What is your "one day..." bass?

[GIBrat51]

It'll never happen!

My birth year Fender P Bass. 1951.

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Yeah...
I feel your pain. But, in your case, it is possible - if you win the Mega Bucks lottery. In my case? There's no such thing as a left-handed '51 P-Bass... Or a left-handed '51 bass at all - other than maybe an upright. Which my shoulder injuries wouldn't let me play, even if I found one...

 

[Mustang Surly]

It has the perfect neck for my hands, and doesn't wear out my back, hangs in exactly the right position.

Comfort/ergonomics goes a long way, especially when you've hit the senior years...

 

[VeryTallBassist]

Every time I try to go elsewhere, I keep winding up back at Spector. But - My top 3 would be (in no particular order): Pedulla Thunderbass 5 - I've wanted one since I played one in GC back in 2000. F Bass BN 5 - Never played one but they sound soooo good. Warwick Thumb 5 from the 90s - wenge neck and body.

 

[chris_b]

For 3 years, while I was learning to play bass and getting into bands, I thought about nothing else. My "one day" bass was a Fender Precision. Then, with the cash I made in my first pro band, I bought that Precision. It was 26 years before I bought another bass.

 

[Iristone]

P bass, J bass, Stingray
Alembic, Epiphone Jack Casady, Epiphone Rivoli, Bass VI, Muse Kinetics 12 Step foot bass (I'm thinking of pairing it with a Behringer CAT synth module).
But sometimes these basses become GAS items if I look at them too hard

 

[tindrum]

Like others have posted I’d kill for a Wal. Other than that I’d say a Dingwall John Taylor in the Rio finish, a Modulus 5 string and a killer vintage Jazz bass.

 

[Dincrest]

I have never played a bass that I love as much as my SR370EF, which is my least expensive bass of the 5 that I currently own. I like it more than my SR Premium. It has the perfect neck for my hands, and doesn't wear out my back, hangs in exactly the right position. Perhaps the fact that it's my only fretless has something to do with it, but I just cannot get enough of it. I realize many SRs do not have the greatest tone or the best preamps, but as far as playability goes, they excel.

And lately I'm appreciating the fact that Soundgears don't have a signature "baked in" tone like, say, the Warwick growl or what-have-you. Gives me a fairly neutral platform when adding "tone changers" like strings, amps, effects, etc.

I once briefly had a Soundgear SR905 5-string (neck-through, curved back body like a Spector, terrific bass) with Bartolini MK-1s and the stock preamp- an electronics package everyone says is meh. But with a set of DR Fat Beams, that bass growled like an absolute monster.

And go figure... I used to be meh on Bartolini pickups (US ones included) but gaga over Duncans. On a Zon Mosaic Standard 5 I used to own, the Duncan soapbars I loved so much sounded too polite yet the Bartolinis (US) in my Prestige Soundgear have a killer bark to them. And if I play with the preamp settings, I can get close to a Spector sound or even a 70s Stingray-esque disco sound.

One Soundgear I'd love to try is the discontinued SR1600D 4-string with the Aguilar soapbars.

 

[vickerekes]

8 or 9 years ago I learned about the Ibanez GVB1006 bass, premier Japanese custom shop, totally out of my budget and beyond hope for me to find. There is a 'budget' model, but it wasn't the same. Almost pulled the trigger once or twice but couldn't justify the pain, even at a used discount. After 50+ years of playing short scale bass VI's, it seemed the ultimate step-up move. This month I found one here on TB (unobtanium) and now own my one-day bass!

 

[ParallaxSM]

I suppose I would say a Serek Lincoln or a JMJ Mustang. I think the Sereks look and sound sweet and I’m intrigued by a short scale. However, I’m very content with my current lineup.

- Squire CV 60’s P-Bass with flats
- Sterling Ray 34HH with rounds
- Epiphone Jack Casady Signature with flats

From time to time I look up used ones but I don’t get even close to pulling the trigger. I know you can get a wide range of different tones with various pickups and configurations, etc. However, I always seem to ask myself the following questions and can’t really justify something new.

Will it provide a tone that will fit better for the classic rock, pop, some country music I play (I don’t think so)?

Will a majority of the people that I play with or those in the crowd notice (most likely not)?

Will it help me play better (isn’t that what practice is for)?

I know there are mixed feelings about “beginner basses” vs more premium offers. The fine details and craftsmanship can vary. I do think that most mass produced manufacturing methods of standard instruments are solved (for the most part) and I personally can put up with a few quirks if it gets me there already. Lastly, I honestly don’t believe 99.9% of the people will even notice a difference.

I don’t mind if people are into boutique/high end/premium things if they want. Plus, it’s fun to daydream from time to time. There are some really beautiful boutique basses (along with some really ugly ones) out there. Additionally, if you are playing in higher tier professional settings, then I understand the need to obsess over tones and sound and know which tool is right for the job.

For my situation, I only recently started playing in a band 2 years ago. I only play a few times a year around at the local breweries so my needs aren’t extensive and I’m happy with the progress I’ve made as a very small part-time musician. Though, I recently picked up a really nice Bergantino cab that I don’t feel worthy to play on.

 

[Miles_ONeal]

My #2 holy grail bass was my one day bass. A 1964 Gibson Thunderbird II. I say was because I finally got one this month. Sooo happy with it!

