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  1. News

Cool and classic basses

By Roger Newell
published 12 December 2011

Rickenbacker 4003
They don't come much cooler than this...

Rickenbacker 4003

PRODUCED : 1979 - Current

ORIGIN : USA

TYPE : Twin cutaway solid body, 4-string passive

BODY : Bound, Maple wings aside the neck block

NECK : Maple, through neck, 20 jumbo frets

SCALE LENGTH : 844.6mm (33 ¼ -inch)

FINGERBOARD : Rosewood, lacquered with perloid triangle inlays sometimes called Sailfins

HARDWARE : Chrome, Rickenbacker solid bridge/tailpiece, Schaller open gear 'shamrock' tuners, string damper

PICKUPS : 2 Rickenbacker Singlecoils

CONTROLS : Volume & Tone for each pickup plus 3-way selector switch

FEATURES : Bound body, Mono and Rick-O-Sound stereo outputs, distinctive white scratchplate

FINISHES : Fireglo, Jetglo, Mapleglo, Midnight Blue, White

COMMENTS: When Rickenbacker introduced the 4003 bass the 4001 was still in production, in fact it lasted until 1985 and with relatively little between the two visually and general sound characteristics, its very existence may seem curious.

The truth is, the 4001 had a few design problems - particularly with the truss rod adjustment cavity at the headstock. As the neck was very slim there was actually very little wood around this cavity, headstock breaks were always a danger (personal experience here) and neck bowing could be a problem.

The 4003 was designed to take care of that by adding extra meat to the whole neck. Of course this gave it a rather more substantial feel, so the new designation was justified. Rickenbacker also improved the dual truss rod system and altered the electronics by removing the bridge pickup capacitor and improved 'hotter' pickups, which are much better balanced than on the 4001.

Later versions of the 4003 would include a push/pull pot to engage this replaced capacitor. This bass masters the iconic looks and sound that Rickenbacker basses are known for, particularly when engaging Rick-O-Sound, which provided a stereo output jack so that you can run each pickup into a designated amplifier. But whether mono or stereo this will grunt and growl like no other, although as McCartney proved it can also sound very sweet. Also available as the 4003S unbound mono version, 4003FL fretless, 4003S/5 unbound 5-string and 4003S/8 unbound 8-string, with all S-versions having dotted inlays.

Page 1 of 68
Page 1 of 68
Hofner 500/1 Violin Bass
Our picture shows the most popular version from 1962

Hofner 500/1 Violin Bass

BASS EXPO Could there be any better way to celebrate the glory of the bass guitar than with a series of profiles of some of the most iconic instruments ever to grace stages and recording studios across the globe? We don't think so. Kicking off our series of bass profiles is the four-string that a certain mop-topped Liverpudlian used to take the world by storm in the early 1960s...

Hofner 500/1 Violin Bass

PRODUCED: 1956 – current

ORIGIN: Germany

TYPE: Hollow violin-shaped body, 4-string

BODY: Spruce top, flamed maple back & sides, fully bound

NECK: Maple, glued-in neck, 22 fine frets plus zero fret

SCALE LENGTH: 762mm (30-inch)

FINGERBOARD: Rosewood, white dot inlays

HARDWARE: Chrome trapeze tailpiece, rectangular pearloid control plate and matching scratchplate (often removed), rosewood bridge has slots in the top to take four small lengths of fret wire to act as crude string saddles, small guitar-sized open gear tuners

PICKUPS: Two Hofner ‘staple’ units on this 1962 version

CONTROLS: Two volume controls and three slide switches

FEATURES: The rosewood bridge has slots in the top to take four small lengths of fretwire to act as crude string saddles, although the body and headstock are bound the fingerboard is not

FINISHES: Brown Sunburst

COMMENTS: By the time that Paul McCartney popularised the Violin Bass it had already undergone several changes. By 1961 most notably the oval control plate was replaced by a rectangular one, extra switches were added and the smooth black single coil pickups were replaced by the staple ones we see here.

Initially these two new pickups were placed close together towards the neck but by spreading them apart as here. At the outset there were 20 frets, then 21, but when it reached 22 the bass finally came of age and has remained in production ever since. Along the way it’s been called the Beatle Bass and the Cavern Bass, had gold fittings, ebony fingerboard and even active circuitry but that’s just gilding the lily in our opinion. Classic is best.

Hear it here: The Beatles - I Saw Her Standing There

Page 2 of 68
Page 2 of 68
Burns Black Bison Bass
The Burns Bison circa 1963

Burns Black Bison Bass

ORIGINALLY PRODUCED: 1962-64

ORIGIN: UK

TYPE: Solidbody, Passive 4-string

BODY: Sycamore, twin cutaway

NECK: Maple, bolt-on, 22 medium frets plus zero fret at nut

SCALE LENGTH: 851mm (33.5-inch)

FINGERBOARD: Ebony, bound, white dot inlays

HARDWARE: Chrome, 4-saddle bridge, fully adjustable, Van Ghent open gear tuners with large black plastic buttons

PICKUPS: Three Burns Ultra Sonic Bass units

CONTROLS: Volume, tone, 2-way selector (A/B) & 4-way tone selector (Wild Dog, Treble, Tenor, Bass)

FEATURES: The cutaway horns curved upwards from the flat plane of the body, cover plate over bridge, string damper fitted

FINISHES: Predominantly black (hence name) but white with white scratchplate and custom colours were also available

COMMENTS: This was the first full-scale bass produced by Jim Burns and in spite of its considerable weight it became very popular with session players of the time. This was the first of many variations and was produced as a companion to the Bison guitar.

The original guitar had four pickups but the bass only ever had three, fortunately! In keeping with the theme, black flatwound strings were fitted as standard and contributed to the very powerful and big booming sound. However clear notes were never a problem thanks to the legendary Wild Dog Treble setting!

Page 3 of 68
Page 3 of 68
Fender Precision Bass
1953 Fender Precision pictured with 'wide panel' Bassman amplifier

Fender Precision Bass

PRODUCED: 1951-1954

ORIGIN: USA

TYPE: Solidbody, passive 4-string

BODY: Twin cutaway slab, ash

NECK: Solid maple, U-profile, skunk stripe covers truss rod, 20 fine frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: No separate board, part of the maple neck, black dot inlays

HARDWARE: Chrome, 2-saddle bridge, open reverse gear tuners

PICKUP: Exposed single-coil 4-pole

CONTROLS: Volume & tone on separate chromed control plate

FEATURES: Telecaster-style headstock, large single-ply black pickguard, separate chromed metal control plate, through-body stringing, chrome cover plates over bridge and pickup, finger rest with single screw in centre, edge mounted jack socket

FINISHES: Blonde

COMMENTS: This is the original design for the Precision so had the job to convince upright bass players to change allegiance! The connection to the Telecaster is obvious but the additional upper cutaway was introduced in order to give the instrument much better balance.

It had its faults however so was comparatively short-lived in this early format but it was the beginning of the most successful bass guitar ever produced. It’s been continually tweaked over the years as we shall see but remains as an iconic and magnificent instrument.

Hear it here: Elvis Presley - Jailhouse Rock

Page 4 of 68
Page 4 of 68
Steinberger XL-2
Eccentic, futuristic desgn

Steinberger XL-2

PRODUCED: 1980-present

ORIGIN: USA

TYPE: Headless solidbody, 4-string, active electronics

BODY: Synthetic, one-piece neck/body although separate body top was bolted on

NECK: 24 jumbo frets & fretless available

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Phenolic, white dot inlays

HARDWARE: Black, fully adjustable 4-saddle bridge/tuner tailpiece

PICKUPS: Two humbucking EMG units

CONTROLS: 2 volumes & 1 tone

FEATURES: Swivel strap holder at back plus a hinged leg rest on lower body edge, uses double ball-end strings, no lighter in weight than a conventional bass

FINISHES: Predominantly black although other colours are available. The early white ones were termed albinos.

