A permanent record of basses that have moved on. Their stories stay here.
The pickup’s Maxon stamp reads 28616, a clue that may date the pickup to June 1968—but not the bass itself. A zero fret and enclosed pickup give this ELK an early, distinctive layout. Replacement knobs and one bridge screw are fitted, while the original knobs and fingerrest stay with it. Its surface tells an honest story of use, and the bass remained playable and working.
At first glance, the case recalls a Greco catalogue design, but no maker’s mark confirms its origin. The unbranded, guitar-sized shoulder case keeps its structured padding, mustard lining and working YKK zips. Its worn cognac exterior carries the years openly. It travelled to Athens as a useful object with its own place in the collection’s history.
The archive keeps each instrument’s record alive after a sale. Destination pins appear only when a generalized city or village is confirmed; no buyer address is stored or shown.
This early Stone Logo example was first mistaken for an FPB-50; catalogue comparison and serial 82803 pointed to the FPB-60YS. A period catalogue lists it at ¥60,000 and describes a sen body with one-piece maple neck and board. The original-looking pots and .047 μF capacitor remain documented. It was cleaned, inspected and set up before moving to Rimini.
The serial lookup and factory marks disagree on the month: September 19 versus August 12/13 on the neck and body. That small mismatch is preserved rather than explained away. Birdseye maple meets a natural ash body and the original humbucker. Dings, edge chips and a worn neck show its use; its mute and electronics still worked when it left for Riga.
This custom five-string arrived almost new, yet it is not an ordinary P-style build. Its chambered alder body, one-piece maple neck with dual truss rods and katalox board make for a distinctive, carefully specified instrument. The 34.5-inch scale and 19 mm spacing are documented alongside its German build. It left for Hudiksvall with its bag, tools and spare pickguard.
Serial 202113 and the model details place this Japanese TUNE in a late-eighties/early-nineties window, most likely around 1990. Its transparent blue finish lets the ash body show through, while the active PJ circuit keeps the layout practical. The exceptionally light 3.2 kg build had a small mark on the P-pickup cover. It found a new home in Sommacampagna.
The T-prefix serial alone does not settle the date; the JB-62 and UGB markings, checked against Fender Japan catalogues, support a 2008–2010 range. The US Gunmetal Blue finish gives the familiar Jazz Bass outline a less expected look. It was set up with new flatwounds before sale, with the neck, truss rod, frets and electronics checked. From the Chamber it travelled to Tartu.
The serial T073633 and instrument details place this Japanese JB-STD in 1994–95. Its tortoiseshell guard and three-tone sunburst are balanced by an understated maple-and-rosewood combination. It left with D’Addario Chromes and a low-action setup. Honest finish wear remains, while inspection notes record that the neck, truss rod and electronics worked properly; its next stop was Riga.
This is a custom Telecaster Bass-style build, not an all-original Fender, and its exact build date is undocumented. The 1972–79 reference shows in its layout, while a Wide Range-style pickup, push-pull tone control and string-through body make this particular assembly its own thing. It weighs 3.9 kg and went to Ootmarsum with a generic hard case.
The neck-heel stamp 8000132 is the clue that places this FPB-50 early in the Stone Logo period. It was photographed before gentle cleaning, preserving the faded ink as evidence rather than polishing it away. The Yellow Sunburst finish and maple neck and board match the period details. At 3.8 kg, it left the Chamber with its case for Budapest.
The figured maple board makes this PB-450 more individual than its familiar Precision outline suggests. Its sen-ash body wears a sunburst polyester finish, and its Greco/Maxon PU-P5 pickup is documented with the simple volume-and-tone circuit. Age and earlier service are visible in the solder joints, but no structural repairs were noted. It was set up before heading to Stockholm.
Three Jazz Bomb pickups make the Triad’s unusual layout immediately clear, but the documentation leaves its production year and country unresolved. A five-piece roasted maple-and-walnut neck, Korina body and six-bolt joint are recorded, alongside a 3.8 kg weight. It had been bought new in January 2024 and only played at home. The original control knobs went with it to Heteren.
The headstock says “Custom Made”, but the maker’s origin and exact year remain unknown; available clues suggest the 2010s. Beneath the all-black gloss, the familiar Jazz Bass layout stays simple: two single coils and passive volume-volume-tone controls. At 4.1 kg, it shows dings and marks from use, with a straight, stable neck and working electronics. It was adjusted before heading to Tartu.
The E-serial and PB70-70R neck and body marks support a 1989 date. Its original pickguard is worn, and the hardware has oxidation that suits an instrument that has been played rather than preserved untouched. At 3.6 kg it is a lighter example, sold with its case. The truss rod worked, though its remaining adjustment range was limited; the bass moved to Römerberg.
This AIO S8 pairs a nine-piece neck-through build with a 35-inch scale. Burl maple veneer sits over an alder, walnut and maple laminate body, with an ebony fingerboard and 24 frets. Two soapbar humbuckers feed an 18V active three-band preamp with push-pull master volume and blend. It was documented at 4.045 kg with La Bella Deep Talkin’ Bass flatwounds fitted.
A single passive MFD humbucker gives this L•1000 three distinct settings—series, parallel and OMG—without a conventional pickup pair. Built in Fullerton in August 2022, it came with its factory sheet, certificate and original hard case. The 3.975 kg bass had been lightly played at home and wore Thomastik flats when documented. It continued its journey to Kouvola.
Someone wrote 3-21-79 beneath the original pickguard, a small handwritten note that anchors this natural-finish T-40 to a precise date. Its dual humbuckers and flexible switching offer more than the familiar heavy-body reputation suggests. At 4.585 kg, it has real heft; It travelled to Stockholm with Classic Flats and a fresh setup. It travelled to Stockholm.