Reflecting on past GAS (get it?)

[zeronyne]

I've been kicking around the MP forums for 13 years. In 2005, I ventured into the Lowdown for the first time to ask a question about getting custom paint job. Immediately my now close friend Sweet Willie appeared with advice and very welcome opinions. And I've been here ever since. I've met many a real life friend through this very forum, and that's something that happens rarely on FB or Twitter.

 

I was not in any way a bass player back then, unless you count the left hand on a keyboard. But I was seduced by the gear in a way that was different than guitar gear. It was the heyday of boutique basses. Fender's Custom Shop was reinventing itself, and we would see, almost daily, one Lowdowner or another showing their latest acquisition: Foderas, F Basses, Sadowskys, Warwicks, Wals, Lulls, Nordstrands, the otherworldly Ritters, the insane Basslabs, and dozens more (including the years-long lament from our friend in Seattle trying to get the dirty hippies at Alembic off their asses). And it was the Wild West in the affordable range as well. From staples like the Ibby Soundgear series, to Jack Casadys, all the varied Fenders and the very underrated "theme" Squiers, Michael Kellys, Trabens, OLPs, the 39" scale Knuckleheads, and literally hundreds more.

 

But all that is over. A lot of companies are out of business; many others have slimmed down their product lines and have gone back to J and P clones.

 

Electric bass has not been around long enough to determine all but the most obvious economic patterns, so I'll ask your opinions: do you think the heyday of boutique basses was a one shot deal, or do you think it's cyclical.

 

When I joined the forums, I had an infant, and now she is going to start high school next week. Time is a slippery slope. I want to thank you all for spending some of that precious commodity with me and, of course, this forum.

[Danzilla]

All of the really good stuff (overgeneralization) got popular, then bought out, then shut down or spun off into an overseas version that's nowhere near its glory days (Tobias, Genz Benz, SWR, Lakland, etc.) There is still boutique stuff out there but it seems to be even more out of reach (expensive) than before.

 

Then again, you can still get a custom Wishbass for under a grand.

 

At least it won't be a P or J clone.

 

[Basshappi]

I think that the shrinking gig scene and the poor economy have more to do with this than anything else.

 

The improvement of bass equipment and especially PA gear have also done much to level the playing field. Many boutique instruments came about due to problems of amplifying and EQ-ing bass in a live performance, those solutions have been around long enough that they have migrated down into the standard "blue collar" level equipment.

 

The other issue is the rise of CNC manufacturing and the pervasiveness of inexpensive yet quality electronic components.

 

Now even budget level basses and amplifiers are generally well constructed and good sounding. Once one moves to the mid-level production line equipment the benefits offered by boutique equipment very quickly become one of diminishing returns.

 

Boutique gear is still out there and probably always will be.

 

On a side note: I finally encountered a Wishbass at a jam session a few weeks ago. I don't know if the owner had modified it in any way but it actually sounded great!

[Bottom End]

I think it's cyclical, like most things. I don't need a boutique, I barely play the three I own. That doesn't stop me from looking over the beautiful basses I see others playing.

 

as for P and j clones, I think G&L offers a nice alternative from other large scale manufacturers. I really like my Tribute L-2000's sound.

[jeremy c]

I like my Mike Lull bass a lot. Really a lot. Mike's prices have gone up, but he hasn't sold out to a corporation and doesn't make Japanese or Korean clones. He also is a fantastic repairman and has a very successful business doing that.

 

In the days when I went to NAMM, I tried out everything. There were and are a lot of great basses. Of course, a basic Fender or Fender clone will do the job perfectly. When I play with the various bands I am in, none of the other players even notice what bass I am playing at any particular time.

[SteveC]

I have to chime in on a GAS thread, right?

 

You all know my story. While I didn't always make the best decisions, I am not regretful for all the gear I had the opportunity to try. It lead me to finding Roscoe basses. Like Jeremy and his Lull, I like my Roscoe Century Standard Plus 5 a lot. Really a lot. It has been my only bass for over 4 years now. Yes, there were a couple others in there but basically this is the one I've played and has been my go to bass.

 

I never rally had amp GAS as badly. I went thru a few rigs, but basically have played Genz Benz for a long time. Most of my playing these days is DI/IEM at church so a small Nano board with a TU-2, JDI and Rolls IEM box are all I need.

