Phil Lesh, the legendary bassist for the Grateful Dead, is renowned not only for his innovative and improvisational playing style but also for his distinctive collection of bass guitars. Throughout his career, Lesh has utilized a diverse array of instruments, each contributing to his unique sound and the Grateful Dead’s sonic evolution. This article delves into the history of Phil Lesh’s bass guitars, chronicling the instruments he played from the early days of the Grateful Dead to his later projects. This comprehensive guide, built upon photographic evidence and expert insights, offers a detailed look at the basses that shaped the sound of a generation.
1965 to August 28, 1966 – Red Gibson EB0F
Phil Lesh’s earliest documented bass guitar was a rare red Gibson EB0F. This unique variant of the EB0 bass featured a factory-installed fuzz tone unit, a highly sought-after feature for musicians experimenting with new sounds in the mid-1960s. Only 265 of these EB0F models were ever produced, making it a truly collectible instrument. The fuzz circuit built into this bass allowed Lesh to explore distorted and saturated bass tones, which, while perhaps not heavily featured in Grateful Dead recordings, likely contributed to the band’s experimental sound during their formative years. The short scale neck and warm, fundamental tone of the EB0 would have provided a solid foundation for the band’s rhythm section as they developed their signature psychedelic sound.
Alt text: Phil Lesh playing a red Gibson EB0F bass guitar with fuzz tone unit, early Grateful Dead era.
Status: Whereabouts unknown. This rare piece of Grateful Dead and bass guitar history remains unlocated.
September 2, 1966 to June 28, 1967 – Fender Jazz Bass
Transitioning from the Gibson EB0F, Phil Lesh adopted a Fender Jazz Bass in September 1966. The Fender Jazz Bass, with its brighter tone, narrower neck, and versatile dual-pickup configuration, marked a significant shift in Lesh’s sound. This period coincided with the Grateful Dead’s increasing popularity and their move towards more complex and nuanced musical arrangements. The Jazz Bass’s clarity and articulation would have allowed Lesh to explore more melodic and intricate bass lines, complementing Jerry Garcia’s evolving guitar work and the band’s overall sonic explorations. While the exact year of this Jazz Bass is unknown, its visual similarity to later models suggests a mid-1960s instrument, typical of the era’s preferences among bass players.
Alt text: Phil Lesh performing with a Fender Jazz Bass guitar, circa 1966-1967, Grateful Dead concert.
Status: Whereabouts unknown. Like the EB0F, this early Fender Jazz Bass is also lost to time.
July 2, 1967 to June 14, 1969 – Red Guild Starfire Bass (pre-“Big Brown”)
In July 1967, Lesh began playing a red Guild Starfire bass. This semi-hollow body bass, known for its warm, resonant tone and comfortable playability, would soon undergo a transformation that cemented its place in Grateful Dead history. The Guild Starfire represented another tonal shift for Lesh, offering a warmer, rounder sound compared to the Fender Jazz Bass. This bass served as a crucial instrument during the Grateful Dead’s psychedelic peak, featuring prominently in live performances and studio recordings of the era. Its semi-hollow construction contributed to a unique acoustic quality that blended well with the band’s evolving soundscapes. This red Guild Starfire was the precursor to the iconic “Big Brown” bass.
Alt text: Phil Lesh playing a red Guild Starfire bass guitar, later known as Big Brown, Grateful Dead stage.
Status: In Phil Lesh’s collection. This instrument, in its later modified form as “Big Brown,” remains in Lesh’s possession, a testament to its significance.
June 20, 1969 to June 21, 1971 – Paisley Red Gibson EB3 Bass
From mid-1969 to mid-1971, Phil Lesh played a paisley red Gibson EB3 bass. The Gibson EB3, a short-scale bass known for its deep, powerful low end, offered yet another tonal color to Lesh’s palette. The EB3’s characteristic “mudbucker” neck pickup delivered a thick, booming tone, while the bridge pickup provided a brighter, more focused sound. The paisley red finish added a visual flair, fitting with the psychedelic aesthetics of the time. This EB3 period coincided with the Grateful Dead’s transition into a more country and blues-influenced sound, and the bass’s sonic characteristics would have complemented this shift.
