andruca

I haven't played that many hollow/semi-hollow basses, and they have never been my main instrument (Stingray5 has been for the last 20 years), but I've still been to a few places... I've had an Epiphone Viola, after extensively trying the (then) available cheap Hofner options (Icon and Contemporary) and liking the Epi better, seemed considerably more solid, better built, while being the cheapest. Sound wasn't exactly the same but close enough on flats (which I put on only for a short period, I either used this for "acoustic" gigs or HC/punk -tuned BEAD, yep, worked thru' some crunchy SansAmp and heavy compression-). Later in my owning life I used it in a more "reasonable" fashion, regular tuning and worn in (pretty dead indeed) roundwounds. Sometime around 2011/2012 I became aware of the Warwick Star Bass (by about the time they started manufacturing the RockBass version). At that time they were hard to spot used, and I couldn't justify the cost. But also hadn't realised its real potential. Over the years I've played the Jack Casady many times, also the Ibanez Artcore/ABF. I really like the Gibson tone and vibe (just not single cut basses), in fact I was this close to getting an Epi EB3 ad one point in time. I did appreciate that the Casady doesn't sound as nasal as the mini humbuckers (and their position) on my Viola. Then I finally tried a couple RockBass Star Basses at a couple stores and that changed it all. Still it wasn't until a couple months ago that I got lucky enough to find one I could afford. Happened to be a black Korean ProSeries 5er from 2011, at the bargain price of 600€. Now, what differentiates the Star Bass with any other semi-hollow? Simply put, the only thing hollow about it is it's louder when unplugged. Has a thick maple core all thru' the center of the body. There's no microphonics, no feedback, and it's both more "precise" and more "virile" sounding than usual semi-hollows (the 4 string RockBass version is 32", all others are 34"). It can definitely sound in the semi-hollow ballpark with flats (and mostly on the neck PU), but its tone is like that of a Jazz Bass but extra warm and fat, super punchy and with supernatural sustain (lows keep pushing longer than those out of my Rays, you notice that in the way it pushes your preamp, surprising). So, I'm starting to feel bad for the kind of advice I'm giving. Not that I regret my preference, but it's clearly cheating, you know, a Star Bass is the semi-hollow for people who don't get along much with typical semi-hollows. I even modded it to get rid of the other semi-hollow "thing" that I hate 100%, THEY HANG HORRIBLY, NOT JUST THE OMNIPRESENT NECKDIVE BUT THEY TILT FORWARD BECAUSE OF THE STUPID STRAP PIN POSITION AT THE HEEL. Took care of that 2 days after getting mine, flooded the tip of the upper horn with epoxy and put the strap button there, hard as a rock. Now it faces front like a usable bass, and it also helped neckive. This is how it sounds with rounds and in a "rocky" mood... So, take my "advice" with many grains of salt. Probably heretic to the semi-hollow concept (also heretic to Warwick, as I only like the least Warwick models such this one or the Jack Bruce SG shaped one), but I still prefer the Star Bass over any other hollow/semi-ollow bass I've ever played or heard. So much so that it's my only and all-purpose 2 pickup fretted 5er nowadays (selling the Schecter CV5 I've had for occasional "Fenderish" duties, great bass, but the SB can do it all, it's THAT great for my needs).

Yep, sorry for the typo, 2011. Same thing here in Spain, only ones seen (rarely) are the RockBass version, and for no less than 700€. I got mine from Italy. Don't know why but Star Basses show up way more frequently used over there, some you can find in Reverb (usually from stores) and there's also mercatinomusicale.com, which is where I spotted mine.

