F Bass BNF-5 walnut burl/ ash body
F Bass BNF-5 walnut burl top/ ash body/ flamed maple tone block, 3 piece maple neck/ ebony fingerboard, black hardware. Preowned- 9 of 10 condition. Serial #020608. Call for details.
The beauty of this instrument is “breath taking.” The figured walnut top “pops” in all types of lighting conditions really accentuating the fine craftsmanship dedicated to this instrument. This bass is in excellent condition and accurately awarded a 9 out of 10 rating from our evaluation. It has been played very little and meticulously cared for. No apparent wear exists anywhere on this bass and the fingerboard is in very “clean” condition.
The fretboard is unlined with fingerboard edge postion markers and upper range position markers on the face of the fingerboard that greatly aid pitch accuracy for both novice and experienced fretless players alike.
The notes produced by this bass are very even and full with a moderately-high degree of compression and sustain. The resultant growly sustain is big, warm, and powerful.
There is healthy accent in the mid- bass/ lower- midrange region. Just perfect for players who prefer a darker, articulate, big and low “throaty” fretless voice.
This is a wonderful instrument. An excellent choice for someone seeking to upgrade and refine their current fretless, or for the player being drawn towards fretless sojourns.
Fodera Katalox Monarch 6 Elite
Monarch 6 Elite, 33” scale, 28 fret, katalox top and back/ mahogany body, swamp ash tone block, 5 pc. wenge neck- through with purple heart stringers/ birdseye maple fingerboard, Lane Poor pickups custom mounted in top wood matching cases, Fodera/ Pope preamp, side body jack, 16.5mm bridge spacing. Fodera custom hardshell case.
There is a very small blemish on the side of the headstock shown in one of the posted pics. This is very small and virtually undetectable unless viewed up close and in certain light. This bass was delivered September 2011. Weight: 11 pounds, 6 ounces.
List price: $15,871. New selling price $14,283. Contact us for details, and selling price.
The following write-up was provided courtesy of the Fodera website “Newborns”. http://www.fodera.com/main/newborns.aspx
“One of the most unique specs we have worked on in quite some time. This is only the third time in our 28+ year history that we have used Wenge as a neck material. This is definitely the only 33” scale, 28 fret, 16.5 mm spaced, Monarch Elite that we have ever built. Add to these specs a set of new old stock Lane Poor pickups (supplied to us by our customer) and you have a very, very singular Fodera. The result is an instrument that is very even sounding throughout its entire range. Given the tight string spacing and short scale, this bass begs to play chords and blazing solo runs…”
Jack Read 5 string fretless
Custom Jack Read 5 string fretless. Built in 2002, It has a mahogany body/ beautiful cocobolo top, mahogany neck thru with flamed maple stringers. It features a Lightwave optical bridge pickup system with piezo bridge pickups. Weighing only 8lbs, this bass is lightweight and very resonant. Big acoustic upright- like tones are attainable with a moderate amount of growl and swell. This is a exquisite example of Jack Reads attention to detail, and functionality. Fingerboard wear is minimal with very light string marking only. There is one ding in the rear of the headstock shown in a posted photo. Jack is no longer in business manufacturing instruments. He appraised this bass at $2395.00 . Contact us for additional details.
Jack Read Custom-EUB
This Jack Read Electric Upright Bass (EUB) features 41.5” scale length (3/4 size), and has a remarkably “upright-ish” tone for an EUB. It features a chambered mahogany body, figured flamed maple top, flamed maple neck with morado stringer, solid ebony fingerboard, heavy duty stage stand, custom gigbag. Originally, this EUB was equipped with a K&K pickup, and is now fitted with a David Gage Realist pickup. Jack Read originally sold this for “just under $3000” when it was new. Condition- very good-excellent. Some minor scratches on the side of the body around the lower treble side bout that are visible in picture. We are selling this wonderful EUB for $1575. Please contact us for additional details.
Lakland 44-94 Amber/ rosewood
Lakland “US Series” 44-94 Deluxe 4 string bass
34” Scale, swamp ash body with a quilt maple top finished in beautiful amber translucent gloss. Neck is quarter-sawn rock maple with graphite reinforcement bars topped with east Indian rosewood fingerboard and birdseye maple dot position markers. This bass is outfitted with a Lakland Dual Access bridge, string spacing is .75” or 19mm at the bridge and Hipshot Tapered shaft tuners. Equipped with Lakland LH3 Preamp and Lakland MM-J pick-up configuration. Tone controls are Cut and Boost: Bass, Midrange, Treble, Panning-style Pickup Blend Control, Master Volume (pull for passive mode), 3-way Bridge Pickup Coil Tap toggle switch. Weight: 8 pounds, 15.0 ounces. Call for selling price, and information.
