in an awkward position as I have the aforementioned new L1K, so it's relegated to the bench. But I will have to give it a fair shake, as, after all, it is a P and needs to be played.
Basicly Fender style basses with a couple of Schecters thrown into the mix just to be different.
All the cool odd basses I play, I always gravitate toward a P or J bass.
They just work.
All the cool odd basses I play, I always gravitate toward a P or J bass.
They just work.
Your four basses are the must have basses.
1. Precision
2. Jazz or ...PJ Bass that pretty well covers 1 & 2
3. Stingray
4. Ric or Thunderbird or Hofner or Fretless or five/six string of your choice
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Primitive, but effective.
But sometimes only a hollow body will do.
But sometimes only a hollow body will do.
Current roster:
'89 Greco 4001S
'77 Greco 4000S
'78 Greco Thunderbird II
Epiphone Vintage Pro Thunderbird
Gibson Zebrabird
Fender AVRI '62 Precision
Fender AVRI '62 Jazz
BecVar Triple Omega 8 string
BaCH Non-Reverse Thunderbird II
Previous:
Fender AVRI '62 Precision (stolen)
'71 Fender Telecaster bass
Rickenbacker 4001v63
'62 Gibson EB-3
I've been using Thunderbird's extensively for a few years after the Precision being my #1, and in the last year switched over to Greco Rickenbacker clones as my primaries after not bonding with the Rickenbacker I had previously. Not really going for versatility, just basses I like.
'89 Greco 4001S
'77 Greco 4000S
'78 Greco Thunderbird II
Epiphone Vintage Pro Thunderbird
Gibson Zebrabird
Fender AVRI '62 Precision
Fender AVRI '62 Jazz
BecVar Triple Omega 8 string
BaCH Non-Reverse Thunderbird II
Previous:
Fender AVRI '62 Precision (stolen)
'71 Fender Telecaster bass
Rickenbacker 4001v63
'62 Gibson EB-3
I've been using Thunderbird's extensively for a few years after the Precision being my #1, and in the last year switched over to Greco Rickenbacker clones as my primaries after not bonding with the Rickenbacker I had previously. Not really going for versatility, just basses I like.
I have taken the uke bass path due to finger pain issues. Started out with a few Gold Tone fretless basses about 5-6 years ago (one is in the shop being modded). Since then have added a custom 5 string fretless and Tiny Boy fretted, with another custom 4 string fretless coming soon. I am very glad that I found a string manufacturer that was able and willing to make tapewound and roundwound 23" scale strings with normal tension. If I had to stick with silicon rubber strings only I probably would have quit playing.
I keep keep my Talkbass profile up to date, and according to that list, the butterscotch Blonde Mustang PJ I bought yesterday was number 54 in my lifetime. So I've pretty much owned or tried everything. These just do it for me. I tend to double up when I find something I love since I like to keep one bass in standard tuning and the other tuned to Eb for quick changes on stage.
Fender American Special Precisions. It's all about the shallow C neck profile for me. I have the Fender CS'62 puckup in both. Love this pickup. Don't miss the string-thru body or graphite neck support rods in the American Standards.
Fender Mustang PJs. I bought the Sienna Burst one a year ago as short scale is more comfortable to play when lounging on the couch. I put a CS'62 in that one as well, with a Gen 4 noiseless Jazz in the bridge. They work so well together. I picked up the second Mustang to keep in Eb. EMG GZR PJ pickups should arrive tomorrow. I'll use the Mustangs for gigs on smaller stages, or just for the hell of it.
The "why" for both pairs simply comes down to feeling like an extension of my body. They just sound and feel "more right" to me than the other 50 basses I owned. I guess, for me, variety is not the spice of life. I'm more of a stick with what works kind of person!
Fender American Special Precisions. It's all about the shallow C neck profile for me. I have the Fender CS'62 puckup in both. Love this pickup. Don't miss the string-thru body or graphite neck support rods in the American Standards.