I'm here just to fuel you Star Bass craving. Got this for 600€ a month ago (2001, Korean Pro Series). Can't tell much of a difference with the Chinese RockBass versions I had tried before, maybe it's just little finish details (and RockBass' rosewood instead of wenge), I'm sure those will be virtually equally nice to grab. STILL, I must say the Star Bass is cheating. I chose it because I've owned an Epiphone Viola (and played several Jack Casadys) and decided I don't like real semihollow "spirit" much (mocrophonics, most of those mini humbuckers sound horrible). It feels and plays like a solid body (just sounds louder unplugged). And it sounds like a Jazz Bass with humbucker lows, more delicate/detailed highs, and INSANE SUSTAIN (yes, more than my Stingray5s, mostly I can tell the lows keep pushing the preamp longer, real nice). It can still sound decently hollow with flats. Only drawback I can think of (not inherent to the StarBass but to most semi hollows/hollows) is the POOR choice of strap pin location (at the heel). I know this is for the sake of "classic authenticity", but couldn't care less, I want my basses to play and hang right and this not only worsens neckdive (much less of a problem in this bass than almost any other bass of the kind) but it also creates a further, even worse, issue: the bass body tilts forward, facing to the floor, SUCKS. I changed the pin location on mine 2 days after getting it (solidifying the top of the upper horn with some epoxy flooding), easy, cheap, and damm solid. It hangs like it should now (facing front) and it also helped neckdive. Except for that the bass is light years away from any semihollow IME. You can grab one used one for what many other of your mentioned choices (Chowny, Gretch, the Jack Casady) cost new or less, and it's definitely a lot more bass for the dough.

For the kind of money you're looking forward to spend I strongly suggest you check a used Star Bass out, either the Warwick ProSeries (Korean preferrable) or the RockBass version (Chinese, still not bad). I've recently got a Korean ProSeries 5 string Star Bass and I couldn't be happier. Only other semi-hollow I've owned is an Epiphone Viola, but also have tried several Hofners and Jack Casadys, as well as the AGB205. The StarBass crushes them all for my taste and needs. It's not as hollow body sounding as others (still can do the job pretty well on flatwounds and is pretty loud unplugged), that's and advantage for me but it might not be to you. There's a solid block running thru' the center of the body, so the bass isn't microphonic at all nor produce any feedback, unlike other semi hollows (center block violin basses -the Epi Viola I had included- are still way too microphonic, this is 100% like a solid body in that regard). And those big single coil pickups are around J position so it really sounds like a Jazz, but with extra warmth/girth to it (humbucker lows) and some more delicate/detailed highs. Also has RIDICULOUS SUSTAIN, the lows keep pushing my preamp longer than any of my other basses (my main axes are a couple Stingray5s). IME it's much more versatile than your usual semi-hollow bass. BTW, the low B is pretty decent, unlike that of the Ibby AGB. I got my WPS Star Bass with a nice padded bag (the bass is strong enough not to need a case) for 600€ less than 2 months ago from a guy in Italy (for some reason these are way easier to spot in the 2nd. hand market there than here in Spain). It's quite a good price considering used RockBass versions are no less than 700€ used 'round here and the bass is undistinguishable from a German ProSeries (same exact materials, hardware and pickups/electronics). I'd wanted this bass for the last decade. The bass had a major turnoff for me. The strap pin at the heel is USELESS, HANGS HORRIBLY, as happens with almost any bass of this type, makes the bass tilt forward facing the ground. I solved this by relocating the strap pin to the right place, for which I "solidified" the tip of the upper horn with epoxy, real easy and STRONG, and now it hangs great, as any bass would. The bass doesn't neckdive much but it's definitely neck heavy, moving the strap pin helped mitigate this issue too. Not as light a bass as a violin, still nothing unbearable, little over 4 kilos. Oh, and regarding the TRBX range, well, besides being very different from the rest of options you present, IME it sounds generic, not bad instruments at all, just unremarkable as per tone (or "tone of its own"). Again, if you're between a traditional solid body and hollows/semi-hollows, the Star Bass could be the perfect intermediate solution. It's currently my sole 5 string 2 pickup fretted bass and I'm confident I'll not only do unplugged or classic or black stuff but also punk/HC/metal the crap out of it.