COMMENTS: For synthetic read epoxy resin reinforced with carbon graphite and glass fibre. This was the Ned Steinberger model that caused excitement throughout the industry. A tiny full-scale bass by anyone’s standards at only 38-inches overall length but with a monster sound in spite of its minimalist looks.

Initially four models were available the H1 & H2 (high impedance with one or two DiMarzio pickups) and the L1 & L2. These were low impedance, active basses with a dominating sound that literally blew the H models away! The L-2/5 five-string version was introduced in 1982 and both models were replaced by the XL-2 in 1984. And in spite of a company buyout in the late '80s it’s the XL-2 that’s still with us today.

Page 5 of 68
Page 5 of 68
Warwick Thumb five string
This classic comes in a selection of wood and string choices

Warwick Thumb five string

PRODUCED: 1985 - Current

ORIGIN: Germany

TYPE: Carved double-cutaway body, laminated neck-through, active 5-string

BODY: 2-piece bubinga

NECK: 7-piece afzelia & wenge, 26 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Wenge, no poison markers on fretboard, ebony and fretless also available

HARDWARE: Black fully adjustable bridge, Brass ‘Just-A Nut,

PICKUPS: Two MEC J-style units

CONTROLS: Stacked Volume & active mid range cut/boost, push/pull active/passive switching, stacked tone with bass & treble cut/boost, panning control

FEATURES: Bridge has separate tailpiece, Straplocks fitted, batteries housed in control cavity, distinctive angle on the tuners

FINISHES: Natural and colours

COMMENTS: Warwick are well known for their quality of build and general attention to detail and like much of their bass range the Thumb is available in several different configurations as far as woods used, pickup types and their positioning is concerned.

However the twin pickup, electronics and general neck through construction remains and although the original 4-string Thumb was something of a beast a general slimming down on proportions and the introduction of the 5-string has undoubtedly made it the flagship instrument for the company. Available in 4, 5 & 6-string versions and with bolt-on construction.

Page 6 of 68
Page 6 of 68
Gibson EB-0 Bass
Original EB-0 with Les Paul body shape and banjo-style headstock and tuners

Gibson EB-0 Bass

ORIGINALLY PRODUCED: 1959-61

ORIGIN: USA

TYPE: Solid slab body, twin cutaway, 4-string

BODY: Mahogany

NECK: Mahogany, set neck, 20 medium frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, white dot inlays

HARDWARE: Chrome bridge/tailpiece, single-saddle bridge with strings anchored on baseplate, banjo-style tuners

PICKUPS: One large double-coil humbucker with black cover

CONTROLS: Volume & tone

FEATURES: The ‘banjo’ style headstock means that the tuning keys face backwards

FINISHES: Cherry red only

COMMENTS: This was the first version of the EB-0 and modelled on the Les Paul Junior guitar. When the guitar became the SG the EB-0 was given the same facelift. With the single humbucking placed against the neck this had a big fat sound further enhanced by the significant mass of the slab mahogany body. Its weight was certainly one of its downfalls.

Although popular in America it was not so easy to find in the UK however Glen Cornick of Jethro Tull used one for a while and that certainly increased the interest level over here. Occasionally these appear with a chrome plate over the strings to support the wrist, but the earliest versions don’t have one. The EB-1 came first but this was cheaper, hence the EB-0 model number in keeping with Gibson's price-related standard.

Page 7 of 68
Page 7 of 68
Fender Coronado II Bass
Rare and often-overlooked, seen here in candy apple red

Fender Coronado II Bass

PRODUCED: 1966-1971

ORIGIN: USA

TYPE: Hollowbody, twin cutaway, 4-string

BODY: Bound arched

NECK: Maple, bound, set neck, 21 medium frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, bound, white pearloid block inlays

HARDWARE: Fancy trapeze tailpiece with Fender F, chunky bridge with individual saddles, open gear tuners with oval blades (although some sported regular ‘shamrock’ blades)

PICKUPS: Two single-coil DeArmond units with adjustable pole pieces

CONTROLS: 2 x volume, 2 x tone, selector switch

FEATURES: Bound f-holes, rounded off Fender headstock finished in black, symmetrical thumb/finger rests

FINISHES: Candy apple red, tobacco sunburst, three-tone sunburst, antigua, custom colours with matching headstocks and this was also the time of natural wildwood

COMMENTS: No prizes for guessing that this hollow body was Fender’s answer to the popular Gibson EB-2. Two models were made, the single pickup Coronado I and the tonally superior Coronado II. They were designed by Roger Rossmeisl who was known for his outlandish Rickenbacker designs from the 1950s.

Coronado basses were not overly popular at the time and prone to feedback so this lack of initial interest makes it hard to find one today. Roscoe Beck used one for a video shoot with Robben Ford and it looks very cool in action. These basses were light in weight and fitted with La Bella flat wound strings as standard. Used with modern EQ pedals or compression can sound really fat.

Page 8 of 68
Page 8 of 68
Danelectro Longhorn Bass
Long in horn, unique in tone, big on value

Danelectro Longhorn Bass

ORIGINALLY PRODUCED: 1958-69

ORIGIN: USA

TYPE: Hollowbody, passive 4-string

BODY: Masonite, lyre-shaped, vinyl edging strip

NECK: Maple, bolt-on, 24 fine frets

SCALE LENGTH: 749mm (29.5-inch)

FINGERBOARD: Rosewood, white dot inlays

HARDWARE: Bridge is a single rosewood saddle mounted onto a chrome plate.

PICKUPS: Two lipstick tube pickups

CONTROLS: Two dual concentric volume/on-off, original wooden ‘pointer’ knobs were soon replaced by round ones

FEATURES: Coke bottle headstock, regular guitar tuners, aluminium nut

FINISHES: Bronze & white sunburst

COMMENTS: The body construction is a laminated pinewood frame with hardboard (masonite) back and front stuck in place. Curiously the neck pocket was extended from the body further up the back of the neck for added stability.

Longhorns were very wallet friendly at the time and a significant quantity of instruments were sold in Sears Roebuck catalogues in the States under the Silvertone brand. The Lipstick pickups really were purchased lipstick cases and featured an alnico bar magnet core with the coil wound around, which was then covered in tape before inserting into the metal casing.

Initially both pickups were placed close together towards the neck but they were soon moved to bridge and neck positions for hollower sounds. They were adjusted for height from the back of the body. The bridge adjustment was equally as crude using the three screws that connected it to the body, but it worked.

Page 9 of 68
Page 9 of 68
Yamaha SB-Series bass
It'll chop you in the bass bone

Yamaha SB-Series bass

PRODUCED: 1966-71/72

ORIGIN: Japan, Nippon Gakki factory

TYPE: Solidbody, reversed twin cutaway, 4-string

BODY: Alder

NECK: Maple, bolt-on, 20 medium frets & fretless available

SCALE LENGTH: 800mm (31.5-inch)

FINGERBOARD: Rosewood, bound, white dot inlays

HARDWARE: Chrome cover-over bridge/tailpiece, 4-saddle bridge, open gear tuners

PICKUPS: Two single-coil units with white plastic surrounds

CONTROLS: Volume, tone & balance

FEATURES: string mute fitted, headstock colour matches body, finger rest below strings for thumb playing

FINISHES: 3-tone sunburst, various sparkles

COMMENTS: The original SB-2 had a more conventional twin-cutaway body but it was the reverse body design of the revamped SB-2A that really caught the attention. In spite of the reverse body shape this is a relatively well-balanced bass thanks to the slim headstock and it was this distinctive shape that earned it the epithet of the Yamaha Samurai Bass!