Fender Mustang PJs. I bought the Sienna Burst one a year ago as short scale is more comfortable to play when lounging on the couch. I put a CS'62 in that one as well, with a Gen 4 noiseless Jazz in the bridge. They work so well together. I picked up the second Mustang to keep in Eb. EMG GZR PJ pickups should arrive tomorrow. I'll use the Mustangs for gigs on smaller stages, or just for the hell of it.
The "why" for both pairs simply comes down to feeling like an extension of my body. They just sound and feel "more right" to me than the other 50 basses I owned. I guess, for me, variety is not the spice of life. I'm more of a stick with what works kind of person!
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For the last 13 years I've used my #1. At every show, gig, rehearsal, session, open jam, etc. All of em. Why? It does everything well. And the more I play it, the better it gets, and the better I get WITH it.
For the last 6 years I've also carried my G&L M2500 fretless. It does everything well, too. For me they are completely interchangeable. And after acquiring these two? I'll never need for any other instrument.
For the last 6 years I've also carried my G&L M2500 fretless. It does everything well, too. For me they are completely interchangeable. And after acquiring these two? I'll never need for any other instrument.
At this point, I only play Carl Thompson or Carl Thompson family related Basses. Ive ordered, traded, sold over a dozen in the last decade and I feel theres just no reason for me to play any other kind of Basses. At the moment, i have 2 CTs and 2 Hiltons. Ive got 1 in process with Carl, 1 OTHER (maybe in process with Carl), and my next one after that will most likely be a Kelvin Daly.
After I got my 1st CT, I sold all of my other Basses. There was just no going back. There are a lot of great builders out there tho that I admire their work. There are also alot of frauds and snake oil salesmen too. I def appreciate the classic brands and vintage basses, but ....im just stuck in my ways now.
After I got my 1st CT, I sold all of my other Basses. There was just no going back. There are a lot of great builders out there tho that I admire their work. There are also alot of frauds and snake oil salesmen too. I def appreciate the classic brands and vintage basses, but ....im just stuck in my ways now.
Mr @agedhorse and I think of stables as a place that needs to be mucked out and bring hay and feed.
For me, tool box, tool closet or tool rack seems more appropriate term.
I just got my first Indonesian Fender and modded it to my liking:
Something we do not do often on the DB side. Another NBD + mod
2 coffee table basses for chord work (E-C) and Fretless duties
Partly-a-bass (Hybrid Guitars Co - Universal 7: 3 string short scale bass + 4 string guitar in one chassis - tuned up a minor third E = G ) Funk and jam trio.
Six strings for fusion work and poser activities. C4 synth driver and modultion, time based and filter effects, experimenting around bass
Jazz, Modal-AvantGarde + Realbook and Bluegrass/folk/singer song writer - Upright bass
Fender Jazz special with Geezer PJ - work needing flats
There are others but i don't play them much or have retired them.
For me, tool box, tool closet or tool rack seems more appropriate term.
I just got my first Indonesian Fender and modded it to my liking:
Something we do not do often on the DB side. Another NBD + mod
2 coffee table basses for chord work (E-C) and Fretless duties
Partly-a-bass (Hybrid Guitars Co - Universal 7: 3 string short scale bass + 4 string guitar in one chassis - tuned up a minor third E = G ) Funk and jam trio.
Six strings for fusion work and poser activities. C4 synth driver and modultion, time based and filter effects, experimenting around bass
Jazz, Modal-AvantGarde + Realbook and Bluegrass/folk/singer song writer - Upright bass
Fender Jazz special with Geezer PJ - work needing flats
There are others but i don't play them much or have retired them.
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I have about a dozen basses. I mostly gig with a 1954 P-bass. There is something about those old single coil pickups and mid-heavy tone. And it feels right.
I love all four of those Primitive, but effectives.
