Official
Kay bass and cello Serial Number
List Kay Bass Model Types
King
and American
Standard Serial
Numbers
Send your info on H.N.White
basses, both King and American Standard
Nickeled Kay Tailpiece emblems (See Pic) - $24.
Kay Scrolls, Volutes or Roses (See Pic) - $30. Supply getting short, no more ordered
PayPal is preferred. www.paypal.com Send to rstowers@kaybass.com
You can also send check, cash, MO
to Roger Stowers, 214 Capital St. WI. Dells, WI. 53965.
Special thanks to
the Dirtcan Chief for use of this space!!
A form follows this text if you wish to register your Kay Bass, which
will enable me to add your bass to the database. Hopefully with enough input we
can learn about Kay Bass Serial Numbers and Model Types. After Registration I
will provide a date of manufacture for your bass. All pictures are appreciated and saved for reference.
Shortcuts to bass identification: Models, Sizes, Tuners, Scrolls, Endpins, Fingerboards, Neck, Tailpiece, Tops and Backs, Ribs, Purfling, Lining, Soundposts, Serial Numbers and inner tags, Gig Bag, Bass Pictures, Kay Bows, Bass Links
THE FOLLOWING IS COPYRIGHTED MATERIAL!!!
Special thanks is extended to Michael Wright,
Michael Lee Allen, George Manno and Michael Newton for the work they did in
putting together a six-part series on Kay Guitars in "Vintage Guitar
Magazine." Also referenced was the work of J. Scott, "50's Cool Kay
Guitars" and a book written by Raymond Elgar entitled, "Introduction
to the Double Bass." George Gruhn and Walter Carter were very helpful, as
was their book "Gruhn's Guide to Vintage Guitars." "American
Guitars" written by Tom Wheeler was helpful. Other people involved in this
project included Carl Kuhrmeyer, nephew of Henry Kuhrmeyer, along with Cal
Reeves and John Wozab (deceased 5/2003), employees who worked for Kay Musical
Instrument Company. Al Link, owner and
his son Tom, of Engelhardt-Link, cooperated in all aspects, opening the doors
to his factory whenever a question arose.
"Bluegrass Unlimited" magazine has
published "Henry Kuhrmeyer & the Kay Upright Bass." The article
on serial numbers was published by Bluegrass Unlimited in March of 2000.
Kay
Bass
From the time the first Kay bass was produced (1937),
the majority of the wooden parts were made at the factory. Necks were contoured
from hard maple, peg holes drilled, tops and backs formed-sanded, ribs bent and
bass bars installed on tooling either made for or developed under Kuhrmeyer's
direction. Presses for installing the bass bar, and the heating forms used to
laminate the tops and backs of the instruments were made in-house. The heating irons
used to form the shape of the ribs were purchased, as were the sanding machines
used to sand the tops, backs and necks of the new line of instruments. Also
purchased, was a hot stamping or embossing machine. This machine was capable of
embossing the tailpiece with the word Kay in
cursive script. Bandsaws, drills and other
hand tools needed were already in house.
Kay Models: Go back to Shortcuts
The first bass manufactured (1937) was
apparently the Concert or the (C-1). The concert bass had rounded shoulders or
bouts, which made the bass easier to play while sitting. The Maestro model
(M-1), having the violin shape, where the middle ribs form a point at their
junction with both the upper and lower ribs was manufactured after Kay was well
into production.
At the beginning there was a (C-1), (M-1),
and a special ordered fancy bass, still called an (M-1), known and advertised
as the Alvin Hawes Model. It was a fancy bass and could be ordered with
engraved tuners,
inlet purfling and ebony fingerboard and tailpiece. Alvin Hawes was the man who
designed the bass.
The earliest bass in the database is a (C-1),
Ser# 124, with tag saying (K-Meyer). It appears this bass was one of the very
earliest produced. It did not have a round disc placed under the sound post and
the pressure had split the laminated back. The earliest basses may also have
been named Kay, Kay Kraft, Old Kraftsman, Kraftsmen, KustomKraft, Custom Kraft,
K-Kraft, Kay-Meyer, or K-Meyer.
Blond finish was optional and (M-1) Kay basses with a blond finish
came to be known as the (M-4) models.