Alt text: Phil Lesh with a paisley red Gibson EB3 bass guitar, Grateful Dead performance, late 1960s-early 1970s.
Status: Whereabouts unknown. The paisley red Gibson EB3, like some of Lesh’s other early basses, is currently unlocated.
July 2, 1971 to June 8, 1974 – Alembic “Big Brown” Bass
The red Guild Starfire underwent a dramatic transformation in July 1971 when Alembic, the pioneering instrument modification and building company, overhauled it. Stripping the red finish, Alembic replaced the electronics and hardware and extensively renovated the peghead and fingerboard, giving birth to “Big Brown.” This marked the beginning of Lesh’s long and influential association with Alembic instruments. “Big Brown” became one of Phil Lesh’s most iconic basses, known for its rich, complex tone and extended frequency range, a hallmark of Alembic’s innovative electronics. The modifications by Alembic turned the Starfire into a high-performance instrument that catered to Lesh’s evolving and increasingly sophisticated playing style.
Notably, during 1971 and possibly 1972, including shows like 7/31/71 and 12/4-7/71, Lesh is documented playing both “Big Brown” and the paisley red Gibson EB3, indicating a period of transition and experimentation with different sounds.
Alt text: Phil Lesh’s Alembic Big Brown V1 bass guitar, featuring 12 control knobs and trapezoidal pickups, Grateful Dead era.
Status: In Phil Lesh’s collection. “Big Brown” remains a cherished instrument in Lesh’s collection, representing a pivotal point in his sound and instrument history.
Big Brown Variations:
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V1: Initially, “Big Brown” featured 12 control knobs, trapezoidal pickups, and a simple tailpiece.
Alt text: Close-up of the control layout of Phil Lesh’s Alembic Big Brown V1 bass guitar, showing 12 knobs.
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V2: A fancier, full tailpiece was later added, enhancing the instrument’s aesthetics and potentially its sustain.
Alt text: Phil Lesh’s Alembic Big Brown V2 bass guitar, with an upgraded, fancier tailpiece, Grateful Dead concert.
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V2.1: The trapezoidal pickups were replaced with standard Alembic pickups, and part of the tailpiece was removed or broke off, reflecting ongoing modifications and wear and tear.
Alt text: Phil Lesh’s Alembic Big Brown V2.1 bass guitar, with standard Alembic pickups and a modified tailpiece.
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V3: Two additional control knobs were added, bringing the total to 14, further expanding the tonal possibilities of this already versatile instrument.
Alt text: Phil Lesh’s Alembic Big Brown V3 bass guitar, featuring 14 control knobs and a Steal Your Face sticker.
A “Steal Your Face” sticker, the iconic Grateful Dead emblem, was added between February and March 1974, personalizing the instrument and further associating it with the band’s visual identity.
June 16, 1974 to August 13, 1975 – Alembic “Mission Control” Bass (Osiris, Osage Orange, The Omega)
In June 1974, Alembic created “Mission Control,” also known as Osiris, Osage Orange, or The Omega, a custom-built bass specifically for Phil Lesh. This instrument pushed the boundaries of bass guitar design and electronics, becoming another iconic instrument in Lesh’s arsenal. “Mission Control” was an incredibly complex instrument, featuring advanced electronics, numerous controls, and a unique visual design. Its name reflected its intricate control layout and its role as a central instrument in Lesh’s sound during this period. The bass’s construction and electronics were designed to offer unparalleled tonal flexibility and sonic possibilities.
Alt text: Phil Lesh’s Alembic Mission Control V1 bass guitar, showcasing the U-channel bridge and batwing tailpiece, Grateful Dead stage.
Status: In a private collection. “Mission Control,” a landmark instrument in bass guitar history, is now privately owned.
Mission Control Variations:
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V1: Initially, “Mission Control” featured a U-channel bridge and batwing tailpiece, without pickup rings or wood trim on the quad trim pots access panel.
Alt text: Detailed view of Phil Lesh’s Alembic Mission Control V1 bass guitar, highlighting the absence of pickup rings.
