Here’s a nice little interview with Abigal Ybarra, the Queen of Tone. I just love the idea of an entire cottage industry created around painfully replicating the work of a viejita from Orange County.
This list is further proof that it’s the story of a bass—its origin, rarity, who owned it, or who signed it—that drives its value more than innovation. And, of course, it’s collectors and not players that spend that much cash. But what if all those efforts would have gone right into a musician’s practical or tonal needs?
I just read this cool article about a self-taught luthier in Kinshasa, Congo who goes by Socklo. His guitars look really killer. It’s always really inspiring to me to see guys like this out there who put their stuff out there and just do it because there’s something inside them that makes them have to do it. My only complaint is that the article doesn’t show enough of his work!