M-4 models carried inletted purfling and an ebony fingerboard. These lasted
through 1940 then (M-4) was renamed the (M-1B), of course the B being for blond
finish. The M-1B did not have inletted
purfling.
About the same time Kay produced a model C-4
bass which was a blond concert model.
In 1940 the cataloging of the S models began and continued until 1969.
There were models were advertised as Supreme, Swingmaster, or Slapmaster basses
(S-1, S-3, S-4, S-5, S-6, S-7, S-8, S-9, S-10). With the S model designations
beginning in 1940, new models were added until 1952. Recent registrations
indicate S model basses were made prior to 1940 for popular people. One of the
basses registered was made in 1938, an S-6, and was apparently made for Bob
Wills. We have also recently located an S-5 bass which would have been
manufactured in 1937. The S-5 was a thin model. There is also an S-100 which is
a thin Orchestra model. The S-100, very
few manufactured, does not seem to carry inletted purfling or ebony trimmings.
There are now many Orchestra Models in the
database. Some of these say Orchestra on the tag which is glued to the inside back; some are
designated (0-1); some are designated (0-100 or 0-100B). The B is for Blonde
finish. The (0) in (0-100 or 100B) may mean (Orchestra-100 or 100B). The
Orchestra models were the (C-1) shape with a nicer finish and polished tuners,
probably made to be a little more appealing to the public eye. The basic
concert models (C-1`) were for students. Orchestra model could be ordered with
some purfling. They have been documented with inletted purfling extending
vertically up and down the middle of the back. Many of the Orchestra models
were sold with a wooden end pin and a rubber crutch tip. This not only
eliminated rattles in the endpin, but the basses were made to play in the sitting
position and an adjustable post was not necessary.
As years went on, Kay made numerous models
depending on the customer's requirements. The (M-1) and (C-1) models were
mainstays. There were many variations featured, from thin bodies, inlaid
purfling, and 1/3 smaller bodies to bound f-holes, 5
strings (M-5), and nickel plated metal
parts. (M-2), (M-2 Army), and (M-2 Navy) basses have been documented. These
basses were advertised as One-Half size, however the basses were available in
Three-Quarter size at no extra charge. The One-Half size basses are about
2"shorter in the body from top to bottom.
Model (M-1W) This "W" is an
albatross. At first it was thought the "W" stood for white because a
couple of basses were white. It was
reported the "W" stood for Wabash music. Supposed they had ordered
1000 basses to be distributed to school systems. I have quite a few M-1W basses
now listed that are not white and they have not been refinished. There may be a
possibility the "W" stands for "in the white" or
unfinished. Kay did sell some basses unfinished; however, after studying the
finish on many of the M-1W basses, I believe it was factory applied. Kay also
sold a few bass bodies which resulted in people adding their own features. Kay
sold a few basses to Sears and Montgomery Ward which were unmarked. It is also
possible they sold basses or parts of basses to other manufacturers. The
"W" may also be related to the H.N. White Co. located in
Cleveland, Ohio. They manufactured King and Cleveland (American Standard)
basses. I think as time goes on we may see a relationship develop between these
two companies, particularly having to do with interchangeable parts. The
Cleveland Musical Instrument Company began in 1925 as an offshoot to King and
the H.N White Co. They made band instruments including upright basses. Their
products were known as "American Standard." H.N. White Co. started
making musical instruments in 1893 and the brand was known as "King."
King was White's associate and he invented the trombone with the trumpet valves
for marching bands. King started making upright basses in 1935.
Model S-8. A 1947 catalog says the S-8 is the
same as the S-1 and S-9 except it offers a different color. S-1 is brown toned;
S-9 is blonde and the S-8 was advertised as "honey colored".
Top of the line basses were advertised over
the years as, Swingmaster, Supreme, Slapmaster or Slap Pro basses. The models
were (S-1), (S-8) and (S-9). Top of the line five string basses were (S-51),
(S-58), and (S-59). Identical except for color, these basses used Ebony on the
fingerboards, an Ebony horseshoe shaped into the
rear of the neck base . The horseshoes were manufactured by Kay.
Kay employees started with 1/4" piece of ebony and used a Forstner bit for
the inside diameter. Then a band saw
was used to cut the outside a little bigger than the neck. A chisel was used to cut out the back to
the size of the hole they drilled and the horsehoe was then glued on. After
drying everthing was sanded flush. Some
of the S model basses had the scrolls hand carved integral with the pegbox.