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V1.1: Between October 1974 and March 1975, separate wooden pickup rings were added around each pickup, along with wood trim for the brass access plate below the bridge, enhancing the instrument’s aesthetic and potentially its sonic characteristics.
Alt text: Phil Lesh’s Alembic Mission Control V1.1 bass guitar, with separate wooden pickup rings added around each pickup.
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V1.2: After March 1975, a single koa and abalone pickup ring, crafted and installed by Doug Irwin, replaced the separate rings, further refining the bass’s visual and sonic identity.
Alt text: Phil Lesh’s Alembic Mission Control V1.2 bass guitar, featuring a single koa and abalone pickup ring made by Doug Irwin.
September 28, 1975 – Big Brown (Golden Gate Park)
“Big Brown” made a notable reappearance at the Golden Gate Park show in September 1975. By this time, an Apollo 8 sticker had been added, sometime between June 1974 and September 1975, further personalizing the instrument with a symbol of space exploration, a theme often associated with the Grateful Dead’s psychedelic imagery. This appearance highlights that despite the introduction of “Mission Control,” “Big Brown” remained a viable and favored instrument for Lesh.
Alt text: Phil Lesh playing Big Brown bass guitar at Golden Gate Park in 1975, featuring an Apollo 8 sticker.
June 3, 1976 to June 25, 1978 – Mission Control Bass
“Mission Control” continued to be Lesh’s primary bass from June 1976 to June 1978, undergoing further modifications during this period.
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V1.3: In 1976, a brass pickup ring replaced the koa and abalone ring, indicating ongoing experimentation and refinement of the instrument’s components.
Alt text: Phil Lesh’s Alembic Mission Control V1.3 bass guitar, now fitted with a brass pickup ring.
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V2: Between December 1976 and February 1977, the original bridge and tailpiece were replaced with a Leo Quan Badass combo bridge/tailpiece, a popular aftermarket upgrade known for improving sustain and intonation. A brass plate was also added to cover the tailpiece holes from the previous setup.
Alt text: Phil Lesh’s Alembic Mission Control V2 bass guitar, with a Leo Quan Badass bridge/tailpiece and brass plate.
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V3: Between May and June 1978, a new custom brass Alembic tailpiece was added, and the Badass bridge was modified to allow strings to pass over the back, showcasing Alembic’s continued involvement in customizing and optimizing Lesh’s instruments.
Alt text: Phil Lesh’s Alembic Mission Control V3 bass guitar, featuring a custom brass Alembic tailpiece and modified Badass bridge.
July 1, 1978 to February 17, 1979 – Mission Control & Big Brown (Dual Bass Usage)
This period saw Lesh frequently using both “Mission Control” and “Big Brown” onstage. Shows where “Big Brown” was used include 9/2/78, 10/17-22/78, 11/13/78, 11/24/78, 12/31/78, and 1/5/79. This dual bass approach suggests Lesh was exploring different tonal options within a single performance, utilizing the distinct characteristics of each instrument.
Alt text: Phil Lesh playing both Mission Control and Big Brown bass guitars onstage in 1979, Grateful Dead concert.
By September 1978, photographic evidence from a 9/2/78 Giants Stadium show reveals that “Big Brown” had received a new fretboard with larger inlays, replacing the original dot inlays. This modification likely improved playability and visual clarity on stage.
Alt text: Phil Lesh’s Big Brown bass guitar in 1978, showing the new fretboard with larger inlays.
Between October and November 1978, a Chaparral Cars logo sticker was added to “Mission Control,” further personalizing the instrument with a nod to the high-performance automotive brand.
November 17, 1978 – Blonde Fender Precision Bass (Rambler Room, Loyola College)
For an impromptu acoustic show at Loyola College’s Rambler Room, billed as the Bob Weir Band (featuring Jerry Garcia, Bob Weir, Phil Lesh, and Mickey Hart), Lesh used a blonde Fender Precision bass. This event, a benefit for Hunger Week, saw Lesh opting for the simpler, more traditional sound of a Precision bass for the acoustic setting. The Fender Precision Bass, known for its foundational, punchy tone, was a departure from Lesh’s usual Alembic basses, reflecting the acoustic and benefit nature of the performance.
