Reproduction
Kay tailpiece decals are now available! They are the '40's style and
suit basses from 1938 to ~1949.
They are easy to apply and really look
great on the tailpiece. The original decals came in a variety of
colours so the
colour is a compromise between the bronze powder of some original decals and the plain yellow pigment of others.
colour is a compromise between the bronze powder of some original decals and the plain yellow pigment of others.
email
jake@thebassspa.com
Kay Basses have been an important part of musical history. Bill Monroe, Bob Wills, Hank Williams, Buddy Holly,
Johnny Cash, Sonny Terry & Brownie McGhee, Mel Torme and Elvis all had Kays in their bands. Willie Dixon, Jack Bruce,
Chubby Jackson and Ray Brown played them too.
Chubby Jackson and Ray Brown played them too.
Kay Bass Production Variations
There are quite a few construction differences between the early Kays and the later ones and lots of variations even
in the same year. Bear in mind that Kay bought their materials in lots from the supplier with the lowest bid and so there
would be differences from batch to batch. The tops and backs were laminated from birch and poplar veneers, usually with
maple on the outside of the backs and sides and spruce on the tops but I've seen plenty of Kays with birch exterior plies too.
would be differences from batch to batch. The tops and backs were laminated from birch and poplar veneers, usually with
maple on the outside of the backs and sides and spruce on the tops but I've seen plenty of Kays with birch exterior plies too.
The neck and heel blocks were mostly spruce but I've seen quite a few wartime basses with poplar blocks.
Some of the wartime basses also came with poplar necks which aren't very stiff at all. They are also prone to cracking.
They
were keeping a close eye on the bottom line, rather than making
art, so sometimes the wood wasn't very
carefully
chosen for the part. I've seen slab grain necks that warp quite easily and
bass-bars cracked due to run-out.
I've seen Kays with severely
damaged tops from steel strings and tops that are pretty stiff.
I have a '38, a '39 , a '40 and a '50 here right now and all but the '40 have the sound post disc on the back.
The bass bars were made on a shaper jig and the shapes are very consistent but I’ve measured the bass bar placement
(distance in from the bass f-hole) at distances from ¾” to 1 ¼”. That will really change the tone of the bass!
Some comparative thickness measurements from the Kay tops currently gracing the house:
- the original finish 1938 Kay is .197 at the treble f-hole, (13/64”)
- the refinished '39 is .227 (15/64”)
- the sunburst '39 top is .229 (15/64”)
- the refinished '50 is .226. Pretty close really to 15/64”
- the original finish '40 O – 1 is .248, just about ¼”
So be careful with how you string your early Kay. I wouldn't recommend anything heavier than Spirocore Weichs
myself and guts, Velvets or Innovation Strings are a safer bet for Kays from the thirties and forties.
 New reproduction decal on Ebony 1938 Kay M-1 tailpiece   Refinished 1943 Kay S-100 Thinline - Ron Shuffler   The Kay Group - L to R: 1938 M-1, 1939 C-1, 1940 O-1, 1950 M-1  1938 Kay M-1 Shoulder  1940 Kay O-1 Shoulder  1940 Kay O-1 Label  1965 Kay M-1 with beautiful spider-webbed Brazilian Rosewood fingerboard  |  New reproduction decal on Ebony 1938 Kay M-1 tailpiece  Restored 1950 Kay M - 1 showing brilliant flame    1940 Kay O-1 & 1950 Kay M-1  1940 Kay O-1 Back with painted flame     |