There was also a company in Chicago, so far unidentified and out of business,
who was responsible for the carving of the roses integral with the pegbox. They
may have also made the roses used by Kay and glued onto the pegbox. These
carved scrolls were used on the most expensive basses. The S-9 basses were
blond with S-1 basses being brown toned. S-8 basses were "honey
colored".
Chubby Jackson, a jazz bassist, endorsed the
Kay bass for Kay Musical Instrument Company from about 1946 until 1969. The
S-51 model Kay was advertised as the "Chubby Jackson Models. "
Some of the S-9 basses and a few other basses
(special orders) have been documented containing an original sound
amplification system. As described by one owner, "it is a high impedance
mic on the end of the endpin. The endpin is constructed like a phone plug and
is inserted into a socket that sits on the floor. The socket is then connected
to an amp. It was manufactured by Ampeg and/or Astatic." The mic is inside
the bass, the end pin about 24" long which extends up into the bass and
screws into the mic. The outside of the endpin is insulated from the inside and
then the jack plugs into the bottom or exterior portion of the endpin. Henry
Kuhrmeyer was a leader in putting sound systems in musical instruments.
Kay produced a 1/4 bass, (M-3), along with at
least three different sized cellos.
The H-10, S-10, M-3, and S-3 are all the same size and have the same
string length. The S-10 bass is the fully decorated H-10. The S-10 is the top
of the line quarter bass. The S-10 is fully purfled, with ebony fingerboard and
tailpiece and ebony horseshoe on the heel of the neck. Schools bought the
majority of the upright instruments intending to provide the beginning student
with an affordable, playable instrument. In early years the quarter bass was
called the H-10. About 1954 the H-10 was renamed the M-3 and the S-10 came on
the scene.
The TV model basses were produced in 1953 for
the television industry. The reason for the special bass had to do with the
reflection. The bright lights of the TV industry demanded a special paint. For
the TV models the primer was a gray primer and then a flat paint usually gold
colored. The were two TV models, a TV-1 which had rosewood trimmings and a
TV-21 which had ebony trimmings. The TV basses were basically M-1 basses with a
special paint job. Curly maple tops have been reported (while refinishing) as
well as backs with a larger reflecting surfaces.
Only a few B-5 basses were manufactured,
possibly 50 - 60. A full sized cello with bass tuners and strung up as a bass.
This bass instrument was sold as a jazz cello. People in the field have called
this a "Baby Bass." The first
Jazz Cello was manufactured for Ray Brown.
It was used on his CD and named a model K-200. The tuners were slightly different than the standard Klusons
having plastic knobs for the tuners.
Two models, the B-220 and 89, have not really
been classified as Kay Models. I think they may be model designations for
Sears, Montgomery Ward, Spiegels, Selmer or some other company using Kay
instruments.
According to one of the employees who has
worked for Kay, Kay tried producing some plastic or fiberglass model basses.
The one bass found like this had a standard maple neck, rosewood fingerboard,
and Kay inscribed on the back of the peghead and a rosewood tailpiece with the
nickel finish Kay metal logo attached. We have still not determined the exact
model designation.
Former employees of the Kay Musical
Instrument Company believe the (C-1) bass to be the most common. They thought
Kay made about twice as many (C-1) basses as they did (M-1). Probably 10-15% of
the basses produced were either (S) or (M-3) models. Last estimate based on the basses registered is that the S models
were 13.8% of bass production.
Kay Bass Size: Go back to Shortcuts
During the production of the Kay bass every
effort was made to produce instruments to exacting tolerances set forth by
MENC, the Musical Educators National Conference. MENC, a non-profit
organization was formed in 1907, with the intent of helping every American
student obtain a musical education by encouraging schools, communities and
educators to offer music programs.
Body size, string length, distance from the
nut to the top of the base, and depths of the base were dimensions monitored
continuously to ensure standards were met. Since the target market for Kay
basses was the beginning student musician, it was important each instrument
noted the same.
