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They owned Epiphone and they thought that the bass was too much of an odd duck for Gibson to put back out again. Jack Casady When in 1998 I approached Gibson about reissuing that bass they turned me over to Jim Rosenberg, President of Epiphone. I went back to playing the hollow body around '85 and I pretty much stayed although when you do a session or something you're likely to use a lot of different instruments. I was able to get both a good rock sound but something more melodic and a little more jazzy when I wanted.
#Epiphone les paul bass full#
So at that time I could utilise a good full length sound but I really enjoyed the tonal qualities of the hollow instrument. What I found though was it was a bit muddy, basically when you play with many other instruments or a modern keyboard instrument you start to loose some of the distinction. Jack Casady I did, that was my primary instrument. It was a very warm full dynamic sound so I got that instrument and played that for a number of years.įlyGuitars So did you use that as your main instrument up until the point you spoke to Epiphone and had the signature bass made? So I liked this, but I also liked because it had a transformer with a low impedance set up for the pickup. You got a nice mixture of f hole hollow body with the Guild itself with a solid block of wood that went all the way up to the top. So you could actually thump on it and get a hollow sound out of it but the block of wood that was fluted at the back that went along the back of the guitar kept any unpleasant feedback down. It went up to the guitar top and along the back, and it only came up about 5 8ths of an inch and it left an actual space between that block and the pressed top of the instrument. It was everything I wanted it had the hollow body but it was a little different than the Guild because it didn't have a solid block of wood down the back. I saw the Gibson in the window there with the double cutaway and I thought boy this is new out cause I didn't even know it was made but it was a full scale neck and I got the instrument and just fell in love with it right away. In '85 about the time that I was to move to New York for a while I was visiting this little Music store called The Chelsea Music Room right next to the famous Chelsea Hotel that I stayed in many a year during the early 70's. I think in '83 Jorma and I got back together to do a large tour and during a hiatus again in '84 I did one record with Paul and Marti under that name and with that band I used solid body basses.
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I did a project with Marti Balin and Paul Kantner and we called it the KBC band in 1985.