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Posted

What people sometimes forget about celebs buying vintage instruments is that they add value (which we can’t). 
 

A big standard 70s jazz is £3k. One owned by Geddy Lee is £30k for example.

 

Buying them up also gives the impression they’re rare, which they’re really not. 
 

I can see the value in a completely original pieces, because they genuinely are rare. But the rest of them, not really.

Posted
2 minutes ago, Burns-bass said:

What people sometimes forget about celebs buying vintage instruments is that they add value (which we can’t). 

 

I disagree mate, it adds price, not value :)

Posted
1 minute ago, Beedster said:

 

I disagree mate, it adds price, not value :)


Semantic point as we have to define value in this context. Intrinsic and extrinsic.  If we agree that the manufacturing process adds value then ownership and age can do too.

  • Like 1
Posted

I've been thinking about this a bit recently. I bought a double bass that was owned by Jack Bruce (not in the putative sense most vintage instruments are sold) but with provenance from Bonhams. It's 100% one of his, but it means nothing to me really. I bought it because I needed a great sounding classical bass and this was checked over by a friend and was given the OK. We assumed it would be out of my price range, but in the end it sold for half the original Bonham's sale price. 

 

I guess my point is that the "value" of celebrity ownership is probably temporal and that the celebrities of today are unlikely to mean much (if anything) to the generations in the future. Maybe a few will, but ultimately, we're all shadows and dust. Or 3 generations from irrelevance, as my mum put it when we were enjoying a walk. 

  • Like 1
Posted

I remember playing an old 50's era precision about 5 years ago. My friend had raved about how good it was. It cost at the time about 10 or 12 grand. 

 

Well, it was a piece of crap. The pickup was massively wooly and it was also clear to me that the action wasn't really going to come down in any way to a level I'd be happy with.

 

I'm happy to say that he gets a great deal of joy out of it and of course I never said anything about my misgivings. Like everything you could say "you could buy however many basses I actually like for that!!" as a rebuttal, but in truth, it doesn't matter as long as it does it for you.

 

I have basses I don't play much, but that's mainly because the projects I'm doing or have been doing don't suit them. Not because I'm trying to build up some massive collection to store in a temperature controlled, secirity guarded aircraft hanger.

Posted (edited)

I love the look of these early P basses but at the end of the day I'm also sure there are sound reasons why Leo Fender tweaked the design and stuck with those changes for the rest of his time at Fender.

 

Ergonomics and quieter pickups being 2 of the obvious ones.

Edited by Cato
  • Like 1
Posted
2 hours ago, Wolverinebass said:

Not because I'm trying to build up some massive collection to store in a temperature controlled, secirity guarded aircraft hanger.

Well what else can I use my aircraft hanger for? Eh? Well? 

Posted
5 minutes ago, Happy Jack said:

Well what else can I use my aircraft hanger for? Eh? Well? 

 

Don't you need it for your inflated ego and bloated megalomania..? o.O

 

...

 

:lol: :P

Posted
6 hours ago, Beedster said:

But why's that a sadness? It's a few pieces of wood and metal put together in a factory, to many people it's just as much a piece of visual art or a historic antique as it is a musical instrument (as I said above, you can get instruments just as good for around 5% of the likely price of this). As Leo would have agreed, there's nothing particularly special about them as instruments, it's not a Strad :) 

Were strads super-special back then? Just another maker of hand-built violins 

Posted
42 minutes ago, Dad3353 said:

 

Don't you need it for your inflated ego and bloated megalomania..? o.O

 

...

 

:lol: :P

 

Damn! Rumbled ...

  • Thanks 1
Posted (edited)
2 hours ago, Cato said:

Ergonomics and quieter pickups being 2 of the obvious ones.

Ergonomics for sure... the forearm and belly cuts.

Then he had a bit of a wobble with the Jazz Shaping and those Single Coils again!

 

I have a Harley Benton PB50 modder and myopia - saved a bundle!

Edited by PaulThePlug
  • Like 2
Posted
3 hours ago, Cato said:

I love the look of these early P basses but at the end of the day I'm also sure there are sound reasons why Leo Fender tweaked the design and stuck with those changes for the rest of his time at Fender.

 

Ergonomics and quieter pickups being 2 of the obvious ones.

 

44 minutes ago, PaulThePlug said:

Ergonomics for sure... the forearm and belly cuts.

Then he had a bit of a wobble with the Jazz Shaping and those Single Coils again!

 

I have a Harley Benton PB50 modder and myopia - saved a bundle!

 

I have a few basses here, but for the last 6-months my go to bass has been a slab body 51 RI. It's hard to pinpoint the reason, I love the neck for sure, it's a baseball bat in every respect, and my bandmates appear to like it to the point that when I pulled out a late 70's Precision for a rehearsal the singer actually complained about the tone, and he never complains about anything. There is something in that slab body/SC/baseball bat space that really does work, certainly in my experience.  

  • Like 1
Posted

I might buy this and play it with a pick through a signal chain including a selection of disgusting distortion pedals, a cheap solid state amp and one of those plastic TC cabs.

Posted

I've always been a huge fan of the single coil precisions and have owned 2 Japanese Fender '51 reissues, 2 Warmoth '54s and currently have a Sire D5.

 

There's just something about them. 

 

If I had the money to buy this one I would gig it. If it breaks you can fix it. After all, how many people still have all of their original parts at 70 years old, never mind a musician's tool? 🤔😂

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