Curiously, Yamaha used to stamp the serial number into the rosewood fingerboard towards the body end. With such a widespread for the positioning of the pickups this bass is capable of producing super hollow and funky sounds, but its delivery is generally full and warm as the angled neck pickup is set to favour the neck for the top strings.

Page 10 of 68
Page 10 of 68
Music Man StingRay - pre Ernie Ball
The first production active bass

Music Man StingRay - pre Ernie Ball

ORIGINALLY PRODUCED: 1976-1980

ORIGIN: USA

TYPE: Solidbody, active 4-string

BODY: Alder for sunburst or coloured finishes, ash for naturals, twin cutaway

NECK: Maple with walnut skunk stripe, bolt-on, 21 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Maple with black dot inlays, rosewood optional and ebony on fretless versions

HARDWARE: Chrome, raised tail 4-saddle bridge, separate metal control plate

PICKUP: Trademark double-poled hum-cancelling unit with black or white cover

CONTROLS: Volume, active treble & bass

FEATURES: 3/1-tuner placement on headstock, individual adjustable string dampers

FINISHES: Natural, sunburst and custom colours

COMMENTS: This was the first production line active bass and the Leo Fender influence is unmistakable, earning it the ‘Active Precision’ nickname on its launch. This was the first time we saw the unusual tuner placement but it cleverly provides a straight pull for each string and reduces the mass of the headstock, thus giving better instrument balance.

The truss rod makes use of the bullet adjuster at the headstock end and the classic ‘elephant ear’ tuners feature a very short stem. This early active circuit was covered in a black tar-like substance to prevent copying by other manufacturers. The classic Music Man humbucking pickup was a revelation, very powerful and with eight massive alnico pole pieces, it has become an icon in its own right.

Page 11 of 68
Page 11 of 68
Fender Jazz Bass
After 1962, three control knobs superseded unreliable twin dual concentric controls

Fender Jazz Bass

ORIGINALLY PRODUCED: 1960-62

ORIGIN: USA

TYPE: Solidbody, passive 4-string

BODY: Ash, offset-waist twin cutaway

NECK: Maple, bolt-on, medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Rosewood, dot inlays

HARDWARE: Chrome, 4-saddle raised-tail bridge

PICKUPS: Two single-coil, 8-poles apiece

CONTROLS: Volume & tone for each pickup from dual concentric controls

FEATURES: Controls and jack socket on chrome-plated ‘bell’ plate, two cover plates, muting rubber block stuck underneath bridge cover plate

FINISHES: Sunburst and custom colours with matching headstock

COMMENTS: This was the first version of the amazing Jazz Bass that was advertised initially as ‘the long awaited two pickup Precision’ however it was hardly that, in fact it was something quite unique.

Fender were already experimenting with offset bodies for the Jazzmaster but as horns gave basses much better instrument balance the Jazz Bass had them, thus giving it a look all of its own.

Although the dual concentric controls gave tremendous volume and tonal blending opportunities the components of the time were not up to the task and were notoriously unreliable, so were dropped in 1962 for the three-control version.

Page 12 of 68
Page 12 of 68
Wal Pro 1 & Pro 1E Bass
The first active British production bass

Wal Pro 1 & Pro 1E Bass

ORIGINALLY PRODUCED: 1978-82

ORIGIN: UK

TYPE: Solidbody, active (E) or passive 4-string

BODY: Ash three-piece, twin cutaway, other woods as ordered

NECK: Maple & mahogany laminated, bolt on, 21 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Rosewood with white pearl dot inlays

HARDWARE: Chrome, adjustable four-saddle bridge/tailpiece assembly

PICKUP: Wal humbucker with two rows of four pole pieces with a separate coil for each of the eight

CONTROLS: Volume, tone, active/passive slide switch

FEATURES: Modular FET active circuitry, body edge plate featured a regular jack or an alternative balanced line XLR for low impedance connection. This was popular with seventies session players but it also allowed the use of much longer leads for those stadium gigs! Schaller tuners with ‘crescent’ gear covers, large plastic scratchplate

FINISHES: Natural, black, colours to order

COMMENTS: The first British production line active bass the Pro Bass was offered with one or two pickups and a passive version was also offered, although relatively few of these were made. Mostly the bodies were ash with the best wood used for the natural finished models, as this was very much in fashion at the time.

If body wood appears unattractive then it was originally a coloured body that has been stripped by the owner! Early versions featured the ungainly ‘spade’ headstock, which was later reduced and reshaped. Passive models could be converted to the active E model if required by fitting the alternative ‘active’ scratchplate that included the battery compartment and the slide switch.

Page 13 of 68
Page 13 of 68
Gibson EB-2 Bass
A bass for ES-335 lovers

Gibson EB-2 Bass

ORIGINALLY PRODUCED: 1958-61

ORIGIN: USA

TYPE: Archtop semi-hollowbody, 4-string

BODY: Maple faced 4-ply top, twin cutaway, bound with f-holes

NECK: Mahogany, glued-in, 20 jumbo frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood with white dot inlays

HARDWARE: Chrome, 4-saddle bridge, Kluson rear facing ‘banjo style’ tuners with plastic keys, single saddle bridge/tailpiece

PICKUP: Single humbucker, black faced with screw type adjustable pole pieces initially to one end of the pickup then moved to the centre

CONTROLS: Volume, tone and baritone tone switch

FEATURES: Black laminated plastic floating scratchplate,

FINISHES: Natural and sunburst mostly although Gibson’s classic cherry red did appear occasionally

COMMENTS: Introduced as the bass version of Gibson’s popular ES-335 guitar the EB-2 has a narrow neck with a 38mm nut and substantial depth. Although semi-hollow the body construction features a large central core that makes it heavier than it looks and gives it a neat combination of solid and acoustic bass sounding elements.

The baritone switch appeared about 1959 and was originally a push button but soon became a regular switch. The banjo tuners disappeared during 1960 to be replaced with the more common sideways ‘elephant ears’ open gear design. The rather basic bridge/tailpiece offered little adjustment values and originally the strings were anchored over a foam strip to offer damping. Like all early basses they were supplied with tapewound strings so the bass had a plummy but substantial thud of a sound.

Page 14 of 68
Page 14 of 68
Vox Phantom IV Bass
Angular Anglo-Italian four string

Vox Phantom IV Bass

PRODUCED: 1962–64 (UK) 1965-69 (Italy)

ORIGIN: UK & Italy

TYPE: Solid asymmetrical pentagonal body, 4-string

BODY: Sycamore

NECK: Sycamore (very early models) or maple, bolt-on, 20 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Rosewood or ebony with white dot inlays

HARDWARE: Chrome cover over 4-saddle raised tail bridge, open gear tuners

PICKUPS: Two single-coil units with 4 pole pieces and chrome surrounds initially then white plastic

CONTROLS: Volume, tone and three-position pickup selection lever switch

FEATURES: Capstan-style truss rod adjuster at body end of neck, most models had a pointless finger rest set near the neck, some headstocks matched body colour

FINISHES: Polyester Black or White although some other colours are known to exist

COMMENTS: It was president Tom Jennings who commissioned the London Design Centre to produce a unique body design for Vox in 1961 and the Phantom was born. Initially the bass version was built in the UK but production was soon sub contracted to EKO in Italy although, unlike today, these models sold at a higher price.

Amazingly when first introduced the Phantom sold for more than a Fender Precision in the UK! The Italian-built models also included a Gretsch style removable padded back cushion with pop-on studs.

Earliest versions had Phantom on the headstock not Vox and as much of the body was covered by a similarly shaped white scratchplate the colour was largely unimportant. The pickups were modelled on the original Fender P-Bass design and worked surprisingly well as a pair. Sadly the Phantom IV has atrocious balance but the good solid sound and unique appearance are still appealing.

