Model Year: 1985
Price: $300.00
Where Obtained: Ebay

Made in Japan Five-piece maple and something neck Mahogany Body All access pass 24 frets...(its carved so your hand can reacch any of the strings at the 24th fret) A separate volume knob for each of the two soapbars, and a tone knob with a push on and push off coil tap feature...passive... Black finish...nice and simple... My wife says it looks like what a Steinberger by Jackson would look like...Neck though the Body...small body, with a sharp upper horn, no lower horn...its very light...effortlessly reach the 24th fret... Bridge, the ball of the string is attached to the bridge which is where the direct pull tuners are, then the string is feed through a hole in the lockdown bolt/spring/screw device just beyond the Nut... This tuning system puts all to shame...it is amazing...never goes out...no special strings...it just works...

The actions and intonation is perfect according to my rack mount tuner, I just flipped...the action is low, with no buzz... The thinnest neck I have ever seen...thinner I swear than an Ibanez Sound Gear, I love it, my Wife loves it...others (especially with big hands may not)...It has a sustain that beats my Carvin LB75...and its so clear...perfect for cords... I have been amazed...It sound great with finger style...(not as flexible as my LB75 but that is active) but sound better than I have heard with a pick...strumming with a Phaser or flanger or chorus, sound freaky...This is going to be so much fun in the studio...and even more fun on stage...the balance is perfect...it balances itself...

I use a SWR Super Redhead, a Zoom 506, and sometimes a Digitech RP300 I play metal, Emo, Rock, Praise, Glam Metal, a little Funk, the Bass covers all styles, excelling in Funk, Metal and Emo Sound much bigger that it is...it does well in finger style and becomes a killer with a pick. It very Bright, if you turn the tone to all bass, it gets a little muddy, but if you then Coil Tap itit sound nice and mellow...As stated before, my carvin may be a little more flexible, but then the carvin is Active and the BX-1 is Passive No mods other than strap locks. A little ground buzz with the neck pickup when you aren't touching the bridge or strings, but only heard when not playing a note. Its going to rock for recording, but the fun begins on stage.

I am sure it will be fine, only worry is the coil tap switch, It just seems like that would take a lot of wear over time. It was setup perfect, it had been in storage for years according to the prior steward, and then shipped from Pittsburgh to Virginia, not far, but its fine.

Model Year: 1987
Price: $800.00 (new)
Where Obtained: Coyle Music

24 frets, two double-coil pickups (passive), black finish. Headless "stick" bass with a unique body style. Very light, and striking balance (you don't have to hold the neck up while you play).

The neck is narrower than most other basses and the strings are closer together, almost as close as a typical 5-string model. However, the headless design clamps the strings down at both ends creating a very tight feel - strings are difficult to bend. To tap this bass effectively the strings must be lowered almost to the fretboard for this reason.

I use a Peavey Megabass amp head that I bought almost at the same time and play primarily through a dual-14 cabinet. I have always felt that the tonal qualities are quite full, solid and warm and have almost always received that comment from studio engineers during recording. Another comment I often get is the surprising amount of sustain. Only problem I've had is a little noise from the passive electronics and two somewhat noticable dead-spots on the neck.

Extremely durable and solid. I have adjusted the truss-rod twice in 15 years.

Model Year: 1987
Price: $400.00 (new)
Where Obtained: Cook's Music, Mt Pleasant, MI

I assume the BX-1 was made in Japan, as are other Yamaha branded basses. I'm uncertain of the wood type, 'cept it's a light one with neck-through-body construction. It has a 24-fret rosewood fingerboard. There are individual volume controls for each of the two pickups, with a "push for punch" tone control, and it has a black gloss finish.

The BX-1 seems to have a smaller neck-width than other basses I've played, but if your forte is getting around the fingerboard, it's a plus.

I've used the BX-1 primarily with Peavey amplification, and my attitude (primitive, perhaps) is that no matter what style I am playing, I wanted a certain bright, yet deep tone. The BX-1's sound range is unfortunately not very wide. New strings brighten up the sound (as usual), and I would have liked more natural bottom end from the instrument, but I suppose that's my personal taste. The sustain isn't quite as there as other basses I've played, but not bad, either.

I've owned the BX-1 for thirteen years and have only needed to adjust the truss rod once. The finish around the electronics is fragile, however.