This bass is in excellent condition, well cared for and moderately played. The frets and fingerboard are in good condition with no visible wear on either. There is some light surface scratching on the body in the area of the G string and between the neck pick-up and the neck above the E string. These surface scratch areas are very light, and do not show in photos. They are visible only in certain angles and lighting conditions. The neck has one blemish about half way up the neck (see photograph) this is a slight surface blemish and does not hamper the playability of the neck. There are two other small blemishes on the head stock, one above the D string tuner stem and one on the end of the head stock. These are also very small and could not be photographed accurately. After evaluation this bass is awarded a condition rating of 8.0 out of 10 on a 10 point “instrument condition” scale
This is fine made in USA Lakland. This bass is punchy, and has good sustain. By utilizing its versatile onboard preamp one is able to obtain standard Fender/ Musicman-“esque” sound qualities, or dial in an even wider range of “tonal shaping.”
The tone is rich with predictable focus and solidity. Its frequency response capabilities are extremely wide and variable making this bass suitable for a wide variety of playing styles, genres, and musical applications.
MTD 434 Thru-neck, walnut body/ zebrawood top
This MTD 434 consists of walnut body/ stunning zebrawood top, wenge multi- laminated neck / Macassar ebony fingeboard, MTD “the World” logo, MTD deluxe hardshell case.
This exquisite instrument is in “unplayed” 9.5 out of 10 condition, and is capable of ultra low action, perfect frets, and finish. New selling price $7200. Preowned selling price $ 6200. Call for details.
MTD 535 Thru-neck, alder body/ myrtle burl top
MTD 535 Thru-neck, alder body/ myrtle burl top, 3 piece maple neck/ wenge fingerboard, honey aged finish, MTD custom hard shell case, serial #191. Weight: 8 pounds, 14.5 ounces.
New list price $8000. New selling price $6500. Call for pricing and details.
This 535 thru-neck built in 1997 is Michael Tobias’ 191st MTD.
With wonderful roundness and great note to note balance from its low “B” thru its upper register this bass “speaks” evenly and dynamically.
The bottom end is “there”, and balanced though not “overpowering.”
This bass is very “controllable”, and excels in more “legit” applications.
It’s wenge fingerboard imparts a nice degree of “sparkle” that comes thru when slapped. Played finger style, this bass is really clear, round, punchy, and warm, though not “mushy.”
It is versatile enough to sit well “behaved” onstage in support of your favorite jazz/ R&B/ gospel artist. By varying ones right hand playing position, and/ or panning the pickup blend more aggressive fusion tonalities are accessed.
This bass is equally well suited for “traditional” as well as more “modern” subtleties.
Overall, this bass is round clear, even, and has wonderful clarity, beauty, and cohesiveness to the “body of the note.”
Please email for pictures.
Ritter Roya 6 string amboina
Ritter Roya 6 string solid “one piece” amboina burl body, 3 piece bolt- on maple neck/ ebony fingerboard, white pearl block inlays, 35” scale, 24 fret, Ritter Triplebucker pickups, Ritter Master parametric preamp, natural transparent high- gloss finish, worn black frosted transparent finish on back of neck, gold hardware (custom Gotoh tuners, Ritter 3D bridge/ B1 string attachment, Schaller straplocks), bone nut, 18mm string spacing at bridge, 9mm string spacing at nut, custom hardshell case. Weight: 13 pounds, 10 ounces. Preowned: “As new” condition… 10 out of 10.
“Museum exhibition quality”… Jens Ritter’s work is one of two electric basses on display in the Smithsonian Institution. The other was built by some guy named Leo…
This is an exquisite example… the melding of fine modern electric bass craftsmanship, beautifully sculpted wood, and well thought out, well designed, and well executed electronics. To say that Jen’s has built some of the finest “collector” quality electric bass instruments is quite the understatement.
His highly prized instruments are as much finely sculpted works of art as they are high performance/ highly functional musical instruments of supreme quality. They typically feature exquisitely figured traditional, and some not so traditional and rare “tone” woods, some of the most stunningly unique finishes, precious metal inlays and accouterments which are “atypical” in the industry making many of his basses true national/ international “treasures”. Viewing these unorthodox, and sometimes downright “alien” shaped creations can initially be a quite puzzling as well as “awe inspiring” experience.
Ritter’s body and headstock shapes are beautiful, elegant, unique, functional, “sexy”, and sometimes bordering on the “bizarre”. Upon first glance, one may wonder how such an instrument might “balance on ones lap?”, or “how comfortably it will play?”, or “how in the world did Ritter conceptualize this one?”
Contrary to and contrasting with “traditional” bass instrument shapes and design Ritter’s are surprisingly comfortable, ergonomically supreme, and surprisingly “utilitarian” in an “interstellar meets ‘meat and potatoes‘” sort of manner.