Page 15 of 68
Page 15 of 68
Jaydee Supernatural Classic Series 1 Bass
High quality Brit luthiery

Jaydee Supernatural Classic Series 1 Bass

ORIGINALLY PRODUCED: 1984-current

ORIGIN: UK

TYPE: Solidbody, active/passive 4-string

BODY: Mahogany wings, laminated centre block, twin cutaway

NECK: Maple/walnut/mahogany laminate, glued-in, 21 hard nickel alloy frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Ebony, bound, white dot inlays

HARDWARE: Chrome, 4-saddle bridge, brass nut, Schaller M4 tuners

PICKUPS: Custom wound hum-cancelling units (SN2000’s currently) with laminated polished hardwood cases

CONTROLS: Active/passive switch, volume & tone for passive mode, 4-position rotary pickup selector and three centre notched EQ rotaries

FEATURES: Strings are anchored in a pair of dual keyhole chrome discs

FINISHES: Natural satin

COMMENTS: Jaydee stands for John Diggins, the British luthier responsible for these high quality instruments. The laminated neck wood is mirrored at the centre of the body thus presenting a neck-through-body appearance.

Having a cannon as well as a jack socket on the bass was used as a means to connect directly into the PA. Stadium bands used this idea a lot during the seventies, as being low impedance the cable could be much longer than a regular jack to jack.

Whilst some Classics had dot markers others had a set of distinctive oval inlays. This particular bass belonged to Mark King and was signed and donated by him for a charity auction in 1988. We wonder where it is now...

Page 16 of 68
Page 16 of 68
Gibson EB-1 Electric Bass
Gibson's first electric bass aimed to bridge the gap

Gibson EB-1 Electric Bass

PRODUCED: 1953-58

ORIGIN: USA

TYPE: Solid violin shaped arched body, 4-string

BODY: Mahogany

NECK: Mahogany, set neck, 20 fine frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, pearl dot inlays

HARDWARE: Chrome bridge/tailpiece, single-saddle bridge, banjo style tuners with rear-facing knobs

PICKUPS: Single alnico magnetic pickup with brown Royalite cover

CONTROLS: Volume & tone

FEATURES: Telescopic endpin for upright playing

FINISHES: Natural brown lacquer with painted f-holes

COMMENTS: This was the first electric bass from Gibson hence the name. However it was rechristened the EB-1 after the introduction of the EB-0 in 1956. It was Gibson’s tradition of organising model numbers by their price that caused the EB-0 to undercut this designation because it was cheaper!

The EB-1 briefly resurfaced in 1970 with a few cosmetic changes but by 1972 it was gone again! With its violin shape and endpin it was definitely aimed at bridging the gap between an upright bass and a bass guitar. The earliest versions with a brown pickup cover had a huge single-coil unit inside that was actually mounted on its side. This gave it a cleaner and better-defined sound than the 1958 versions that were given a regular bass humbucker.

Page 17 of 68
Page 17 of 68
Rickenbacker 4000 Bass
James Kirkland (far right) with a beautiful Rickenbacker 4000

Rickenbacker 4000 Bass

PRODUCED: 1957–1984

ORIGIN: USA

TYPE: Flamboyant 'cresting wave' twin cutaway solidbody, 4-string

BODY: Maple wings stuck to mahogany neck-through core

NECK: Mahogany or walnut, through-neck, 20 medium frets

SCALE LENGTH: 851mm (33.5-inch)

FINGERBOARD: Rosewood, dot markers

HARDWARE: Nickel or chrome, bridge/tailpiece included a string damper assembly, Schaller BM nickel tuners

PICKUPS: Huge horseshoe magnet pickup featuring a distinctive gap in the wrist rest section where the magnets oppose each other

CONTROLS: Volume and tone, chrome plated or black 'flying saucer' knobs

FEATURES: Clear plastic bridge borders, clear plastic finger rest, gold back-painted clear plastic pickguard with alternative white available around 1958. When the 4001 appeared the scratchplate adopted that design, gold was dropped and later black was introduced

FINISHES: Mapleglo and old-style Fireglo (2-tone brown sunburst)

COMMENTS: Like Fender’s Precision Bass, Rickenbacker almost got it right first time with their visually startling 4000 model. It was the first bass to feature through-neck construction where the bridge pickup, neck and headstock were all on the same piece of wood so effectively maximising on resonance and sustain.

This mahogany centre core had maple ‘wings’ stuck to it to form the ‘cresting wave’ body shape named after the famous Japanese painting, and also used for the headstock. Designer Roger Rossmeisl had introduced this manufacturing technique on the Combo 400 guitar the previous year.

Earliest versions had a fixed modified bridge with a standard guitar string anchor leaving two slots unused. This was soon replaced by a movable bridge with string mute. Of all the early bass guitars, the 4000 was the closest to Fender’s 34-inch scale and also benefited by the more vibrant sound this length seems to magically produce.

Although it doesn’t possess the classic Rickenbacker growling sound that we know and love today, it gives a robust delivery that is still mighty appealing. The 4000FL fretless version was also available from 1960 but only as a special order.

Page 18 of 68
Page 18 of 68
Framus Star Bass 5/150
A German hollowbody loved by Brit rock 'n' rollers

Framus Star Bass 5/150

4 out of 5

PRODUCED: 1959-68

ORIGIN: Bavaria

TYPE: Semi-acoustic body, 4-string

BODY: Mahogany top and back, maple sides, white binding, single cutaway, two f-holes

NECK: Maple, set neck, 20 medium frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, bound with white dot inlays

HARDWARE: Chrome tailpiece and scratchplate, guitar sized tuners with plastic keys

PICKUPS: Two four-pole pickups mounted on metal floating scratchplate

CONTROLS: Volume & tone, plus rotary pickup selection lever switch

FEATURES: Single-saddle rosewood bridge, separate heavy duty chrome plated tailpiece, painted headstock, lever style control knobs

FINISHES: Black Rose or Shaded Blonde

COMMENTS: In the 1950s when American instruments were almost impossible to get many British groups used Framus basses and the first bass superstar, Jet Harris, used his on many of the early Drifters and Shadows tracks.

The models he used, however, had the sharper edged Florentine cutaway with two volumes and two tone controls set into the scratchplate. The more rounded Venetian cutaway seen here was championed by Bill Wyman of The Rolling Stones.

He also used the smaller bodied 5/149 single pickup version too. Later versions saw the scratchplate dispensed with and the pickups fitted to the body as well as super finishes but as the bass progressed it lost much of its appeal. These days parent company Warwick do a pretty faithful reproduction of this as the Framus Vintage 5/150 Star Bass.

Page 19 of 68
Page 19 of 68
Fender Mustang Bass
A 'junior' instrument with a whole lotta cool

Fender Mustang Bass

PRODUCED: 1966-81 (Reissued by Fender Japan in 2002)

ORIGIN: USA

TYPE: Solidbody, 4-string

BODY: Poplar (alder later)

NECK: Maple, bolt-on, 19 medium frets

SCALE LENGTH: 762mm (30-inch)

FINGERBOARD: Rosewood with pearl dot inlays, optional maple board available from 1975

HARDWARE: Chrome bridge plate with raised and folded tail, four saddles, separate chrome control plate, open gear tuners initially with oval keys

PICKUPS: Down-sized split coil with hidden pole pieces

CONTROLS: Volume and tone with Jazz-style knobs

FEATURES: Through-body stringing and individual string dampers

FINISHES: Plain colours, optional competition colours with matching headstock and GT stripes during 1968-72 period

COMMENTS: Following hot on the heels of the Mustang guitar, being launched as a ‘junior’ instrument and ‘one for the ladies’ gave the Mustang bass a bit of a shaky start. This was Fender’s first short scale 4-string bass and was aimed at the guitarist who sometimes switched to bass.