(My #1 holy grail bass is a Thunderbird owned by Leon Wilkeson.)

 

[ewe2]

I have a few one day basses...from possible to impossible

A Euro Spector, I've always lusted after that youtuber's banana Euro Spector, the classic reverse-p with the unique batwing inlays, and there's a dozen variations depending on what preamp/pickups they're flogging (recent Euros have Darkglass). Expensive in $AU but doable, I just have to forget anything else if I want a $AU6k bass

A Serek might be doable with serious saving for about a year. I think Sereks have a fantastic sound for a short scale and the options can give me exactly what I want. Takes a lot of money and a couple of years waiting though.Looking at $AU8-10K depending on options

I would love a Wal but that's completely out of my reach. I just love how versatile the Wal is and it would have to be fretless which is even more unobtainable, definitely lottery range.. I have a Lustihand preamp in my Sire V5 fretless which gives me some range of the Wal sound and it's unique. Range $AU hilarious, I've seen a Wall II go for $US21k

 

[ryco]

MTD 535-24 fretted and fretless
At this point in my life at my age and with the type and frequency of my gigs can't really justify spending the cash. But they are worth every penny asked. Beautiful instruments!
If 15K ever dropped from the sky the twins would be ordered tomorrow.
or I might hit up neighbor Chris Benavente and see what he could conjure up.

 

[Miles_ONeal]

I had an alembic built for me in 1981. It's a 4-string, long scale point with some custom options. Other than having a 5-string version, I've been to the mountaintop. I bought a Spector Euro 5 CST last July, and that was bass #60 for me. #61 is a beater American Pro Precision Bass from 2005. There's nothing I need, but it's fun to play something different every so often.

Currently I've got:
Lakland 5502 fretless that was my #1 for more than a decade
G&L L-2500 Series 750 with flatwounds
MusicMan Stingray HH 5-string that's a delightful instrument
2005 Fender Precision American Pro
Squier Mini Precision
NS Design WAV 5 electric upright bass
Generic plywood upright bass
Alembic Series I 4-string

I'm a big proponent of not having a bucket list and just doing the thing(s) you want to do NOW because too many of my friends died before they ever had the chance to enjoy life.
John

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OT1H, I’m a fan of the “do it now” philosophy. OTOH, not everyone has the disposable income or time to do that (like me). OTGH, good for those who can.

 

[VicDiesel]

A seven string bass viola da gamba with a cello style body and extended fingerboard.

Is there any historical justification for that cello body? (I have a 7-string with a traditional body.)

 

[ac100X]

An original 60's Burns Bison (I have the Korean re-issue) in green to black burst would be awesome.

 

[songwriter21]

I guess we all have them: basses you don't have immediate GAS, use or money for, but always think "one day...". It'll probably never happen (or maybe it will?) but it'll be in your head forever and every time one comes up for sale, you go "shall I..." but you never do it.

Well, that's how my head works anyway. I have that with a couple of basses. I want want just because I like them somehow, but I know I'll probably never buy one because I have no direct use for them.

First, a Rob Allen Mouse. I played one when I was 14 and have wanted one ever since (I'm almost 36 now). But I have no practical use for one at all and for "just for fun", it's a bit too pricey.

Second, a pre-EB Stingray. I have never been, currently am not and will never be a Stingray player. I've owned a USA Sterling, currently have a Sterling Stingray and I just can't get along with the necks and the sound of Stingray. Even so, every time a vintage Stingray pops up for sale, I go "well...shall I?"

And then there's a vintage Höfner Club Bass. I have a cheap Chinese Höfner that I really like as something at home, but it's not a bass (or a feel) gig with. But yeah. They're hella cool and recently I've tested a vintage reissue Club for a magazine that I really considered keeping.

A custom Modulus TBX 5

 

[Makten]

It would be a real vintage P then... But:

#1: I can't even remotely justify the cost.
#2: I'm almost never playing long scale basses since getting a few short scales.

 

[mambo4]

A Mike Lull version of 54 Single coil Precision. Ebony fingerboard. In Olympic white.

 

[Koshchei]

Is there any historical justification for that cello body? (I have a 7-string with a traditional body.)

Ample; if you read Bettina Hoffman's book or Myrna Herzog's dissertation, viols were made both ways, with authors of the time saying that the cello-like body sounded better (I have no experience with this -- I've literally never seen another viol beyond my own in person). Stradivarius also inherited a body pattern from Amati that had an arched back too (sadly, I don't think that there are any surviving examples that haven't been converted to cello).

My interest isn't historical, however. I want an instrument that can be maintained and set up by a violin maker, rather than having to hop on a train or a plane somewhere. As well, in playing my viol in strings master classes, it's pretty clear how much potential the instrument brings to a modern musical context, and that's where I'm taking it.

For example, I wrote this with bass viol in mind over the holidays (takes advantage of the chordal tuning):

 

[crazycloud]

This has 3 answers:

1: best I can realistically afford, the Ibanez GVB36 that'll be here soon,
2: the Lotto win, likely an Alembic Series II in a Rogue shape, narrow 6.
3: the couple I'm going to build myself later this year with the new CNC that's just been ordered - I know what they'll be and most of the CAD work is done.