I currently play the following basses:
Schecter Studio 5 with EMG HZ pickups; sounds great, I was planning on dropping USA EMG's into it until I heard it
Cort Five string with Bartolini pickups and a Markbass preamp; amazing tone and killer B string
Parts P bass with unknown body, Allparts neck mostly Fender hardware and a Seymour Duncan pickup: killer bass
Harley Benton Ric inspired four string that sounds too good to be believed
Sub Sterling four that satisfies my love for that tone but I will likely mod it with a new pickup and preamp. It weighs like 8 pounds, so it is great for long gigs
Schecter Studio 5 with EMG HZ pickups; sounds great, I was planning on dropping USA EMG's into it until I heard it
Cort Five string with Bartolini pickups and a Markbass preamp; amazing tone and killer B string
Parts P bass with unknown body, Allparts neck mostly Fender hardware and a Seymour Duncan pickup: killer bass
Harley Benton Ric inspired four string that sounds too good to be believed
Sub Sterling four that satisfies my love for that tone but I will likely mod it with a new pickup and preamp. It weighs like 8 pounds, so it is great for long gigs
I let go of a few and nowadays I rarely play anything but my Hammersmith and parts PJs because they’re very light, sound like the best 60s Fenders thx to my friends at EMG, and have necks that are very comfy to me.
I have a couple 5s, one a Guitar Factory active neck thru that I keep because I did a super cool paint job on it, and a Yamaha BB235 that I changed out the P pickup (still can’t decide on a J). I don’t like playing 5s, but once in a great while I need one. They’re heavier than I like a bass to be but ok for short durations.
I have two flatwound basses, a Jay Turser violin bass and a Dano Longhorn. I’ve kind of phased out the Turser but now and then I like to trot out the Longhorn because it looks cool and isn’t a big jump from my PJs tonally, believe it or not.
Last but not least is a Guitar Factory 4 with actives, neck thru body and Kahler whammy bar. The whammy bar is fun, and is the only reason I haven’t sold it yet. I’m just fully into the passive Fender vibe these days because they’re the only basses I have that I can use on literally anything and not sound out of place. The Dano comes close, but just misses for me.
I have a couple 5s, one a Guitar Factory active neck thru that I keep because I did a super cool paint job on it, and a Yamaha BB235 that I changed out the P pickup (still can’t decide on a J). I don’t like playing 5s, but once in a great while I need one. They’re heavier than I like a bass to be but ok for short durations.
I have two flatwound basses, a Jay Turser violin bass and a Dano Longhorn. I’ve kind of phased out the Turser but now and then I like to trot out the Longhorn because it looks cool and isn’t a big jump from my PJs tonally, believe it or not.
Last but not least is a Guitar Factory 4 with actives, neck thru body and Kahler whammy bar. The whammy bar is fun, and is the only reason I haven’t sold it yet. I’m just fully into the passive Fender vibe these days because they’re the only basses I have that I can use on literally anything and not sound out of place. The Dano comes close, but just misses for me.
So there's the meat n potato 4-strings: (used interchangeably on old school rock & country)
Warmoth/Allparts J w/ Lollar pickups. My overall #1 for tone. I can thump the neck pickup all night, or get that modern "scooped" sound with the bridge. This one always just works, and it always beats out all the others for high profile shows.
Warmoth Tele neck, ironically on a genuine Fender 60th Anniversary body with an Aero Type 4A pickup. The neck is very neutral & stable and the pickup is more full range / hi-fi. No surprises with this one - it puts out what I put in. On the right is the obligatory P with flats: a '78 neck on a Warmoth body w/ Lollar pickup. More "character" than the Warmothcaster in ways good and bad.
'78 Musicmaster w/ Lace Sensor pickup. These things really roar! Most dramatic tone knob sweep I've ever experienced. (At least after I rewired it like a P.) It absolutely destroys at home, but on the gig I sometimes miss the subtler depths of the longer scale.
As long as I'm on short scale, might as well show the hollowbodies:
The Gretsch doesn't work well for oldies rock with a pick (like it looks like it should) but it fit in nicely with the Salsa band. The Kay seems tailored for blues.