This was the last bass designed by Leo Fender following the company buy-out by CBS and fell in line with his mix and match ethos by making use of the jigs initially designed for the Musicmaster guitar. Interestingly this bridge and damper assembly was the earliest example of the design favoured by Leo for his first Music Man StingRay basses that would appear in the seventies.

The rear body scoop is disproportionately large and the finger rest moved above the strings in the seventies to become a thumb rest and for a while some had two! This particular Mustang Bass includes the rarely seen oval tuning keys that were soon phased out for the regular shamrocks or elephant ears as they were lovingly known.

Lots of colour variations and even an Antigua finish with matching scratchplate around 1977-79. Regular users include Alan Lancaster of Status Quo, Tina Weymouth of Talking Heads, Bill Wyman had one with The Rolling Stones for a while and Roger Glover used one on Deep Purple’s Fireball album.

Page 20 of 68
Page 20 of 68
Gibson Thunderbird IV Bass - Non Reverse
A distinctive 'bird that made waves

Gibson Thunderbird IV Bass - Non Reverse

PRODUCED: 1965-69

ORIGIN: USA

TYPE: Solid body, 4-string

BODY: Mahogany slab with curved edges

NECK: Mahogany, set neck, 20 medium frets

SCALE LENGTH: 876mm (34.35-inch)

FINGERBOARD: Rosewood with white dot inlays

HARDWARE: Chrome plated tune-o-matic bridge, separate tailpiece, open gear tuners

PICKUPS: Two chrome-plated humbuckers

CONTROLS: 2 volume controls and one tone

FEATURES: Chrome covers, large white laminated scratchplate with Thunderbird motif and finger grip

FINISHES: Sunburst or Gibson custom colours with matching headstocks

COMMENTS: Introduced in 1963 as the bass version of the Firebird guitar, the original Thunderbird bass featured an outrageous ‘reverse body’ design. It was met with a degree of trepidation and its reception was at best luke warm.

In an attempt to reinvent what was actually a fine bass the non-reverse design was introduced in the 1965 Gibson catalogue although instrument production began in earnest in 1966. The neck through body construction was abandoned so the raised centre section as seen on the original Thunderbird Bass disappeared thus allowing for the big distinctive scratchplate.

Before the Thunderbirds all Gibson basses were short scale but these were full scale and were offered with one (Thunderbird II) or two (Thunderbird IV) pickups. The headstock was set back at an angle for secure string slotting into the nut.

Page 21 of 68
Page 21 of 68
Alembic Stanley Clarke 'Small Standard' Bass
No small amount of punch!

Alembic Stanley Clarke 'Small Standard' Bass

PRODUCED: 1988-present

ORIGIN: USA

TYPE: Solid body, 4-string

BODY: Mahogany wings with quilted maple top

NECK: Laminated three maple/two walnut pinstripes neck-through body, 24 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Ebony with oval pearloid inlays

HARDWARE: Bass multi-adjustable bridge, sealed gear tuners

PICKUPS: Pair of Alembic AXY4 hum-cancelling units, active circuitry and EQ

CONTROLS: Volume, two tone filters, pan/blend control, two Q switches

FEATURES: Brass nut, solid brass ‘Bird’ tailpiece

FINISHES: High gloss polyester with satin neck

COMMENTS: This was by no means the first Stanley Clarke model as it was built in 1994 but it’s certainly one of the most striking basses that Alembic have ever built. In spite of its 'Small Standard' tag it’s actually a full-scale bass whereas most of its predecessors were a keener 30.75-inch length.

The symmetrical body here holds much of its appeal, along with its relatively modest proportions. The ultimate in adjustability the Stanley Clarke comes with a tool kit and once the pickups and bridge are set as required they can be locked into place.

The active electronics give this model a mighty boost in performance and punch thus taking the muscle out of playing. With a headstock of this size poor balance is inevitable but it’s a minor annoyance and in spite of its comparatively high price, in Alembic terms this particular model was a lot cheaper than most at the time of production.

Initailly launched with this symmetrical body the later versions saw a slightly larger upper body horn with the strap button placed there for improved balance. In spite of their strict no endorsement policy, after thirty years of working together Alembic presented Stanley with a specially inlaid instrument.

Page 22 of 68
Page 22 of 68
Epiphone Rivoli Bass
Classy lady

Epiphone Rivoli Bass

PRODUCED: 1959-62, 1963-69

ORIGIN: USA

TYPE: Semihollow body, twin rounded cutaway, 4-string

BODY: Maple with ivoroid binding

NECK: Mahogany, glued-in, 20 medium frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, white dot inlays

HARDWARE: Chrome cover over bridge/tailpiece, 4-saddle bridge, open gear tuners

PICKUPS: Two single-coil units with white plastic surrounds

CONTROLS: Volume, tone plus bass boost switch

FEATURES: Solid centre section to body, f-holes

FINISHES: Natural or three-tone sunburst

COMMENTS: When Gibson bought out the Epiphone Company in 1957 it allowed the company to bypass its rather foolish decision to only supply Gibson instruments to ‘vetted’ music stores in each town. Epiphone allowed them to supply many more.

The EB-2 bass was doing well so it made sense to bring out the virtually identical Epiphone Rivoli just a year later using the same parts. Like the EB-2 the first models had banjo-style tuners with plastic pegs and the pickup resided under a black plastic cover. Both were changed in due course, as was the bridge, which was upgraded to a more adjustable unit.

The boost switch varied from push-on/push-off type to single throw. It was dropped in 1962 but found favour in the UK during the British beat boom so was quickly put back into production. Limited in sound options and heavier than it looks, but a truly great instrument.

Page 23 of 68
Page 23 of 68
Rickenbacker 4001 CS
The bass that likes to say 'Yes'

Rickenbacker 4001 CS

PRODUCED: 1991-2000

ORIGIN: USA

TYPE: Solidbody, twin cutaway, 4-string

BODY: Eastern rock maple wings

NECK: Maple neck-through, 20 fine frets

SCALE LENGTH: 851mm (33.5-inch)

FINGERBOARD: Vermillion, white pearl dot inlays

HARDWARE: Chromed upper magnet section of pickup, bridge/tailpiece, open gear tuners

PICKUPS: Single coil horseshoe unit and smaller ‘toast rack’ unit at neck position

CONTROLS: 2 Volume & 2 tone, 3-way pickup selector switch

FEATURES: Made in the image of Chris Squire’s own bass, white scratchplate with his signature on it

FINISHES: Cream lacquer

COMMENTS: Over the course of time the Rickenbacker 4001 lost much of its appeal following what are tantamount to poor design choices. It all centres on the loss of the horseshoe magnet with its distinctive ‘split’ in the chrome ‘cover’ above, which of course is actually part of the pickup itself.

Chris Squire’s 4001S bass was originally Fireglo finish but he stripped it on more than one occasion, so much so that the body ended up with very unique dimensions. But it always sounded fantastic on Yes albums and shows so the Signature CS model was much anticipated.

It is a stunning bass indeed and offers an opportunity to own something newer that is a faithful reproduction of the original but with the Squire dimensions. Chris’ comment: "We did everything to duplicate my bass from the size, wood, finish, neck profile and even the windings and the mass of the metal on the pickup. It sounds really great but mine still has that certain something extra."