Great looking basses. But I think the definite test should be price vs. SOUND CLIPS, gentlemen. That's what gives a real idea of bang, don't you think? Sincerely happy 4 all you guys who have a 300-400£ concept of "cheap". I live in Spain, plus I was born in Argentina, thus my concept of cheap is more "latin minded" 🤣 I got an unbranded Jazz Bass with a body probably cut & finished by someone on acid, and an unusable neck (truss rod did nothing) for 38€. Saved all other parts and got the cheapest (basswood) body and neck I could get from AliExpress (51€ more). Bridge is great, tuners are OK, but those pickups (unbranded, as everything in this bass) sound AWESOME. I've had 2 MIJ Fender Jazzes in the '90s and none sounded this good. Neck is thicker than I'd like (I'm a skinny neck freak) but it still plays nice. To be fair I added a Hipshot D-tuner, but its cost is more than amortized, that tuner has been with me for almost 2 decades in different basses. That was my second DIY, early this year. My first, a thomann P-style kit (88€) I got as a present in 2016, has been reworked a couple times. It's now a reverse P + J fretless 5er. Still haven't spent 50€ over that original cost (+50€ more to equip it with LaBella LTFs) and it's provided me with MANY days of mod fun (links to several stages of it's history in YouTube description). J pickup is not the one you see in the video anymore, it's a 5 x big pole 16mm spacing cheapo' now.

1997 Ray 5er. I have a 2nd one (from 2003, blue with rosewood, pretty "regular" wood) that could serve me exactly the same, but I like this one better.

STRAP PIN RELOCATION, thought I'd share (also valid for other semi-hollows/hollows). Even tho' this bass is balanced enough (slightly neck divey, stays horizontal) the neck side pin location (at the joint) plus the arched back make it flip it forward (pickups face down). It takes my left (fretting) hand to exert a twisting force, plus my right forearm to push harder on the binding to keep the bass aligned to a comfortable playing position. This is how it cames stock... Every single StarBass user complains about this. I know people "solve" this by using a stance with the bass on your right side and fretting hand in front, alla' Jack Cassady... I'm not into that as my constant stance, so after some thinking I decided to relocate the pin to the upper horn. Now that's a hollow horn, laminate being no thicker than 6mm, and there's nothing behind. There's no access to the interior anywhere near the horn, not even the neck pickup, as the solid center block of the body encloses the pickups. So the only access point is the f-hole. After much thinking about blocks of wood to fill the tip of the horn (mostly beyond my skills) it occurred to me that it could be filled with epoxy. First I was thinking a syringe and some tubing thru' the f-hole. Ended up doing it all thru' the pin hole. First I drilled a small hole (1.5mm bit) in the spot I wanted the pin, then "threaded" it with the pin screw and took it off... After that I masked the zone with paper tape (just in case of any accidental drip) and turned the bass around, horns pointing down . Then mixed some 2 part epoxy glue, sucked 5ml into a syringe (no needle), injected it thru' the screw hole, then screwed the pin in tightly. I let it rest upside down for half an hour (according to instructions it cures in 5-10min). I took all the masking tape off, cleaned and voilá... This is the best shot I could take of the interior (using my mobile and a tiny mirror, all thru' the upper f-hole)... The clear area in the center is the little "pool" of epoxy that formed inside the tip of the upper horn. You can also see the tip of the screw coming out a couple mm. I just did a very light test (it's cured, but reaches maximum strength past 24 hours) and "prima facie" it both solves the flipping forward issue and also helps balance, doesn't go horizontal now, tends to stay where you put it. I'll tell for sure once I get to rock it at couple hour rehearsals/gigs. I think this is the easiest, cleanest solution and probably one of the strongest. Apparently many people do this to their Epiphone Jack Cassadys, Gibson 335s and the sort.

Here's some quick samples I recorded. Clean fingerstyle (both pickups, neck pickup, bridge pickup) and pick+OD (borh pickups, neck pickup).

The flame maple burst would have been my second choice. Not a big fan of burst finishes, except for a few that look "right" to me, and that's definitely one of them. Big Lee Sklar fan here (and follower, everywhere). His opinion had a lot to do with me turning my head to the Star Bass many years ago. He swore by its versatility. And I can confirm, this bass can do anything, from funky fingerstyle to picked overdriven punk. Fat and juicy.