Catalogs advertising the bass suggest it was
designed for students 15 years and over. The standard 3/4 size Kay bass stood
72" tall, having a scale or string length of 42". The body of the
bass measured 44" from the bottom back to the base of the neck. Depth,
width of the ribs or thickness of the bass body varied from 6 3/4" near
the neck to 7 3/4" near the bottom. Another important measurement was the
length of the neck. A distance of 16 5/8" was set for the dimension, from
a line drawn from below the top nut to a line drawn to the base of the neck, or
where the neck joined the top rib. This measurement was taken from the back of
the base, ensured the correct position of the player's hand for note stopping,
and proved the trueness of the neck.
Kay Tuners: Go back to Shortcuts
Kluson Manufacturing
Company of Chicago agreed to do the metal work for tuners and side plates. Kluson was in business from 1925 until
1975. They were located at 3330 N. Kilbourn Ave., Chicago 41, Illinois. Tuner sideplates are all steel and can be
found plated as blued, black, nickel, chrome, gold and/or brass with and
without engraving. Based on the info from a 1965 catalog;
beside the side plates the bearing and post were also steel plate. Only some of
the side plates of the tuners carried the Kluson name.. The worm gear was brass, but could be
polished brass, gold, nickel, or chrome plated. The entire tuner could have been plated all over in gold, nickel,
brass or chrome. The Metal buttons (turning keys) could be black dipped, as
could the sideplates. If the sideplates
are black dipped then the tuning buttons would also be black dipped. Many times the Kluson name and seal is
located on the back of the tuner plates.
You would have to remove the machines to see the plate and this is really
not necessary.
Many of the early basses have tuners made in
Czechoslovakia. The Czech tuners were used sporadically from 1937 until
1946. I have only seen them used on
Orchestra model basses. The vast majority of the tuners from Czechoslovakia
were used prior to 1939. The Czech
tuners were of at least two different styles.
The ones with the wooden knobs and the all brass style. The ones with the wooden knob say “Made in
Czechoslovakia” and the all brass style simply say “Czechoslovakia”.
Including the Czech tuners 17 tuner styles have been identified.
Peghead
Scrolls: It appears there were four styles of scrolls used. The
carved peghead supports a very smooth scroll. The pre-1952 scrolls have the rotation coming from the
bottom of the center and they have a general oval shape; the post-1952 scrolls
have the rotation coming from the top of the center and the basic structure is
round. There is also a scroll found on
the older basses that is partially carved.
The bass of the scroll is carved into the headstock and then there is a
glued on portion which is about 1/3 of the rose. There will be more info in this spot when research is
finished. Copies are being produced. Close-up pics of scrolls appreciated.
Kay Endpins: Go back to Shortcuts
Endpins were always purchased and prices were
always negotiated. The metal leg covered the gambit of 1/4", 1/2" or
3/4", although it appears many of the earlier basses had the 1/4"
pin. Wooden, non adjustable end pins,
are commonly seen on Concert and Orchestra model basses prior to 1940. I am not
sure if the adjustable end pins were available as extra equipment or if the
buyer had a choice at the time of purchase.
Kay Fingerboards: Go back to Shortcuts
Ebony, hard Maple and Rosewood were three
very necessary woods needed for the Kay bass. Ebony and Rosewood demands were
sometimes difficult to fulfill either because of a shortage of wood or world
trade politics. During the time Kay basses were produced 5/4" stock was
the preferred stock for making fingerboards. However, because of the wood
supply some fingerboards were made out of 1" stock. Use of 1" stock
for making fingerboards resulted in the neck of the base seeming smaller in
circumference since the fingerboard was 1/8" thinner. An original
fingerboard should be about 1 5/8" wide at the nut and from the bottom of
the nut to the end of the fingerboard the measurement should be 33 1/4"
Thickness of a board made from 5/4 stock should be about 5/8" at the
bottom and 3/8" at the top. A board made from 1" stock will be about
1/8" thinner.
Most of the Concert and Maestro model basses
had Rosewood, hard Maple or ebonized fingerboards. Ebonizing was the process of
staining hard Maple or Rosewood, black, thus simulating Ebony. A true Ebony
fingerboard and tailpiece were found only on the top of the line bass, the
Supreme, Slapmaster or Swingmaster. In the early years of Kay the Maestro bass
was top of the line and sported an Ebony fingerboard. Kay fingerboards all had
a flat on the E side and were not rounded.