Page 24 of 68
Page 24 of 68
Fender Transition P-Bass
The in-betweener that became a favourite

Fender Transition P-Bass

Fender transition p-bass

Fender transition p-bass

PRODUCED: 1954-1957

ORIGIN: USA

TYPE: Solidbody, twin cutaway, 4-string

BODY: Ash mainly but alder also used

NECK: Maple, bolt-on, 20 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Maple, black dot inlays

HARDWARE: Chrome covers over bridge/tailpiece and pickup, twin brass-saddle bridge, reverse action open gear tuners

PICKUP: One singlecoil

CONTROLS: Volume & Tone on separate plate

FEATURES: Large scratchplate, through-body stringing, Telecaster styled headstock

FINISHES: 2-tone Sunburst, Blonde & Custom Colours

COMMENTS: The Fender Transition P-Bass earned its name as it represented the first round of updates but didn’t get quite as far as the major overhaul in 1957.

Here the slab body was given contouring in line with the newly released Stratocaster and Sunburst became an option to the regular blonde finish with custom colour choices added in 1956. An alternative white scratchplate was also introduced that still covered most of the body and that all-important Telecaster styled headstock remained.

Sting has a couple of these from 1955 and 1957 although apparently fitted with Seymour Duncan Custom Shop Basslines Stacked single-coil pickups that help overcome some of the original pickups’ shortcomings. The later model has an alder body.

Page 25 of 68
Page 25 of 68
Ampeg AEB-1
A quirky character with an f'ing mad design

Ampeg AEB-1

Ampeg aeb-1 bass guitar

Ampeg aeb-1 bass guitar

PRODUCED: 1966 - 1969

ORIGIN: USA

TYPE: Solid body, smooth cutaway, 4-string

BODY: Maple sections glued to plywood with through-cut f-holes

NECK: Maple, bolt-on, 20 medium plus zero fret

SCALE LENGTH: 876mm (34.5-inch)

FINGERBOARD: Rosewood or Ebony with white dot inlays (Also rare non-specified blonde fretboard with black dots)

HARDWARE: Chrome tailpiece, open gear tuners, 4-saddle bridge under chrome cover

PICKUPS: Hidden ‘mysterious’ pickup under bridge

CONTROLS: Volume & Tone (Volume has ‘pull to kill’ switch)

FEATURES: Aluminium nut, Scrolled open slot headstock with side mounted/rear facing tuners, Sunburst finish to back of neck

FINISHES: Cherry Red, Burnished Tones (Sunburst) or White

COMMENTS: The AEB-1 bass guitar is a curious design indeed with hardly any body visible as it had two large f-holes cut right through and a huge scratchplate that covered most of the rest.

The scrolled headstock with side-mounted tuners was similar to their upright Baby Bass and the AEB-1 also made use of the same ‘mysterious’ pickup design. This was effectively a contact mic using a Silectron Steel diaphragm to transfer the string vibrations to the two magnetic coils set beneath. Actually it’s a neat idea as it allows the use of non-magnetic (nylon or gut) strings.

The bridge has individual saddles and players often exposed it by removing the chrome bridge cover. Just Volume and Tone controls are fitted however the Volume had a switch incorporated that you could ‘Pull to Kill’ and knock out the Volume instantly.

It has a deep thud of a sound but is very penetrating. It’s a bit unwieldy to play as the scroll makes it rather top heavy and the tailpiece extends beyond the body edge.

The serial number is stamped into the back of this tailpiece. Some instruments were shipped with a bound fingerboard and the AUB-1 Fretless version was also available and notably used by Boz Burrell with King Crimson and Bad Company.

Page 26 of 68
Page 26 of 68
Squier Katana Bass
A Precision blade for rock samurai

Squier Katana Bass

Squier katana bass guitar

Squier katana bass guitar

PRODUCED: 1985 - 1986

ORIGIN: Japan

TYPE: Solid body, Asymmetrical V-shape, 4-string

BODY: Alder

NECK: Maple, bolt-on, 20 medium frets

SCALE LENGTH: 813mm (32-inch)

FINGERBOARD: Rosewood, white dot inlays

HARDWARE: Chrome plated raised-tail bridge, regular open gear bass tuners

PICKUPS: Classic split-coil unit

CONTROLS: Volume and tone

FEATURES: The pointed headstock features an angular Squier logo atop a golden sword with ‘Made In Japan’ printed on it. Underneath is a minute ‘by Fender’ decal. Jack socket on body edge, strap button on neckplate.

FINISHES: Black and Olympic White, plus custom colours

COMMENTS: Although originally conceived as the ‘affordable’ line product of Fender, there have still been a few cool Squier ‘originals’ that have adapted regular parts to produce something quite special.

The Katana is a case in point and although essentially a P-Bass in a stunted V-shaped design, it’s still a striking instrument. Named after Japan’s traditional Samurai sword, the headstock is obviously a sliced-down Precision but works well for this supersonic design essentially aimed at the metal-heads of the time.

The chamfering and the upper step to the body added much visual appeal, as do the amplifier style control knobs. Balance is not great but the sound from these basses is generally good, although the lack of headstock mass does affect sustain.

The Katana was incredibly cheap at the time so you got a lot of bang for your buck. Very short-lived indeed, but quite collectable now.

Page 27 of 68
Page 27 of 68
Gibson Grabber G-1 Bass
A chunky beast with a unique sliding pickup design

Gibson Grabber G-1 Bass

Gibson grabber g-1 bass

Gibson grabber g-1 bass

PRODUCED: 1973 - 1982

ORIGIN: USA

TYPE: Solid body, offset double cutaway, 4-string

BODY: Solid maple on earliest models then Alder

NECK: Maple, bolt-on, 20 medium frets

SCALE LENGTH: 876mm (34½ -inch)

FINGERBOARD: Maple, pearl dot inlays

HARDWARE: Chrome Tune-O-Matic Bridge with cover, regular open gear bass tuners

PICKUP: Gibson movable unit

CONTROLS: Volume & Tone

FEATURES: A Flying-V styled headstock in natural or black finish, Gibson Made In USA stamped on the neckplate, Black or Tortoiseshell scratchplate

FINISHES: Natural, Natural Satin, Natural Maple Gloss, Ebony, Wine Red, Black, White, Walnut and candy Apple Red

COMMENTS: The Grabber was the first bolt-on neck bass design by Gibson and quite a heavy bass to use.

The sliding pickup was seen as a step forward and it did offer some extra tonal qualities. It was fairly limited in movement and even in the extreme positions it was still essentially a centre location, although there was a discernable difference in the attack.

It had a good solid sound though and soon became Gibson’s entry-level bass. Natural Satin and Black were the most popular finishes with White and Walnut being the most rare. Candy Apple Red appeared briefly in the 1980s.

Page 28 of 68
Page 28 of 68
Ibanez ATK 300 Bass
A worthy work horse that was put out to pasture

Ibanez ATK 300 Bass

Ibanez atk 300 bass

Ibanez atk 300 bass

PRODUCED: 1995 - 1999

ORIGIN: Japan

TYPE: Solid body, twin cutaway, Active 4-string

BODY: Light Ash

NECK: Maple 3-piece, bolt-on, 22 jumbo frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Maple, black dot inlays

HARDWARE: Chrome ATK Custom Surround fixed raised tail bridge, open gear ‘Elephant Ears’ tuners

PICKUPS: Ibanez Triple Coil featuring dummy hum-cancelling coil

CONTROLS: Volume, Treble, Middle & Bass (all cut/boost), Pickup Character Switch

FEATURES: Two aside tuners, back plate in two parts for easier battery replacement

FINISHES: Solid Black, Natural & Sunburst

COMMENTS: Although sadly short lived the ATK was a fine workmanlike bass trying to muscle in on the Music Man action. It employs a relatively traditional look but the Custom bridge/pickup surround gives it an air of individuality.

With a 3-band active EQ the sounds generated are pretty expansive but even more so thanks to the Character mini switch that offers Attack, Bright and Traditional settings. This gives it something rather special, particularly when turned up to produce great growl and barking deliveries.