Hi all! After a decade craving for one I've finally pulled the trigger on a gorgeous 2011 Star Bass 5 WPS in black (my fave "regular" finish, my absolute fave is the metallic grey with blue racing strips but those only came as a chinese RockBass model and only for a short time). The bass' condition is undistinguishable from one out of a box, virtually new, not the slightest scratch, mark or wear, and it came with a nicely padded gig bag (appropriate for holding it's big body -won't fit in your usual solid body gig bags-). For reference the current chinese RockBass version (which I tried and think is very decent) doesn't come up in ads for less than 700€ used 'round here (Spain). The moment I saw this one for 600€ (handcrafted in Korea, no RockBass) I pulled the trigger. Never been a Warwick fan, not too much into their tones nor playability. But the Star Bass has always been THE exception (sounds nothing like most Warwicks). I also don't care at all for the old Framus Star Bass, hate the tone, the looks, etc. The neck is bit thicker than I'd like (prefer them skinny A/F) but I was expecting that, it's a price I'm willing to pay. Still 20.7mm thick front to back @ fret 1 according to my caliber, less than 1mm deeper than my Stingray5s depth, still feels substantially beefier due to the round, sorta' D profile I guess (the SR5 profile is a very sharp C, real thin, more like a parethesis). Anyway, easier to get used to that than the "Les Paul mark" I get from resting my forearm when playing sitting (it HURTS, but I'll work it out). Now the sound on this is simply AWESOME. I starter re-using some Zoom B1X Four patches I usually have for my Stingrays (mostly preamp -either clean or dirty- plus some compression, boosting lows a little) and I ended up going almost bypass as the sound comes "mastered" to the perfect roundness I like with my amp EQ flat. These MEC pickups are astonishing. Timbre is like a very warm fat Jazz Bass, yet sporting delicate and detailed highs, never hissy or clanky even when seriously digging in. Best passive tone I've had. It also has a very curious and INSANE SUSTAIN, the low end keeps pushing for a LONG time, you can feel it exciting the preamp. Only thing "hollow" about this bass is it's loud when unplugged. Other than that I don't think it'll record nor perform too differently than a solid body Jazz Bass with these pickups on. No microphonics or feedback at all. Setup was easy despite the multiple gadgets. I prefer simple bridges, was skeptical about the 3D bridge, but I really like it. Adjusted spacing to the widest possible setting and it doesn't go any further than 17mm (home enough for me, 17-17.5mm is my zone). And the Just-a-nut III is the nut every bass should come with (I've lowered the nut on probably 80% of basses I've owned, they very often come too high, shouldn't be higher than a fret, I care more about how it ruins playability for me than low register intonation). Seriously considering equipping my Stingray5s with them. All in all a gorgeous high quality bass that's even suitable for some punk/metal duties if need be (used to do it with an Epiphone Viola I just sold, so, this is definitely going there too). I'll follow the rules and drop some photos now... I'll post some samples when I get to record it (still probably not too interesting). Sounds almost exactly like this Andy Irvine vid (this is the current chinese RockBass version pickups are the same)...

This is my second "build" (assembly, might I say). First was a thomann P-style kit I got as a gift in 2016. Suffered intense metamorphosis, up to its present self, a fretless reverse P+J 5er. This time it's a Jazz I've built. Thing is almost 2 years ago I got a "horrible bass" (ad stated that clearly, guy begged for somebody to take it away), for just 38€ (and a 15min ride, included was an un padded gig bag). Body was like a badly cut version of a Jazz and neck was bananas (literally, beyond repair, truss rod would do nothing for it), but (no brand) hardware seemed decent, solid bridge, precise tuners, and pickups/electronics were all in working order (origin/brand still a mistery). Had a black J pickguard home, from some other Frankenstein I planned but never came to be. So I got the cheapest neck & (basswood) body I could get from AliExpress for 50€ total. Funny, it all summed up to 88€ , which is what thomann charges for their (really decent) kits. I opted for a black "distressed" finish (easy, and looks "used"/"player's" -and sorta' ghetto-). I'm a big fan of a black guard on a black Jazz Bass. I added a Hipshot D-tuner I've had lying around for some years (my main players are 5 strings, and it's not that useful or needed for the low B as they're on a 4 string for drop dealings). Neck is a little thicker than I'd like (still normal, I'm just an unusually picky skinny neck freak) but it plays great, frets are surprisingly level (can be setup ridiculously low) and, as soon as I set it up and plugged it in thru' my usual presets it just... WOW! First some photos... A ramp is mandatory for me on every 2 pickup bass, I'm used to Stingrays5s playing position (the exact punch, depth and stiffness I like), and feeling the pickup underneath helps my fingers not to travel too far/sink too deep, keeps me plucking with the very tips, alla' Geddy. Family photo, joining the aforementioned previous build... NOW ONTO THE SAMPLES. What you hear here is: FINGERSTYLE: both pickups, then neck, then bridge PICKED/SANSAMPED: both pickups, then neck PICKED/SANSAMPED DROP-D: both pickups, then neck This was recorded direct into a Zoom R24 (inserting its built in SansAmp emulation -low gain- and compression) for the clean fingerstyle tones, and thru' a Zoom MS-60B (a more crunchy SansAmp + 166 comp. emulation) for the picked dirty stuff (no inserts on the recorder). In all honesty, after owning 2 MIJ Jazz Basses in the '90s/early '00s and having played MANY Jazzes and clones from all walks of life thru' the years, only one I'd probably like better is a MIJ Geddy sig.