This bass in particular typifies Ritter’s masterpieces. Its one piece amboina burl body is beautiful, bold, and functional. Its depth, color, contrast, and figuring is some of the most beautiful and mesmerizing. Its grain is an endless “story” that may be admired time and again… with each viewing more is revealed and assimilated by the beholder.
Amboina burl is one of the heavier woods, and because of its mass and “mega” weight properties it is seldom used in this manner. As a solid, one piece body. Amboina burl is typically only utilized as an “exhibition grade” top. It brings amazing sonic characteristics to the instrument, and in its use here as a solid amboina body it imparts exceptional character, and rare sonic balance Please allow me to elaborate…
This bass is “BIG.” Really “BIG.” This bass is “HEAVY”… at 13 pounds, 10 ounces it is among the upper end of the weight classes. I have played and owned heavier basses. I am always astounded by the consistency of sheer “Authority” inherent in basses with necks of larger girth, and mass. The performance “payoffs” are many, and quite profound. Large… no “HUGE” size to the “body of the note”, superior “evenness” of timbre and amplitude from note to note and string to string, amazing depth and sonority of the low register, and exceptional “form” to the attack, sustain, and decay, of the “body of the note.”
One can immediately realize the benefits of its size, mass, and beauty. One may even be tempted to “bargain” with ones self… “OK shoulders and back I’ll only play this bass when I’m sitting down”, or “I’ll only play it for one set”, or “perhaps only for a few songs a night”. It’s very tempting… Especially with an instrument possessing such a high degree of sonic superiority and sought after qualities not experienced in other instrument’s relegated to “mere mortal” status.
Its neck is “bold”, and rock solid, and its “worn black frosted” finish provides a perfect visual balance of “rugged utilitarianism” with the elegance of its exhibition grade amboina burl body while offering exceptional tactile qualities.
In years past I have been known to “covet” such “masterpieces” retiring them to my “Vault” for safe keeping as sort of an “archive of examples of supreme luthierie”. However, it would be a real travesty to retire such a fine instrument with its exceptional sonic qualities, balance, and sheer dynamic authority in a “museum”.
This bass beckons to leave its telling signature on some incredible sounding tracks, or provide “quake and shift” to the stage and hall. It is truly intended to be enjoyed and savored.
My initial experience of “zeroing” all controls and panning the pickups to 50/50 was that of pure delight as I was astounded by the fullness, openness, “transparency with focus” … now how did Jen’s pull this off? It has a sort of “thickness and focus” while also having a “surprisingly perfect” degree of transparency. The parameters of these sonic details are adjustable and variable with an amazing degree of precision, predictability, and ease increasing this instruments versatility and functionality, and easily allowing it to fit ideally into a wide variety of musical settings and genres.
This bass has amazing solidity balanced with exceptional dynamic capability… especially in light of its “mega” stature…. this bass is dynamically “nimble”.
The wide range of control offered by the instruments’ electronics package allows the player many options and opportunities to attain those sounds and textures required to “shine” or masterfully support a variety of genres and playing styles. The control configuration is: Push-Pull for Active/Passive Master Volume, Pick-up Balance, Tone Blend, Dual High Cut/Boost with Mid Cut/Boost, Bass Cut/Boost with Mid Frequency. Very well thought out, very functional, and very effective.
Did I mention the “B” string? “Tremendous, and controllable”… full, true, and with superb sonority, articulation, and clarity. Again, the word “Power” comes to the forefront… “Controlled Power.”
Transition thru the middle range of it’s neck is very even and tempered both timbre-ally and with regard to amplitude. The notes in this region are of appropriately girth and texture, and sound natural and even with just the perfect degree of growl.
The upper register note “size” remains even and full with excellent clarity and temperament (read; not shrill, nor harsh) to the “body of the note.”
Few will ever play such a bass. Few will have the “boldness” and commitment to persevere with such a “behemoth”… few will have the “spine”. No… pun intended.
Initially, I will say that personally I would probably not expect my back and shoulders to support such a “manly” instrument for much more than a few songs a set, or more than a few hours in the studio at a time. In actuality, I would most certainly brave the consequences to savor the unique experience of playing such an instrument as this. I have a fretless that weights just “south” of 14 pounds. I have, in my earlier years, toured, and recorded with that “beauty.” I’ve played 3-4 hours at a time with that “beast”. I still savor every moment that I get to play it these days. It’s just an incredibly inspiring experience, and as I’ve said previously one that few will experience.
I would recommend this “treasure” not just to a player of larger stature, but to any and all who would enjoy the “sublime” experience of playing such a bass of the highest caliber… Huge rewards await that “brave soul!”