Kay Necks: Go back to Shortcuts
Hard Maple was used for the necks of the
bass. A Kay neck with a full dimensioned fingerboard was thick and requests
came in for a thinner more playable neck. Kay never slimmed the neck of their
basses even though wood supplies for a thinner neck may have been easier to
locate. Sometimes it may seem the neck is slimmer than normal, but it is
possible the fingerboard was made from thinner stock. The peghead and the neck
were made as one assembly with the exception of a few experimentals. Two and Three piece necks have been found on
basses prior to 1940. The Three piece
necks have a piece of ebony , in the middle, running the entire length. A few
experimental necks have been found. Fairly common is the three piece neck which
has a piece of ebony, 3/16", inserted between two pieces of maple, glued
and then cut out. Necks have also been found which have a truss rod extending
the entire length of the neck.
The roses, scrolls or volutes were glued on
except for the higher quality basses when they were sometimes carved into the
peghead. One luthier reported to me
that he had three different styles of scrolls he had saved from Kay basses. The
different styles have not been proven. Voight Bros. In Chicago made basses for
a couple of years and used a neck with carved scrolls. The scrolls are
identical to the carved scrolls I have seen on the Kay basses. I think it is
possible the carved scroll necks may have been manufactured by Voight Bros.
If you look at the back of the peghead the
line coming down the center usually stops about an inch from the bottom. There is an empty space a little larger than
a quarter and frequently the word KAY is embossed into the wood. If the line dividing the peghead goes all
the way to the bottom of the peghead, then the neck is probably a replacement.
Some basses have "Kay"
embossed at the rear of the peghead in
script with fairly small letters. It appears as if installed with a wood
burning tool. One source suggested the basses with this mark were marked at the
factory whenever the bass was made for the US Government. Many basses were
purchased for use in military bands. This appears to be bogus information.
Basses have been found and documented to have the Kay Peghead but have never
been any part of the government or military. Former Kay employees believe the
Kay embossing tool was used on every bass manufactured while they worked at the
Walnut St. factory. They also said the embossing was done only by Kay and not
outside contractors. Possibly the Kay
was embossed on every peghead and then through the sanding and finishing
process became invisible.
Kay Tailpiece: Go back to Shortcuts
Tailpieces were made of Ebony, Rosewood, or
hard Maple. Usually the hard Maple and occasionally the Rosewood tailpieces
were ebonized, with the Kay emblem appearing on tailpieces in the form of a decal, metal or wood embossed.
Decals with gold lettering had three vertical strips running above and below
the "A" in the word Kay, extending a little more than the length of
the letter "K" in both directions. Decals have also been observed
written in cursive script with the word "Kay"
appearing on an oval with a gold outline.
The letters of the word "Kay" are black surrounded by gold. The
decals are about one and one-half inches high and two inches long. A third
style decal has just been found, it is simply the word "Kay" written in cursive script with nothing else around the borders. Another Decal
has been located in the shape of a shield. Shield photo contributed by Jon Weisberger.
"Kay" written in metal script appeared
as nickel (photo contributed by Eric
Tinsley). The latest tailpieces had the
Nickeled Kay in block letters glued onto a piece of plastic. No data is
available describing the appearance of the wood embossed design, which
reportedly burned the word "Kay" into the tailpiece. Decals on the
tailpieces lasted until 1951or 52. Some
of the Nickeled Kay Script metal insignias have “Japan” stamped on the back
side.
Kay Tops and Backs: Go back to Shortcuts
The Kay Musical Instrument Company was
leading their field in lamination. From the beginning, the Kay bass (1937) had
a laminated top and back formed on presses in the factory. Presses were made of
a material that looked like plaster and wood and finally steel. Hide glue was
probably the glue used to laminate the plys. Upon taking a 1949 bass apart,
hide glue between the plys was apparent.
It appears hide glue was used at least from 1937 until 1952. Early in the 1960's, an aluminum mold was
manufactured to replace the steel mold used for laminating the tops and backs.
Kay bass tops and backs held to 1/4" thickness
(5-ply), however, as steel strings became popular, in the late 1950's, the
possibility of table tension increased. (The table is the portion of the top
where the bridge sits.) Facing the possibility of increased table tension it
appears a decision was made to increase the strength of the laminate to better
support the bridge. New technology emerged which allowed layers of laminate to
be used in whatever thickness would produce maximum strength. The fifth or
surface ply ended up to be .050" of Spruce for the front and .050"
Maple or figured Maple for the back. There does not seem to have been any
specifications for the core wood used in the lamination procedure, only the
surface sheet. The Forest Products Lab
of Madison, WI has analyzed the plys of a 1949 bass. The back surface was hard
maple, the front surface was Spruce. Both of the understructures were the same.
