Smith Bass Design and its History (The on-line Book in the making)

[Larry Elwood]

Hi Ken,

Not sure if this quite fits in this History of KSB forum but i think it would be interesting to hear about it and it does seem like a pretty significant part of the KSB past.

Can you talk about what lead up to the conception and development of the original Burner Series and how the process unfolded?

How were you able to maintain such excellent quality control with a large part of the building process happening half way around the world - it seems like other instrument manufacturer's can't duplicate what you were able to do when they cross the water.

Thanks!

Larry Elwood

[Ken Smith]

Originally Posted by Larry Elwood

Hi Ken,

Not sure if this quite fits in this History of KSB forum but i think it would be interesting to hear about it and it does seem like a pretty significant part of the KSB past.

Can you talk about what lead up to the conception and development of the original Burner Series and how the process unfolded?

How were you able to maintain such excellent quality control with a large part of the building process happening half way around the world - it seems like other instrument manufacturer's can't duplicate what you were able to do when they cross the water.

Thanks!

Larry Elwood

What let up to it was seeing all of the Asian copies of American Basses. I was at the Frankfurt show in Germany in March of 1989 sharing space as a guest with Jim Dunlop. His good friend and mine now, Toshio Moridaira, owner and founder of MMI (Moridaira Musical Instruments) in Japan and also owner and founder of Morris Guitars. A maker and subcontractor that had made for many famous companies. In Japan, Morris is a famous brand as well. I witnessed that a month later when I went to Japan.. I will get to that.

I asked Toshio (I played golf with both these guys, Jim and Toshio) to walk with me to look at some basses from Japanese companies. One of them offered to make basses for me but then Toshio told me "they are not factory, only trading company". It was that walk on the show floor that opened my eyes as to how things are done. He then became my mentor instantly. He offered to make basses for me as his factory could do the job. A week later when back in New York I sent them a BT neck thru to copy as a bolt-on. The following month in April I flew to 'Frisco to meet with him at his Cali' house and play a little golf with him and Dunlop of course and then off to Japan for business. They were not quite done with the sample when I arrived but we finished it there at the Morris plant in or near Nagano.

The head maker could make Violins, Acoustic Guitars and even Banjos by hand. He was a real Luthier. He said in Japanese that HE must handmake the Artist Model himself and the other models Custom, Deluxe and Standard can be thru normal production. He was clear about that in not such a nice way BUT, he wanted the credit at home for being the Luthier he was. The bass that Hadrien Feraud plays is the Artist model Burner!

This was the start. That sample was an Artist model and we still own it. My son Jon had been playing that same bass since he was 4 years old. He is turning 22 this year. They made 6 more basses for the June Summer NAMM that year in 1989 as samples and then we made the first 3 runs of 40 basses, 40 basses and then 80 basses the third run and finally caught up with the orders from that first show. We had 5 left in stock after producing 166 basses.

Being a personal friend of the owner helps. One day in Tokyo on that trip he walked me around town to some stores. We walked into a Guitar store and the sales girl greeted us like customers, took a second look at Toshio and HIT THE FLOOR bowing to him as if God had just walked in. No Joke. I once saw a head of one of the most famous Japanese brand Guitar companies do almost the same thing in the lobby of the Nashville Convention Center one evening just after 6pm as we were all leaving. This guy (a famous Japanese CEO) was bowing and bowing and bowing as if asking for forgiveness..

My contact in Japan is a Powerful person in this business. I have nothing but respect for him as he started with nothing and built an empire in his own life time. While touring his factory he showed me his old office, now empty. He said "Ken San, (that's what he calls me) if you move to Japan, this can be your office".

Staying at his house with him and his wife and later meeting all 3 of his grown children (2 sons and a daughter) as well as being invited to his Daughters wedding Reception at a Namm show private party tells me he respects me as well.

So, it's not all business. It's people too. Gotta have people. We can't do without them. He taught me about business "first you give trust, and then you get trust". I taught him something we say when asked how things are.. "so far, so good". He loves that saying. He taught me a few words in Japanese as well while I was there.

[Larry Elwood]

Ken,

Wow! Thanks! What a fantastic story. I get it- the level of quality, care and respect that went into those burners... And on a side note - I'm ultra stoked now because only a couple of days ago I acquired beautiful walnut/mahogany/maple 1991 Artist burner 4 string that is in superb shape. Now I know it's back story too!

amazing...

[Tim Bishop]

Ken, you also performed final set-up on the Burner's as well, correct?

[Ken Smith]

Originally Posted by Tim Bishop

Ken, you also performed final set-up on the Burner's as well, correct?

That is correct. We also installed all of the Electronics as well from late 1992 and on. Top woods for all Artist models and the maple and walnut for the Customs were supplied by us as well. We also supplied the fingerboards after 1992 with Morado instead of rosewood during the first few years.

[Tim Bishop]

Originally Posted by Ken Smith

That is correct. We also installed all of the Electronics as well from late 1992 and on. Top woods for all Artist models and the maple and walnut for the Customs were supplied by us as well. We also supplied the fingerboards after 1992 with Morado instead of rosewood during the first few years.

As for final set-up, etc.: I think this was a critical phase of production that contributed greatly to the Burner's success.

[Mike Braun]

Hey Ken,

Can you talk about your companies relationship with Anthony Jackson and John Pattitucci?