Ampeg Big Stud

In 1978, when i acquired this beast, it had two pickups, 2 tone controls, and a toggle switch. The sad thing is i had a rare Fender Telecaster bass and wanted more a more versatile sound. I was sold on these features. Now we know the real tone is in the wood and construction of the body & neck. Instead i got crap, but i was a teenager without brains.

Best way to describe the sound: It struggled to put out anything solid. I managed to use this as my main bass for about 4 years. I believe i developed my over-aggressive right hand technique during my formative years with this bass. Don't let this happen to your children.

The action was high and i could not fix it without string buzz. There was nothing about the craftsmanship that indicated any quality whatsoever. As you can imagine, an instrument with such an impressive model name as "Big Stud" came with a thick layer of glossy finish and tacky, shiny inlays and pickguard. I suppose i was should have worn a big hat and a lot of rhinestones while playing this. You can see a picture of me with it from around 1981: http://www.flickr.com/photo_zoom.gne?id=214672454&size=m

I did play live with it once. I should have been embarrassed just to wear it. I don't believe i had any problems worse than scratchy pots. Looks aside, serious muscians who know what they are doing would not try to record or perform with this instrument.

I have not dealt with Ampeg, but they have a well-respected reputation now, mostly for their amps & speakers. I enjoyed using the SVP-Pro preamp for a number of years. I have never had to contact them for customer service. At the time i acquired this bass, i had no idea i could contact them for anything. I would not be surprised if the engineers & marketing team that came up with this idea got laid off.

I have been playing over 30 years now. I have a 4 string Warwick, a 5 string Carvin (don't get me started on their earlier basses), and a Tacoma acoustic/fretless bass. I am happy with all three. It took me a long time to understand what i wanted in a bass. I consider my encounter with the Big Stud a long learning experience.

Made in Japan between 1973 and 1975. Four strings.
Body shaped like a '51 Precision Bass. Laminated (read: plywood) maple-looking body. Natural/glossy clear finish. Mother of pearl pickguard (shaped like '51 P-Bass pickguard).
BIG bound maple neck/fingerboard with mother-of-pearl block inlays. Nice low, flat, wide frets.
The headstock is about the size of a Steinberger guitar body.
Pickguard, neck binding and fingerboard inlays all look "aged," but it might actually be the age of the instrument.
Top-loader bridge (no string-through body).
2 passive single coils; one set in "middle" position (a la '51 P-Bass), looks like a Telecaster (neck) pickup; one set in bridge position, looks like a 4-string P-90. Three-way switch for pickup options.

Instrument suits my style very well--funky and unique. I'm using it with whatever bass amp is nearby (I'm a part-time bass player--mostly a guitarist/harp player and vocalist). It has responded to every amp equally well.
Very warm, rich sound on "neck" (middle?) pickup--funkier and brighter on bridge pickup. Pickups are not very powerful (maybe need rewinding?).
A little noisy (not great for recording, but on-stage it's not too bad).
Great sound overall.

When I got it it was 30 years old and had been in a very abusive relationship. It had probably been a good looking instrument at one time. However...
It was given to me by a friend who rescued it from a garage sale for $5. It had one string on it. It was missing the bridge and pickup cover plates. The person who owned it before tried to make it look like something Bootsy Collins would play. He hammered chrome furniture tacks around the outside edge of the body and headstock, and drilled tiny counter-sunk holes into which he glued rhinestones (all but one of which fell out). All chromed hardware and most of the furniture tacks are oxidized (acidic sweat or moist atmosphere of the previous owner, I assume).
He even painted (in red fingernail polish) "Mr. Cosmic" on the outside of the hardshell case.

I only have one thing to say about the condition of the instrument when I received it--THIS is your brain on drugs.

I had it set up and re-strung, and it played great--smooth, low action perfect for just about any style/sound--if you can get over the way it looks. I thought about refinishing the body, then decided, oh well, why not just keep it looking freaky--at least it had a good story.
I can't give an opinion on the finish, because, well, look what I just wrote about it!

Nothing could be done to hurt this guitar. I play it without reservation, as to reliability. I replaced the strap buttons with Shaller Straplock types (I do this with all my guitars).

I mainly use this for writing bass lines (for my original songs) and for fun--I don't play bass exclusively. It is built like a brick house.

When recording a bassline, I usually use either the bass player's or the drummer's Ibanez Soundgear (they each own one) since this one has a little hum to it.

I never tried to deal with the company, but if you have questions about all things Ampeg, look for the book "Ampeg--The Story Behind The Sound" by Greg Hopkins.
E-mail: vintageamp@aol.com
I e-mailed him and later talked to him by phone, and he was helpful, enthusiastic and very knowledgeable.

He is the one getting this "10", since I never dealt with Ampeg themselves.

I play guitar/slide guitar/harp/vox in a Texas Roadhouse band called the SCREAMIN' ARMADILLOS. Blues+Rock+Outlaw Country=Texas Roadhouse.

This axe is mainly kept around for practice and writing, and if it were lost or stolen, I would get another bass--probably a '51 Precision Bass Reissue, a Sting Signature Precision Bass or an old early 70's Telecaster Bass. I would get another Big Stud, but they aren't exactly everywhere.