 

It's been fun and frustrating, but I'm pretty GAS free these days, really. If I played out with an amp more I'd be interested in the new Genzler stuff or maybe the new Bergantino stuff. Thankfully, the new project hasn't taken off yet so I'm safe for a while. It would be fun to get playing (other than church) again though.

 

[Paul K]

The other issue is the rise of CNC manufacturing and the pervasiveness of inexpensive yet quality electronic components.

 

Now even budget level basses and amplifiers are generally well constructed and good sounding. Once one moves to the mid-level production line equipment the benefits offered by boutique equipment very quickly become one of diminishing returns.

 

Right on. That's why I'm putting my money into stickers.

[Basshappi]

Um...Okay.

 

I'm in no way putting down boutique gear nor saying that there is no difference/improvement over production line equipment. There is some of it I am very interested in and a few custom builders whose basses I'd love to own.

[Paul K]

 

But are you interested enough to drop the significant coin?

[jcadmus]

Note that even some of the "boutique" guys use CNC gear to rough out body and neck shapes. So that's helped them keep their production costs down while maintaining quality.

[_Sweet Willie_]

...Immediately my now close friend Sweet Willie appeared with advice and very welcome opinions.

 

Wow, you didn't know what kind of risk you were taking, did you?! You are too kind, mon ami.

 

 

...It was the heyday of boutique basses. ...And it was the Wild West in the affordable range as well....

 

But all that is over. A lot of companies are out of business; many others have slimmed down their product lines and have gone back to J and P clones.

 

Electric bass has not been around long enough to determine all but the most obvious economic patterns, so I'll ask your opinions: do you think the heyday of boutique basses was a one shot deal, or do you think it's cyclical.

 

Fascinating question.

 

There are professional electric players of varying prominence who make their living primarily playing particular instruments. Coming to mind immediately:

 

Anthony Jackson - Fodera

Will Lee - Sadowsky and Pedulla fretless

James Genus - Fodera

Tim Lefebvre - Fenders

Jimmy Haslip - Roscoe

Steve Swallow - Citron

Ricky Minor - Sadowsky

Marcus Miller - Fender (modified by Sadowsky)

Tony Levin -- Music Man

Gary Willis - Ibanez

 

A lot of these cats are sidemen and leaders, and are educated musicians, and also play some mass manufactured instruments, too. I think that as long as these types of players continue to be around, some/many of them really seek a particular sound and feel to their instruments, and maybe they will keep some of the "boutique" builders in business, as will some of their fans and admirers with cash and desire.

 

The bassists for famous bands often play more of the traditional brands. I see lots more 4-string Fender Ps and Js, sometimes Music Man, etc. I do think the players market will continue to draw heavily on traditional instruments for a while.

 

Is the boutique window over? Probably not completely, but I don't know if there will be a "resurgence" or more cyclical nature to it. I also wonder how this may or may not be true in other countries.

 

Peace.

--s-uu

[Nicklab]

Looking back on what I used to see in musical instrument stores in the 90's compared to now, things are remarkably different. I still think back to this full page ad that SWR used to run on the back cover of BP magazine:

 

http://www.kaproductions.com/gear/Sadowsky5.jpg

 

And when I would go to the Sam Ash store in Paramus, NJ, it was like boutique bass heaven, just like in this SWR ad! The low end instruments were from brands like Fender, Ibanez, Yamaha, Guild and Rickenbacker. And the high end could not get much higher: Warwick, Pedulla, Modulus Graphite, Ken Smith, Wal, Tobias and Fodera instruments were all readily on hand.

 

Oh, how times have changed! I think a lot of it has to do with changing customer tastes/aesthetics. Some of it has to do with the economy. You can also blame the Guitar Centers of the world for a race to the bottom. And then there are the questionable business practices that have been employed by companies like Fender in an effort to dominate in terms of market share.

 

I think that boutique instruments still have a market. But you're not going to get those instruments off the rack anymore. It's much more of a direct to customer business model now. Dealer networks don't work as well with this model. But with the internet as their showroom, and YouTube for demos, and forums for feedback about specs and customer service? I think that this has been the evolution of things in the MI industry.

[Paul K]

I think that boutique instruments still have a market. But you're not going to get those instruments off the rack anymore. It's much more of a direct to customer business model now.

 

Couldn't agree more.