The second ply was basswood, third was birch, fourth was basswood and the fifth
most innermost ply was birch. All were
held together with hide glue. The
surface, third and inner ply were laminated vertically while the second and
fourth plys were horizontal, creating a mesh effect certainly designed to
create strength.
The reports on the number of pieces making up
the veneers on the front and back seems to be quite inconclusive. It does not seem to be important in the
manufacture. Early basses had
one-piece veneers as well as late basses.
Concert basses as well as Swingmaster basses have 2 and 3 piece veneers
on the surface plys. I don't think any
conclusions can be drawn from the quality of the bass because of the number of
pieces of veneer used on the bass.
William P. Hall Veneers, operated a company
Hall Veneers, located at 47th and Cicero in Chicago, IL. Hall was the exclusive veneer provider to
the Kay Musical Instrument Company from sometime in the 1940's until the end of
Kay's production in 1969. The spruce came from Birdseye Veneer in Escanaba, MI.
which provided the finest material available in the United States, very similar
to the spruce from Bavaria. Hall also
provided veneers of rosewood, ebony, maple and curly maple to Gibson and
Wurlitzer. Hall also did business with
the E. E. Cummings mill in Evansville, IN.
Kay Ribs: Go back to Shortcuts
Ribs or sides of the bass consisted of three
layers of laminate, with both top and bottom sheets of Maple or figured Maple.
After being sized the laminate was water soaked, then bent on heating irons to
preserve the shape necessary to form the outline of the bass.
Kay Purfling: Go back to Shortcuts
Purfling means decoration.
Purfling seemed to be a mark of excellence
set by crafters in the old world who produced instruments with solid tops and
backs. The purfling was placed just in back of the edge in hopes of stopping a
full-length crack which would ruin a fine instrument. The inlet for the purfling was also to stop the vibrations of the
top and back. Excessive vibration from
the center to the outside edge may weaken the glued edge of the top and back.
There
are two types used on the Kay basses.
The first is painted on and looks like to black pinstripes along the
front and back edge. The black
pinstripes should be 1/8” outside to outside. The other type is inletted purfling
and used on the top of the line basses.
Some early Maestro models sold as the Alvin Hawes Models had inletted
purfling. Some early Orchestra models
had purfling on the back, usually down the center. The S models sported the inletted purfling on the front, back and
around the f-holes. "f" holes would be
bound. (S models). A very early S model
manufactured for the Selmer Musical Instrument Co. had the f-holes purfled,
however the purfling was at the very edge of the hole, not set back from the
edge of the hole. This was on one of
the earliest basses having inletted purfling and Kay may have changed the
purfling design, to the set back style, before the end of 1937. It appears the inletted purfling around the
f-holes was at the very edge of the f-hole until just before bass with Ser#
1240. Bass Ser# 1240 has the purfling
set back from the f-hole edge about 1/4", but the S model basses prior to
Ser# 1240 had the purfling right at the edge. The concert model appears never
to have been advertised as having purfling, instead, there were two black
painted pin-stripes on both the front and the back.
Since Kay had the laminated top and back the
purfling actually weakened the edge. With the groove cut into the laminate for
the purfling, it makes it much easier for the laminate to chip when laying the
bass on its side.
Kay Inner and Outer Linings: Go back to Shortcuts
The linings of an instrument were glued to
the rib sections, providing a surface area for gluing the top and back of the
instrument to the ribs. Kay always installed both inner and outer linings, except on
the quarter basses, which would include the H-10, M-3, S-10 and S-3. The quarter basses did not sport the outer
linings.
The inner linings, only visible by close
inspection of the instrument's interior, appeared where the top and back join
the ribs. The outer linings were clearly visible showing thin 1/2" strips
of wood glued to the ribs and running the entire distance around the exterior
of the instrument body. The top and back of the instrument extended over the
ribs a short distance and the outer linings were installed to provide an
additional gluing surface. The inner lining appears to be always kerfed or slotted.