Onward and upward. The "workhorse" 5-strings, used for modern pop, fusion, smooth jazz or whatever:
For both being active 5-strings, these basses could not be more different. The Roscoe is inherently round & Fender-like in sound while the Warwick has an irrepressible growl with a brittle clank. The Roscoe is light with a slender neck while the Warmoth is heavy and has a ridiculously wide and thick neck that I freaking love.
I guess the 6-string Dingwall is even wider. It's passive and I have flats on it. The low & high ranges are just wonderful. I'll use this when they want a lot of solos.
This one is a bit odd: it's my "old school" 5-string, sharing duties more with the 4-bangers. I love the look - and the feel with the satin nitro. It's as if a Thunderbird and a '62 J hooked up and had a 5-string baby.
Got to have a fretless of course. I don't much care for the cosmetics here, but these active pickups sound awesome and the wide unlined neck keeps me committed:
This seemed like it might be too much of a niche item, but the ABG has been surprisingly popular with bandleaders!
I think that covers the guitars. Just for the heck of it, here's a couple of fiddles:
I've earned more money with that Kay in the back than everything else, combined. Getting a second upright allowed me to try gut strings on it, which I love!
The 5-string in the foreground is a 4/4 "full" size (makes the 3/4 feel like a toy that plays itself). It's kind of a handful. I've been struggling to get it to work on Jazz gigs. (Standard Spirocore strings over 44" feel awfully stiff for bebop. I procrastinated getting new strings because 5-string sets can be crazy expensive!) It seems to be well suited for the symphony.
That's all I got for now.
Warmoth/Allparts J w/ Lollar pickups. My overall #1 for tone. I can thump the neck pickup all night, or get that modern "scooped" sound with the bridge. This one always just works, and it always beats out all the others for high profile shows.
Warmoth Tele neck, ironically on a genuine Fender 60th Anniversary body with an Aero Type 4A pickup. The neck is very neutral & stable and the pickup is more full range / hi-fi. No surprises with this one - it puts out what I put in. On the right is the obligatory P with flats: a '78 neck on a Warmoth body w/ Lollar pickup. More "character" than the Warmothcaster in ways good and bad.
'78 Musicmaster w/ Lace Sensor pickup. These things really roar! Most dramatic tone knob sweep I've ever experienced. (At least after I rewired it like a P.) It absolutely destroys at home, but on the gig I sometimes miss the subtler depths of the longer scale.
As long as I'm on short scale, might as well show the hollowbodies:
The Gretsch doesn't work well for oldies rock with a pick (like it looks like it should) but it fit in nicely with the Salsa band. The Kay seems tailored for blues.
Onward and upward. The "workhorse" 5-strings, used for modern pop, fusion, smooth jazz or whatever:
For both being active 5-strings, these basses could not be more different. The Roscoe is inherently round & Fender-like in sound while the Warwick has an irrepressible growl with a brittle clank. The Roscoe is light with a slender neck while the Warmoth is heavy and has a ridiculously wide and thick neck that I freaking love.
I guess the 6-string Dingwall is even wider. It's passive and I have flats on it. The low & high ranges are just wonderful. I'll use this when they want a lot of solos.
This one is a bit odd: it's my "old school" 5-string, sharing duties more with the 4-bangers. I love the look - and the feel with the satin nitro. It's as if a Thunderbird and a '62 J hooked up and had a 5-string baby.
Got to have a fretless of course. I don't much care for the cosmetics here, but these active pickups sound awesome and the wide unlined neck keeps me committed:
This seemed like it might be too much of a niche item, but the ABG has been surprisingly popular with bandleaders!
I think that covers the guitars. Just for the heck of it, here's a couple of fiddles:
I've earned more money with that Kay in the back than everything else, combined. Getting a second upright allowed me to try gut strings on it, which I love!
The 5-string in the foreground is a 4/4 "full" size (makes the 3/4 feel like a toy that plays itself). It's kind of a handful. I've been struggling to get it to work on Jazz gigs. (Standard Spirocore strings over 44" feel awfully stiff for bebop. I procrastinated getting new strings because 5-string sets can be crazy expensive!) It seems to be well suited for the symphony.
That's all I got for now.
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