From The Desk Of Bird Streets’ John Brodeur: Fender Mustang Bass

Omnivore just released the self-titled debut album from Brooklyn’s Bird Streets (a.k.a. John Brodeur). In addition to self-releasing records over the past two decades, Brodeur also worked as a music journalist (poor guy). For Bird Streets’ debut, Brodeur enlisted Jason Falkner (Beck, Air, Paul McCartney, Jellyfish, etc.) as co-writer, co-player and producer, while Miranda Lee Richards and Luther Russell contribute to a few tracks as well. Brodeur will be guest editing all week. Check out the Bird Streets track we premiered in June.

Brodeur: The Fender Mustang is the short-scale bass as far as I’m concerned. The only one that can make a set of flatwound strings sound halfway decent. I’m told it’s because of the the string-through body design, which gives it terrific sustain. I have a ’69 Mustang that’s my favorite instrument. Mojo for miles. It was apparently “born” on March 17, 1969, which may explain why it’s turned from blue to green over the years. Now, I wouldn’t call myself a bassist by trade—anytime I play a full-size bass it quickly devolves into a wrestling match—but I can do the rock on a Mustang. It’s my favorite bass for recording because it takes up a narrower frequency range, so the tone is more focused and easier to place in a mix. And, for all the haters out there that say they lack low end, just stop it. Your low B string sounds like shit, dude.

Also they just look cool.

Take it from me, and if not from me, take it from Bill Wyman, Tina Weymouth, Chris Murphy (Sloan), Justin Meldal-Johnsen, or any of the other legendary badasses that have played this fine instrument: The Mustang is where it’s at.