My current go-to 5 string for session work and most live events - basically my main axe. It has a wonderful ability to fit perfectly in most any musical situation. It is strung w/ vapor coated med gauge La Bellas.
This bass has been a close session partner for over 30 years. It’s on 100s of recordings from Al Stewart to Tori Amos to Vince Neil. It’s now strung w/ med gauge vapor-coated La Bellas.
This is a great example of the famous “lawsuit era” of fine Japanese instruments from late 70s to early 80s. It has that great rock growl from those heavier instruments of the day. Perfect w/ a pick - I use it when I don’t want to bring my ’72 P bass.
Another early-80s Japanese “lawsuit-era” bass. it gets a spot-on McCartney tone.
This was my session bass for a few years before the Nuance. It has a tone as pretty as it’s quilted-maple top.
I love these MIM really-60s replicas. It’s true to the day on every detail except for the poly finish. The neck is superbly 60s.
I’m restoring this replica of a Pino-style Precision with parts I’ve collected. It’s almost ready for prime-time.
This jazz bass was built from a bunch of extra parts I had and ended up being a pretty solid recording instrument. It has Sadowsky PUs in passive mode. You can hear it all over Brian Hughes “Along The Way” record.
I love these early 90s MIM basses. This one has that phat R&B thing- especially with a sponge-mute in place
Used wherever my old German upright can’t go and it really sounds like an upright!
This is a unique bass - optical PUs and a coated maple fretless fingerboard strung with black tapewounds. I used it on the Loreena McKennitt and Crimson Jazz Trio records.