It was also available as the ATK305, which is the 5-string version, or as a regular 4-string with passive circuitry at a lower price. Although this may have been tempting at the time the active version is the one to get as it offers much greater tonal range and attack.

Page 29 of 68
Page 29 of 68
Modulus Graphite Flea Bass (FB4)
A bass with a bug for jumpin' funk licks

Modulus Graphite Flea Bass (FB4)

Modulus graphite flea bass (fb4)

Modulus graphite flea bass (fb4)

PRODUCED: 1997 – Present

ORIGIN: USA

TYPE: Solidbody, twin cutaway, 4-string

BODY: Alder

NECK: Carbon Graphite, bolt-on, 22 medium frets

SCALE LENGTH: 864mm (34 inches)

FINGERBOARD: Phenolic, small white dot inlays

HARDWARE: Chrome plated Gotoh raised-tail bridge, Modulus sealed gear tuners

PICKUPS: Lane Poor MMG, Bartolini NTBT active EQ

CONTROLS: Volume, Treble cut/boost & Bass cut/boost

FEATURES: Headstock colour matches the body, white or black three-ply pearloid scratchplate

FINISHES: Semi-gloss in Red, White, Black or Grey. Metalflake in Purple, Blue, Silver and Gold

COMMENTS: This was one of the earliest basses to be connected to Flea but there have been many since including those bearing his own name.

Our example is fitted with a Lane Poor pickup but other units and corresponding circuitry were also offered including Bartolini and the Basslines MM. The neck is one of the smoothest ever, thanks to the carbon content and the nut was made from this too.

The Flea is appropriately fast and funky and a true slappers delight, with more than enough output to shred your clothes.

Page 30 of 68
Page 30 of 68
Fender Bass V
A V good idea? Perhaps not...

Fender Bass V

Fender bass v

Fender bass v

PRODUCED: 1965 - 1970

ORIGIN: USA

TYPE: Twin cutaway solid body, 4-string

BODY: Ash, elongated shape

NECK: Maple, bolt-on, 15 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Rosewood or maple with pearl dots (blocks later)

HARDWARE: Chrome raised tail bridge, bell plate and two cover plates with ‘F’ on bridge plate

PICKUPS: Single split coil with smooth top, unequal halves

CONTROLS: Volume & Tone with Fender ‘amp-style’ skirted control knobs

FEATURES: White or Tortoiseshell scratchplate, thumb rest, 5-saddle bridge with through-body stringing

FINISHES: 3-tone Sunburst and solid custom colours

COMMENTS: Whether it was due to the acceptance of the Bass VI by the bass playing community we can’t say but the reasoning behind Fender’s Bass V is still something of a mystery. It’s considered by many to be the worst Fender bass design ever and adding a high C string, rather than extending the bass range below, is hard to understand but obviously the performance restrictions of bass amplification of that time must have played a significant part.

Although it had a slim elongated body and a downsized neck with fewer frets, it still achieved a full 34-inch scale length. Initially the neck was unbound but around 1966 it became bound with block markers. A year later a maple fingerboard option was introduced. The extended headstock makes it ungainly so its visual appeal is virtually zero, it’s neither attractive nor sexy and both are essential elements of any instrument.

However, it did allow easy high note access across the board rather than up the neck and it actually sounds like a Fender bass so no complaints there. But even with John Paul Jones championing the instrument during his Led Zeppelin days the Fender V failed to gain popularity.

Nowadays it has become highly collectable and is certainly a classic instrument so justly deserves its moment of glory in our cool and classic gallery.

Page 31 of 68
Page 31 of 68
Yamaha Attitude Limited II Bass
A Sea Foam Green stereo machine

Yamaha Attitude Limited II Bass

Yamaha attitude limited ii bass guitar

Yamaha attitude limited ii bass guitar

PRODUCED: 1994 - Present

ORIGIN: Japan

TYPE: Twin cutaway solid body, Stereo 4-string

BODY: Alder

NECK: Maple, bolt-on, 21 medium frets

SCALE LENGTH: 864mm (34-inches)

FINGERBOARD: Maple with a gloss finish, offset black slot inlays

HARDWARE: Black Anodised tuners and raised tail bridge

PICKUPS: Camouflaged Woofer & Split Coil

CONTROLS: DiMarzzio Woofer Volume, Woofer Tone with switch, singlecoil Volume with switch to activate mono circuit.

FEATURES: Stereo circuit, but can be switched to mono; fingerboard half scalloped for top five frets, Hipshot D-Tuner

FINISHES: Sea Foam Green with Crushed Ice scratchplate or Black

COMMENTS: The Attitude Limited and this Attitude Limited II Bass were both developed for, and with the help of, bassmeister Billy Sheehan. Obviously it was based on a Fender, but with very specific design changes such as the slab body and the stereo circuitry. To operate this in true stereo required two separate amplifiers, but used in this way the bass is simply awesome in sound.

The electronics are consequently a bit strange and incorporates switching on the controls, but at least this also allows for mono operation. The two jack sockets set into a slanted recess in the body surface and curiously the Woofer pickup (Yamaha’s word) is semi-hidden beneath a cover of the same material as the scratchplate.

In addition, the five uppermost frets are scalloped to assist in the bending of the top two strings, something that Billy was fond of doing. To give this more general appeal Yamaha also made it available as the Attitude Special Bass with regular mono circuitry.

Page 32 of 68
Page 32 of 68
Warwick Corvette FNA Bass
A short-lived alternative to the Altus

Warwick Corvette FNA Bass

Warwick corvette fna bass guitar

Warwick corvette fna bass guitar

PRODUCED: 1999 only

ORIGIN: Germany

TYPE: Twin cutaway solid body, 4-string

BODY: Ash with a flame maple top over a walnut veneer

NECK: Wenge, bolt-on, 24 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Wenge

HARDWARE: Gold-plated fully adjustable bridge and separate tailpiece

PICKUPS: Single MEC Humbucker

CONTROLS: Volume/Slap Contour Switch, Treble, Middle, Bass

FEATURES: The body has an extra contoured ‘slice’ at the heel for improved top fret access,

FINISHES: Honey Violin High Gloss, Natural and Coloured Oil Finishes

COMMENTS: This was a short-lived revamp of Warwick’s Altus bass and actually the FNA stands for ‘Formally Known as Altus’, albeit with a slight spelling mistake!

It was the first Warwick bass to make use of a Music Man styled MEC humbucking pickup and it worked extremely well. The lack of scratchplate allows this beautiful Honey Violin finish and the gold hardware to positively glow with sophistication.

The distinctive Warwick multi adjustable bridge and separate tailpiece are set below the body surface for a minimalistic presentation and the walnut veneer beneath the maple top gives a ‘coach line’ effect on the body.

The sound, although similar to an Ernie Ball Music Man StingRay, still retains that distinctive Warwick quality and feel. It was dropped in favour of the FNA Jazzman with two pickups but remains a beautiful bass, light in weight and with a great range of sounds.

Page 33 of 68
Page 33 of 68
Ernie Ball Music Man Piezo StingRay Bass
Putting extra sting in the tail

Ernie Ball Music Man Piezo StingRay Bass

Ernie ball music man piezo stingray bass

Ernie ball music man piezo stingray bass

PRODUCED: 2000 - Current

ORIGIN: USA

TYPE: Twin cutaway solid body, 4-string, active

BODY: Selected hardwoods

NECK: Maple, bolt-on, 21 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Maple

HARDWARE: Chrome Music Man raised tail bridge, crescent moon control plate and short shank ‘shamrock’ open gear tuners

PICKUPS: Music Man eight-pole humbucker & Piezo-loaded bridge

CONTROLS: Volume, Blend, Treble, Middle & Bass

FEATURES: Classic StingRay looks with additional electronics, Schaller BM tuners with tapered string posts

FINISHES: Pearl Lavender high gloss polyester (as pictured) and all standard colours at same price, Vintage and Natural finishes cost extra

COMMENTS: The original StingRay design is definitely a thing of beauty so how do you install a second pickup to increase the tonal range without compromising that simplicity - fit Piezo transducers under the bridge saddles!