Alt text: Phil Lesh playing a blonde Fender Precision bass guitar at the Rambler Room, Loyola College, 1978.
Status: Whereabouts unknown. This Fender Precision bass, used for a single documented performance, is currently unlocated.
April 22, 1979 to July 1, 1979 – Mission Control Bass
“Mission Control” was again Lesh’s primary bass during this period. Between April and May 1979, a McLaren sticker was added between the bridge and control knobs, continuing the theme of automotive branding and personalizing the instrument further.
Alt text: Phil Lesh’s Mission Control bass guitar in 1979, featuring a McLaren sticker near the controls.
August 4, 1979 to September 6, 1979 – Big Brown Bass
“Big Brown” saw another period of use in August and September 1979, indicating Lesh’s continued reliance on this instrument even as “Mission Control” remained in his rotation.
Alt text: Phil Lesh playing Big Brown bass guitar during a performance in 1979, Grateful Dead concert.
October 24, 1979 to July 14, 1981 – Doug Irwin Custom Bass
In October 1979, Lesh began playing a custom bass built by the renowned luthier Doug Irwin. Doug Irwin was famously known for crafting Jerry Garcia’s iconic guitars, and this custom bass for Phil Lesh further solidified Irwin’s reputation for creating exceptional instruments for the Grateful Dead. This custom bass likely incorporated unique design elements and tonal characteristics tailored to Lesh’s preferences.
Alt text: Phil Lesh playing a custom bass guitar built by Doug Irwin, Grateful Dead era.
Status: In Phil Lesh’s collection. This custom Doug Irwin bass is a valuable addition to Lesh’s collection, representing a collaboration with a legendary instrument maker.
August 12, 1981 to October 19, 1981 – Fender Jazz Bass (Stripped Finish)
Lesh briefly returned to a Fender Jazz Bass in August 1981. This particular Jazz Bass was obtained from a neighbor in Fairfax and appeared to be a stripped-down version, with the finish removed and the pickguard absent. Visually similar to his 1967 Jazz Bass, this instrument offered a familiar feel and tone, albeit in a more raw and stripped-down aesthetic. The use of this bass suggests a temporary return to a more traditional sound or perhaps an experimental phase with a simpler instrument.
Alt text: Phil Lesh with a stripped Fender Jazz bass guitar, used briefly in 1981, Grateful Dead performance.
Status: Whereabouts unknown, reportedly stolen from the Grateful Dead warehouse. This stripped Fender Jazz Bass has a mysterious history, including its reported theft.
November 29, 1981 to November 26, 1982 – G&L L-2000-E Bass
In late 1981, Lesh transitioned to a G&L L-2000-E bass. This stock model was customized with several modifications to its electronics, reflecting Lesh’s penchant for tailoring his instruments to his specific sonic needs. G&L instruments, founded by Leo Fender, were known for their high-quality construction and versatile electronics. Lesh’s customizations included changing a switch to a low pass filter for the neck pickup, adding a low pass filter switch for the bridge pickup, and a trim pot for treble boost, showcasing his deep understanding of bass electronics and tone shaping.
Alt text: Phil Lesh playing a customized G&L L-2000-E bass guitar, early 1980s, Grateful Dead concert.
Status: In a private collection. This customized G&L bass is now in private hands, a unique piece of Phil Lesh’s gear history.
December 26, 1982 to June 28, 1983 – Modulus Graphite #1 Bass
December 1982 marked the beginning of Lesh’s long-term relationship with Modulus Graphite basses. His first Modulus, #1, was a six-string graphite neck-through-body design with narrower string spacing than standard four-string basses. The use of graphite in the neck and body offered enhanced stability, sustain, and a bright, clear tone. The six-string configuration expanded Lesh’s range and harmonic possibilities, further contributing to his unique playing style. This bass also featured a quilted maple top, adding an aesthetic touch to its high-tech construction.
Alt text: Phil Lesh playing Modulus Graphite #1 six-string bass guitar, early Modulus era, Grateful Dead concert.
Status: In Phil Lesh’s collection. Modulus #1 remains in Lesh’s possession, a significant instrument in his transition to graphite basses.
