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I'll see your revolver and raise you one. I have a Colt 1851 Navy, NOT nickle plated, but heavily engraved. (Never seen that combination)
My fingers, man... The most unique (and imo significant!) piece of equipment I have, I'm pretty sure I'm the only one to have them 
I own a circa '68 Sunn 100s head(nominally a guitar head, but can be used for bass)that is a 120-watt/4xKT88 prototype(normally these amps, as well as the bass 200s, were 60 watts/2xKT88). As far as I can find out, only about 10 each of the hot-rodded 100s and 200s were made. These amps led to the wider chassis 2000s and 1000 series heads that came out later that year. They were sent on the road with, and beta tested by, the likes of the Who, Steppenwolf, Blues Magoos, and, oh yes, Noel Redding and Jimi Hendrix. My particular amp was used on some of the tracks of a very notorious album(in that it featured notable players, but was absolutely awful), "Screaming Lord Sutch and his Heavy Friends". The story is this: Screaming Lord Sutch was this character in the UK of the early 60's who had a novelty act doing 'horror rock' loosely based on Screaming Jay Hawkins, as in Sutch himself would emerge from a coffin on stage and sing songs like "Jack The Ripper" wearing a top hat, cape, and extremely long hair(even for the moptop days). Sort of a proto-Alice Cooper, musically it was just watered-down 50's rock and roll. However, much like John Mayall, his band was a come-up-the-ranks situation for many later notable instrumentalists like Nicky Hopkins, UK session drummer Carlo Little, and I believe Richie Blackmore, as well as Jimmy Page playing on his recording sessions. Probably a great drinking buddy, he couldn't sing to save his life. By the end of the decade, with all the stylistic changes that had occurred, his career in the UK was pretty much over with, so he relocated to the US, Los Angeles in particular. Sutch hooked up with a Hollywood promoter/music biz hustler named Buck Munger, who also happened to be the artist rep for Sunn Amplifiers; as they were in Oregon, he was their 'man in LA'. Munger's job was to find up and coming bands and hooked them up with Sunn gear for the exposure. In addition, Munger put together a band of unknown, struggling players to demo Sunn gear at 'Teen Fairs', car shows, and as an opening act in clubs and concerts. Guitarist Kent Henry(who later joined Steppenwolf) and bassist Martin Kohl(whose son I bought my particular amp from)were two such musicians. The Sunn gear that they played through was hand-me-down equipment from the road-tested stock; by 1969 the larger 120 watt 2000s and 1000s amps were on the market, the smaller chassis but higher powered prototypes(which were never brought to market in that configuration)were no longer needed(and probably not thought of as 'collectable'), so this stuff was dumped on these guys to use. Back to Sutch...by mid-1969, all of Sutch's old Blighty mates were rolling through town to record or perform, Page(with his new band), Jeff Beck, Nicky Hopkins, newly out of a job Noel Redding(whom Munger knew from providing the JHE with Sunn gear), so Munger arranged some recording sessions with Sutch that were proposed to these players as 'demos'; once again, musically most of these tunes were just heavy-handed re-workings of 50's rock and blues with new insipid lyrics. Henry and Kohl were brought in to play on tracks to fill out the album once the big names had moved on(in a bit of irony, Page later complained that he was duped into these sessions, never thinking they'd see light of day). The 'big names'(aka the 'heavy friends')were splashed all over the cover of the album, which got released in early 1970, cashing in on Zeppelinmania. Now, I have no idea if Redding actually used the amp I have at these session(Kohl's name is stenciled on the back), however, a 100s guitar head(as opposed to a more likely 200s bass head)can be seen on top of the wall of Sunn 200s 2x15" cabs behind Redding in the JHE "Miami Pop" concert video; the timeline and chain of possession make it plausable that Redding had played through it at some point, and Kohl had to have had it for the recordings. Mr. Kohl has since passed on, so I wasn't able to contact him with questions, and his son didn't really know that much. As for that album, don't bother trying to track it down, it's horrible, and most of it is on Youtube anyway. Sorry if that was long-winded, but it's a complicated back story.
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Still looking for a second member of the Andreas Bull shark Club....
A clip to the mikestand ashtray. I'm sure it qualifies as antique by now... And I haven't smoked in years (can't smoke in clubs anymore anyway)... But it is still in the gigbag.
More bass related, my Demeter VTBP-201 with the Minnie 800d installed. - I know, I know, it's the same thing as a VTB-800-D... But mine is one of the very first generation 201's with the silver switches. It's so old, it's even before Demeter, it's called Inovative Audio Systems.
The silkscreen has almost totally worn off, so you can barely read anything...
No other class D Rig on the planet has as much mojo.
3 pages and no one said it... Sex appeal
Home brew tube bass DI. It's the front end circuit from an SB12 fliptop. Goes out an old UTC ouncer transformer for the XLR, and a buffer amp for the line output. Repurposed Shure mic mixer housing and cheap LDC tube mic power supply. Probably about $20 or 30 in parts aside from the xfmr and salvaged bits.
Ended up making a couple more that just plug into the common 7-pin tube mic power supplies (apex 460/ Nady 1150 et al.), using the voltage rails and XLR output. No buffer amp on those.
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