An additional cover on the back of the body reveals a cavity beneath the bridge where the Piezo circuitry and trimming pots can be accessed. The bridge is the shorter based design that was introduced when the individual string dampers were dropped. The control plate handles the five controls rather neatly but although the additional pickup gives this an increased range of sounds the two sound sources are too close together to produce any real ‘hollow’ sounds.

However, there is something of a sweet spot here thanks to the surprisingly warm element coming from the Piezo circuitry. Left handed and fretless models sold at the same price and the sheer range of colours available is quite frankly amazing with some having matching headstock finishes too.

Page 34 of 68
Page 34 of 68
Gibson EB-3 Bass
Defining the Gibson bass sound

Gibson EB-3 Bass

Gibson eb-3 bass

Gibson eb-3 bass

PRODUCED: Initially 1961 - 1979

ORIGIN: USA

TYPE: SG shaped twin cutaway solid body with bevelled edge, 4-string

BODY: Mahogany

NECK: Mahogany set neck, 20 medium frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, pearl dot inlays

HARDWARE: Nickel-plated, single bar-bridge initially, Kluson open gear tuners

PICKUPS: Large humbucker and mini humbucker

CONTROLS: Two Volume and two Tone plus a four-position rotary control

FEATURES: Laminated black scratchplate, finger rest, chromed metal wrist rest, Crown inlay on black-faced headstock

FINISHES: Cherry Red, Ebony (rare), Natural (introduced in 1971), White (introduced in 1976)

COMMENTS: When the Gibson EB-0 was revamped with the new SG styling, the EB-3 was also introduced sporting an additional pickup, another volume and tone control plus a four-position rotary switch that offered instant tonal variation.

This gave the bass far more sound definition than any other Gibson at the time and it soon became their most popular model. As a consequence it also became their most modified and remodelled bass ever and it’s still going on today.

The initial plastic cover on the neck pickup was changed to metal in 1962. The single saddle bridge/tailpiece was soon upgraded to individual saddles and the earliest versions included a pull lever damper. Many different bridges have actually been used, metal wrist rests have come and gone, the neck pickup was relocated more centrally for a while during the seventies, 19 and 21 frets came and went, as did the inbuilt Fuzztone option.

During the period 1969 - 1972 bound rosewood fingerboards and a slotted (classical style) headstock were introduced. The EB-3L (1971-1973) offered a longer (34.5-inch) scale length and was available in standard cherry finish or white.

Page 35 of 68
Page 35 of 68
Guild B-301 Bass
A collectors' favourite and a must-try

Guild B-301 Bass

Guild b-301 bass

Guild b-301 bass

PRODUCED: 1977 - 1981

ORIGIN: USA

TYPE: Twin cutaway offset solid body, 4-string

BODY: Mahogany

NECK: Mahogany set-neck with maple stringer at back, 20 heavy frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Rosewood, white pearl dot inlays

HARDWARE: Chrome, brass bridge, two-a-side Schaller open gear tuners

PICKUP: Single-coil DiMarzio

CONTROLS: Volume & Tone

FEATURES: Multi-adjustable bridge, fretted or fretless

FINISHES: Natural, Black, Red and White

COMMENTS: One of the most collectable Guild basses ever and consequently quite often found today with different pickups fitted. The uniquely shaped body is well proportioned and the bass is relatively light in weight in spite of having both the body and neck made in mahogany. The black-faced headstock features an inlaid pearl Chesterfield (crown and pillar) logo and is tilted back for good string anchorage through the nut.

The DiMarzio pickup sits slightly off-centre towards the bridge and this gives it a good solid sound. The Fender like black-skirted knobs have dimpled silver tops with ‘G shield’ embossed logo and along with the jack socket all sit upon the black laminated scratchplate. The chrome plated solid brass bridge is adjustable so allows for altering string spacing and the B-301 is well known for its excellent sustain, as is the twin pickup version the B-302.

It was also available as a fretless and is definitely a bass to try if you get the opportunity.

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Fender Telecaster Bass Series 1
Technically, the very first Fender reissue

Fender Telecaster Bass Series 1

Fender telecaster bass series 1

Fender telecaster bass series 1

PRODUCED: Second Version 1968-1972

ORIGIN: USA

TYPE: Twin cutaway solid slab body, 4-string

BODY: Ash

NECK: Single piece hard rock Maple, bolt-on, 20 medium nickel-silver frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Maple, black dot inlays

HARDWARE: Chrome pickup and bridge cover plates, separate control plate, two saddle bridge, open gear tuners

PICKUPS: Fender single-coil

CONTROLS: Volume & Tone

FEATURES: Telecaster shaped headstock, finger rest, through body stringing

FINISHES: Translucent Blonde, Sunburst & Custom Colours

COMMENTS: In 1968 Fender acknowledged an increase in demand and released the Telecaster Bass (so called because of the distinctive Tele-Style headstock). It was pretty much a replica of the original Precision Bass of 1951 using existing ‘left over’ stock so what is particularly significant is that these instruments were essentially the very first reissues from the company.

Curiously many of these also sported the distinctive oval (paddle) tuners that were previously only ever seen on a few Jazz basses and usually those with custom finishes. The scratchplate had extra securing screws as the original plates were inclined to warp over a period of time and the finger rest was fixed with two screws to prevent the annoying twirling of the single screwed original. The very first of these used a Telecaster guitar decal on the headstock with ‘BASS’ added and some had a maple capped neck so there was no skunk stripe at the back.

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Wal Custom Mach II - Gold Plated Fretless 5-string
Customised to perfection

Wal Custom Mach II - Gold Plated Fretless 5-string

PRODUCED: 1986 - Current


ORIGIN: UK


TYPE: Twin cutaway solid body, 4-string


BODY: Varies with exotic wood facings


NECK: Varies, bolt-on, 24 medium frets


SCALE LENGTH: 864mm (34-inch)


FINGERBOARD: Ebony with short fret-lines beneath the bottom B string only


HARDWARE: Gold plated or chrome if requested


PICKUPS: Hand made humbuckers with two pickups per string that are wound in opposite directions


CONTROLS: Volume (with pick attack), Balance, & individual Tone controls for each pickup with boost activation


FEATURES: Active electronics from an internal preamp, 9-volt power pack, jack and balance XLR sockets, special design string tree


FINISHES: Natural satin, polished wood


COMMENTS: The Custom Mach II was the first deviation from the Wal production line. It features a slightly larger body than the Pro with an elongated upper horn for improved balance specifically designed for this, their first, five-string model. It has a pair of custom designed Wal humbucking pickups, new bridge and headstock designs and a two-octave fingerboard. The on board active electronics were sophisticated for the time and, more importantly, highly reliable. The tone controls are actually low pass filters and when the controls are pulled up you get a boost to the harmonic frequencies. The Volume control also has a pull switch function to introduce a high frequency element termed pick attack. The battery is housed within the control cavity along with the circuit boards and there are trim pots for all but the balance control. There’s enough adjustment available here to significantly alter the sound of the bass giving many Wal basses their own distinctive qualities. Session players love the DI socket but a jack plug still needs to be inserted in order to switch on the preamp. As with many relatively small manufacturers dates and material spec is hard to verify as records are sparse and many Wal basses were made to customer’s requirements hence Custom in the title. Paduak and hornbeam necks were often requested and quilted maple or American Black Walnut facings were very popular in the eighties. Fretless versions usually had ebony boards. The Mach II has also become known as the Mark II and this new design proved so popular that a four-string version soon followed.

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