July 30, 1983 to May 8, 1984 – Modulus #2 V1 Bass
Modulus #2 V1, acquired in July 1983, was another neck-through-body construction bass with a quilted maple top, similar to Modulus #1. This bass continued Lesh’s exploration of graphite instruments, offering a similar tonal and playing experience to Modulus #1. A “wings” sticker was added between July and August 1983, personalizing the instrument.
Alt text: Phil Lesh playing Modulus #2 V1 bass guitar with a wings sticker, mid-1980s, Grateful Dead stage.
Status: In Phil Lesh’s collection. Modulus #2 V1 is also part of Lesh’s collection, representing his continued use of Modulus basses.
June 9, 1984 to June 26, 1984 – Modulus #2 V2 Bass
Modulus #2 underwent a modification in June 1984, becoming V2 with the addition of a neck pickup. Routing was also done to move the middle pickup slightly towards the bridge, and a cover plate was added for the middle pickup. These modifications aimed to further refine the bass’s tonal versatility, offering a wider range of pickup combinations and sounds.
Alt text: Phil Lesh playing Modulus #2 V2 bass guitar with added neck pickup and modified middle pickup position.
June 27, 1984 to October 9, 1984 – Modulus #1 V2 Bass
Modulus #1 was also modified in June 1984, becoming V2. The control set was simplified to a single volume and tone control, and on/off switches for each pickup, streamlining the control layout while maintaining tonal flexibility through pickup selection.
Alt text: Phil Lesh playing Modulus #1 V2 bass guitar with simplified controls and pickup switches.
October 11, 1984 to October 20, 1984, August 24, 1985 – Modulus #2 V3 Bass
Modulus #2 received another modification, becoming V3, with the addition of a switch in the control area. This version was used in October 1984 and at least once in August 1985, possibly in other shows as well. The exact function of the added switch is not detailed, but it likely offered further tonal options or switching capabilities.
Alt text: Phil Lesh playing Modulus #2 V3 bass guitar with an additional switch in the control area, mid-1980s.
October 27, 1984 to September 15, 1985 – Modulus #3 V1 Bass
Modulus #3 V1, introduced in October 1984, featured neck-through-body construction with a red Narra top from the Philippines. This bass showcased Modulus’s use of exotic woods and continued their neck-through graphite construction.
Alt text: Phil Lesh playing Modulus #3 V1 bass guitar with a red Narra top, mid-1980s, Grateful Dead concert.
Status: In Phil Lesh’s collection. Modulus #3 V1 is part of Lesh’s collection, highlighting the variety of Modulus basses he used.
October 25, 1985 to March 3, 1987 – Modulus #4 Bass (Modulus/Doug Irwin Collaboration)
Modulus #4 was a unique collaboration between Modulus and Doug Irwin. This all-carbon fiber bass featured a hollow body and neck. Doug Irwin carved a mahogany plug for the mold, resulting in an Irwin-esque body shape, though the plug was destroyed in the mold-making process. A similar bass for Jerry Garcia was planned but never materialized due to the complexity of the build. Modulus #4 debuted at the “So Far” video shoot in April 1985 but was first used onstage in the fall 1985 tour. Modulus #3 continued to be used during this tour and the June 1986 Alpine Valley shows. Notably, Modulus #4 was used for recording the Grateful Dead’s album “In The Dark.” This collaboration resulted in a highly innovative and sonically advanced instrument.
Alt text: Phil Lesh playing Modulus #4 bass guitar, a collaboration between Modulus and Doug Irwin, mid-1980s.
Status: In a private collection. Modulus #4, a significant collaboration piece, is now privately owned.
March 22, 1987 to December 31, 1987 – Modulus #5 V1 Bass (Unpainted)
Modulus #5 V1 was a headless bass built with a spruce core, graphite top/back plates, a neck-through graphite neck, and custom aluminum hardware by Larry Robinson. Remarkably lightweight at 7 pounds, this bass was initially delivered to Lesh in an unpainted state. Modulus #4 continued to be used onstage during 1987, even after the introduction of Modulus #5, indicating a period of using both instruments.