Kay Serial Numbers and inner tags: Go back to Shortcuts
With numerous company changes occurring after
1955 the records seem lost and irretrievable. During production the serial
numbers were assigned as orders came into the factory. If by the end of the
production line one of the instruments was rejected or for some reason the
serial number was not used, the number was returned to the front of the line
and reissued with odd lots.
Kay bass serial numbers can usually be found
on a label by looking into the "f" hole on the "E" side of
the instrument. Usually the serial number appeared twice. It was written in crayon
or machine stamped at the beginning of the production line and then after the
bass passed final inspection a tag with both the
serial and model number was glued to the inside back. An example tag drawn by Dale Randall was submitted as
an example for an Orchestra Model bass.
The HN White Company
manufactured King and American Standard basses. They also had the serial
numbers written on the inside back. On American Standard basses the number will
probably be below 3100, King basses the number will probably be below
5000. So, if you have a number written
on the inside back on a suspected Kay bass over 3100 on a Concert shape, or
over 5000 on a Maestro shape, then the bass is probably a Kay. Kay went away
from the hand written number at around serial number 10,000. The one inch high letters in blue or black
ink stamped with an automatic stamper started appearing near the end or right
after WWII.
So far, eight different inner tags have been
identified.
Tag No.1
Earliest tag says simply (Kay
Musical Instrument Co. Chicago, U.S.A).
No place for a model or serial number.
Tag No.2
Second tag (1937) was a simple
(K in a circle) very similar to the emblems used on the guitars headstocks.
Serial number written on the bottom.
In
1937 four shield tags were introduced and periodically used until about
1945. Each tag has a letter K contained
within a shield.
Tag No.3 Shield tag
says (Genuine Kay Bass Viol Orchestra Model No._____).
Tag No.4 Shield tag says (Genuine Kay
Bass Viol ____Model Ser No.___).
Tag No 5 Shield tag says (Genuine Kay Bass Viol Concert Model
No. ______).
Tag No.6
Shield tag says (Genuine Kay
Bass Viol Maestro Model ___).
Tag No.7
Most common tag introduced in
1938 and used until 1969. Tag says (Genuine Kay Bass Viol ____Model Ser No.____) The word Kay is in script and the K has a loop.
Tag No.8 Tag used from 1958 until
1969. It says (Genuine Kay Bass Viol
____Model Ser No. _____). The word Kay is in script, there is no loop on the
Kay, and all letters of the word Kay use the same font and are bold.
On all inner tags, the words Genuine,
Orchestra, Concert, Maestro and Model are in Old English Print. The words Bass and Viol are bold block
letters.
If you would like to know when your bass was manufactured GO TO QUESTIONS .
After production was established references
suggest Kay produced 1000-1500 basses per year. It must be remembered serial
numbers ran consecutive with cellos. Twice as many cellos were sold as basses.
With production under the Kay name lasting until October of 1969, Kay likely
produced 20,000-30,000 basses. I think the last bass made in 1969 will have a
serial number not in excess of 58,000.
Reference: the highest Kay number registered
is 57787, manufactured in April, 1969; the lowest number registered is 124.
Kay Bows: From
the earliest catalog Kay sold bows for their basses. Apparently only one bow
size was available. From the 1940 catalog, "No. 10 KAY BASS BOW -- Butler
Model Beautifully bent and tapered stick of Brazil wood. Plastic bow frog.
Screw button inlaid with pearl dot. Blue steel screw, brass eyelet. Plated
combination ferrule and slide engraved with the name Kay. Lined tip, hand
polished in the natural reddish brown brazil wood finish. Price,
each----$10.00"
Soundposts: Go back to Shortcuts
Some of the soundposts
were split to about ˝ their length. The
purpose of the split may have been to aid in installation, increase the
transmission of vibration, and provide a little spring to the post which would
relieve some pressures from the table and the back.
Aid in installation: The split may make it easier to for the
sound post tool to grab the post.
Increase the transmission of vibration: Like a tuning fork, the split may double the
vibrations to the solid portion of the post and transfer more vibrations to the
back of the instrument.
Provide spring to the post: The split in the post may allow the post to
flex slightly, which could be important when the musician is playing slap
bass. The flex of the post could
relieve some of the pressure from the back.
Bass Gig
Bag: Go back to Shortcuts
It appears the original bass covers, canvas,
were manufactured by Artistic Covers of New York City, NY.