Alt text: Phil Lesh playing Modulus #5 V1 headless bass guitar in an unpainted state, late 1980s.
Status: In Phil Lesh’s collection. Modulus #5 V1, in its original unpainted form, is part of Lesh’s collection.
February 13, 1988 to May 1, 1988 – Modulus #5 V2 Bass (Painted)
Modulus #5 V1 received a paint job and became V2 in February 1988, maintaining the same construction and features but with an updated aesthetic.
Alt text: Phil Lesh playing Modulus #5 V2 headless bass guitar after receiving a paint job, late 1980s.
June 17, 1988 to July 17, 1988 – Modulus #3 V1 Bass
Modulus #3 V1 saw a period of renewed use in June and July 1988. Lesh used both Modulus #3 and #5 at the Alpine Valley shows in June 1988, and apparently #3 exclusively after those shows for a period.
Alt text: Phil Lesh playing Modulus #3 V1 bass guitar during a performance in 1988, Grateful Dead concert.
July 29, 1988 to December 31, 1988 – Modulus #3 V2 Bass
Modulus #3 became V2 with the temporary addition of a Roland GK-1 kit (MIDI controller & pickup). This modification allowed Lesh to experiment with MIDI bass, expanding his sonic palette into synthesized sounds and textures.
Alt text: Phil Lesh playing Modulus #3 V2 bass guitar with a Roland GK-1 MIDI controller and pickup, late 1980s.
February 5, 1989 to December 10, 1989 – Modulus #5 V2 Bass
Modulus #5 V2 was again Lesh’s primary bass from early to late 1989.
Alt text: Phil Lesh playing Modulus #5 V2 bass guitar during a performance in 1989, Grateful Dead concert.
December 27, 1989 to June 17, 1990 – Ken Smith #1 Bass
In late 1989, Lesh began using Ken Smith basses, starting with a custom BT-6 (serial #89608). This six-string bass featured premium tonewoods including a tiger maple top, walnut veneer, mahogany core, maple veneer, Macassar ebony back, and gold hardware. Ken Smith basses were known for their exceptional craftsmanship and rich, articulate tone. This custom instrument, completed in December 1989, represented a shift towards boutique, high-end bass guitars.
Alt text: Phil Lesh playing Ken Smith #1 custom BT-6 bass guitar, early Ken Smith era, Grateful Dead concert.
Status: In a private collection. Ken Smith #1, a custom-built instrument, is now in private ownership.
June 23, 1990 to July 23, 1990 – Modulus #6 Bass (Q6 Prototype)
Lesh briefly played Modulus #6, a Q6 prototype, in June and July 1990. This prototype instrument likely represented Modulus’s ongoing innovation and development of new bass models.
Alt text: Phil Lesh playing Modulus #6 Q6 prototype bass guitar, briefly used in 1990.
Status: In Phil Lesh’s collection. Modulus #6 prototype is part of Lesh’s collection, representing a unique instrument in the Modulus lineage.
September 7, 1990 to September 12, 1990, May 11, 1991 – Ken Smith #2 Bass
Ken Smith #2 was an off-the-shelf stock BT-6 (serial #88790) with a quilted maple top and gold hardware. The original Smith pickups were later replaced with EMGs, indicating Lesh’s preference for EMG pickups or experimentation with different pickup types. This bass also suffered neck damage in an apparent attempt to replace the fretboard.
Alt text: Phil Lesh playing Ken Smith #2 stock BT-6 bass guitar with EMG pickups, early 1990s.
Status: In a private collection. Ken Smith #2, despite its neck damage, is now privately owned.
September 14, 1990 to September 9, 1991 – Ken Smith #3 Bass
Ken Smith #3 was another stock BT-6 (serial #??490) with a regular maple top, black hardware, and a MIDI pickup fitted between the bridge and bridge pickup. Like Ken Smith #2, its original Smith pickups were replaced with EMGs. The fretboard was successfully replaced, possibly with a Modulus fretboard, creating a hybrid instrument.
Alt text: Phil Lesh playing Ken Smith #3 stock BT-6 bass guitar with a MIDI pickup and replaced fretboard, early 1990s.
Status: In Phil Lesh’s collection. Ken Smith #3, with its modifications and hybrid components, is part of Lesh’s collection.
August 16, 1991 – Dark Green Modulus Bass (Shoreline Amphitheatre)
Lesh briefly played a dark green Modulus bass with a piezoelectric pickup for the first song of a show at Shoreline Amphitheatre on August 16, 1991. Dissatisfied with its performance, he reportedly did not use it onstage again. This suggests a brief experiment with a different type of Modulus bass and pickup system.
Alt text: Phil Lesh playing a dark green Modulus bass guitar with a piezoelectric pickup, Shoreline Amphitheatre 1991.
Status: Whereabouts unknown. This briefly used dark green Modulus bass is currently unlocated.
September 10, 1991 to December 19, 1993 – Modulus #7 Bass
Modulus #7 became Lesh’s primary bass from September 1991 to December 1993. This instrument likely represented the culmination of Lesh’s preferences in Modulus basses, incorporating features and specifications refined over years of using their instruments.
Alt text: Phil Lesh playing Modulus #7 bass guitar, primary bass in the early 1990s, Grateful Dead concert.
Status: In Phil Lesh’s collection. Modulus #7 remains in Lesh’s collection, a key instrument from his later Grateful Dead years.
April 1, 1993 – Ken Smith #3 Bass (“Played” by Barney the Dinosaur!)
In a humorous and memorable Grateful Dead moment at Nassau Coliseum on April 1, 1993, a costumed Barney the Dinosaur “played” Ken Smith #3 for the second set opener (“Iko Iko”). While Barney entertained the crowd, Phil Lesh played from behind his amplifier stack. This lighthearted incident highlights the Grateful Dead’s playful spirit and Lesh’s willingness to participate in unconventional stage antics.
Alt text: Barney the Dinosaur “playing” Phil Lesh’s Ken Smith #3 bass guitar onstage, Grateful Dead concert 1993.
February 25, 1994 to April 7, 1995 – Modulus #8 Bass
Modulus #8 was used by Lesh from February 1994 to April 1995. This bass appears to have featured a MIDI pickup between the bridge and bridge pickup, suggesting Lesh’s continued interest in MIDI bass technology and sonic experimentation.
Alt text: Phil Lesh playing Modulus #8 bass guitar with a MIDI pickup, mid-1990s, Grateful Dead concert.
Status: In Phil Lesh’s collection. Modulus #8, equipped with MIDI capabilities, is part of Lesh’s collection.
September 24, 1994 – Dave Maize 5-String Acoustic Bass (Berkeley Community Theatre)
For an acoustic benefit performance at the Berkeley Community Theatre in September 1994, Lesh played a Dave Maize 5-string acoustic bass. This performance, featuring Jerry Garcia, Bob Weir, Phil Lesh, and Vince Welnick, was a benefit for the Berkeley Public Education Foundation. The use of an acoustic bass reflected the acoustic nature of the event and Lesh’s versatility across different instrument types.
Alt text: Phil Lesh playing a Dave Maize 5-string acoustic bass guitar at a benefit concert in 1994.
Status: In Phil Lesh’s collection. The Dave Maize acoustic bass is part of Lesh’s collection, representing his foray into acoustic bass instruments.
May 19, 1995 to July 9, 1995 – Modulus #7 Bass
Modulus #7 saw a final period of use from May to July 1995, marking the end of this instrument’s documented usage in Lesh’s career.
Alt text: Phil Lesh playing Modulus #7 bass guitar in 1995, during its final documented period of use.
Conclusion:
Phil Lesh’s bass guitar history is a fascinating journey through instrument evolution and innovation. From his early days with Gibson and Fender basses to his pioneering use of Alembic, Modulus, Ken Smith, and custom instruments, Lesh has consistently sought out and utilized basses that pushed sonic boundaries and complemented his unique playing style. His collection reflects not only his personal preferences but also the broader history of bass guitar development and the Grateful Dead’s constant pursuit of sonic exploration. This detailed look at Phil Lesh’s bass guitars offers valuable insight for musicians, Grateful Dead fans, and anyone interested in the evolution of bass guitar in modern music.