Back to top Bass Links Go back to Shortcuts
Help build a database for Kay Basses. Since the records were
lost I am trying to establish a useful list which may be helpful to interested
persons. So far, by using the Serial Numbers, dates of manufacture, can be
determined. More data is still needed to establish all
MODEL TYPES. Please send E-mail
describing your BASS. Pictures of all sorts are
appreciated. Particularly interested in
pics of the scrolls and inner tags.
Send to the E-mail address below or snail mail to Roger Stowers, 214
Capital St., Wisconsin Dells, WI., 53965.
Please include:
1. Model
and Serial number. Usually both model and serial number can be found by
looking into the "f" hole on the "E" side of the
instrument. The "E" side being the playing side.
2. Is the serial number stamped or handwritten on the inside back?
3. Are the tuners nickel, brass, chrome, a combination of black and
brass, or a combination of blue and brass? Any engraving on the tuners?
4. Any thing unusual about your
bass?
Thanks for helping others learn about Kay Upright Basses
Roger Stowers, 214 Capital St., Wisconsin Dells, WI. 53965
http://www.kaybass.com and http://webpages.charter.net/rogngay/MadTownHomePage
Mark Jacobsen has created a new Art Form; a sub-category to Intarsia
King and American Standard Basses
Go Directly to the H.N. White Website
Jerry Fretwell Specializes in Kay Basses
NashCamp---A very popular camp with bass instruction
History of Henry Kuhrmeyer and the Kay Musical Instrument Company. Contains Engelhardt Information
Steve Azola builds excellent acoustic basses
Check Out The Charlie Cushman Homepage and his newest CD
Engelhardt-Link Builds Excellent Basses
Bob Gollihur Page with lots of Bass Info
International Bluegrass Music Association
Fastrax is all about Wisconsin Racing
Northern Illinois Bluegrass Association
Southwest California Bluegrass Association
Milwaukee Area Bluegrass Music Association
Southern Wisconsin Bluegrass Association
How are about some K-BaSsIk-FaCtS
"God, or conscience, is the good within you. Listen to Him. Do what He says."
CAN YOU SAY?
Can you say in parting, with the day that's slipping fast;
That you helped a single person, of the many you have passed?
Is a single life rejoicing, over what you did or said?
Do some whose hopes were fading, now with courage look ahead?
Did you waste the day or lose it, was it well or poorly spent?
Did you leave a trend of kindness, or a scar of discontent?
As you close your eyes in slumber, do you think God would say,
You have made the world much better,
for the life you have lived today!
By: L. Wyatt Wadzink
Last Revised February 18, 2008
Moderation just tastes like more!!
BORED!! Mom would say to us: "I would hate to think I had a son to slow to think of something to do or to lazy to get off his butt and go do it."
Nice meeting you, say hello to anyone you see that knows me!
Our Souls will reside in Heaven or Hell, both of which are in the minds of the Living.
Each decision you make affects the way you live the next minute of your life.
The only thing wrong with a cold woman is the man.
Mothers are the caretakers of Humanity.
My 6 year old grandson said he was just about as smart as his mother-He had one more thing to learn.
My 7-year-old granddaughter said she did not want to be part of a bowling team because Grandma told her if she kept bowling she would have a handicap.
Curiosity cures boredom; there is no cure for curiosity. (Not original, but I can't remember who said it.)
Women and Multi-Tasking: Multi-tasking is just a cover for Adult Attention Deficit Disorder.
Ability to learn and desire to learn are two completely different things. Ability is the flower that already bloomed; desire is the flower that needs care and nurturing.
Save yourself some stress: It doesn't have to be perfect, excellent is good enough.
Congress is the only Whorehouse in America that loses money.
I don't think Kids, Money, Sex or Religion are the reasons people lose their commitment in marriage and end up divorcing. The think the problem is the stress associated with Kids, Money, Sex and Religion. First we should all have stress management courses before make a life long commitment. Secondly, do not make a commitment until you have seen your partner handle numerous stressful situations. If the partner reacts with violence, drinking or some other action not acceptable, drop them like a hot potato. Don't be so naive to think you can only love one person.
To speak profanity is to shout ignorance.
Education is expensive, no matter how you get it.
The Holy Spirit is Love personified.