Sloppiest thing I've heard/seen in a while.

GHS has a BEAD tuned string set offering. But they cost more than their 5 string set, containing those same lower 4 strings plus the high G. How stoopid is that? (or how easy is it to rip off snobs) Get a 5er set, as others suggested. Been doing it for years in the (few) 4 strings I've lately owned. There's also the Beefy Slinky's from Ernie Ball and I think it's DR who also make another low tuning 4 string set.

I like how they sound. And after playing MANY thru' the years that's all the good things I can say about them. Don't like how they play, hate their bridges, dual truss rod crap (and many other terrible design decisions), and also hate how little R&D they put into it. Not only it's about time they start changing that abominable highly obsolete bridge, in general, it's about time they improve products throughout their lifetime (not frantically, simply fix what you do wrong and gets proven wrong with time, because there's many a thing). Yes, I know, the new 4003/S5 has a decent bridge, but also has these b/s triangular pickups, incompatible to anything. I'll probably never own a RIC (if you've held, say, a Musicman and a RIC side by side you will never be able pay more for a RIC than a Musicman, I mean, the RIC feels CHEAP). But hey, people keep buying them, so no need for Rickenbacker to evolve a thing. And, contrary to the latest overhyped "woke" tendencies these days, I still think a free market to be a good idea and telling others how to buy feels both pointless and authoritarian to me, so to each their own, even tho' I think Dave's got it 100% right here...

Painful to hear. Not because of the pick itself (I'm sure you can do decent stuff with a pick on a fretless too), but because of the lack of... everything.

I could not solo the P pickup on any Lakland 5er I've tried with decent results. Might be different on the USA models, all I've tried is Skylines. Not that reversing would make a world of difference, of course. I've done it on a (cheap) bass and the before/after was really noticeable.

I've had 2 BBs (425X and 615) and you're right, it wasn't as noticeable as on a Fender P or some other "clonic" stuff, but the low B of them was not the greatest all in all (much less soloing the P pickup). I've got a highly modded P kit build that really benefitted from the reverse P move.

The reverse P is a big advantage in that Dave Ellefson model (gorgeous!). IME reverse P > P, but when it comes to P there's simply no question, regular P position under a low B is useless 90% of the time. Reversing doesn't move the low notes coil that far but that <1" makes a noticeable difference on low notes (plus the other coil moving towards the neck fattens high strings, making it all more balanced).

I'm familiar with Model Ts (and a total FAN) and this is the same kinda' quality, same neck as the Model T Session 5, just not the usual EMGs + active EQ but these J-bucker pickups in passive (in fact the same that come in the Apocalypse variant of both the Model T and the C4/5, SUPER GAINY even in parallel). Top notch instruments, quality matches that of my SLO/CA Musicmen, doesn't feel one penny cheaper played side by side with those (2x the value used), it's THAT good. I'm not into the more "modern" Schecter basses, there's a certain "genericness" to many of their sounds I don't like, but the classic/"fender'ish" kind are rocking. Same feeling I get from ESP/LTD instruments BTW, not into their modern/metalesque stuff, but their "Fender killer" range is surprisingly good, tremendous bang for the buck (plus real QC and consistency, you know, I'd never buy a Fender/Squier sight unseen -a 4 string because I'd never get a Fender 5er-, but I've done it with Ernie Ball Music Man, some Ibanezes, some Fernandes and I'd definitely do it with Schecter as I did with this CV-5, had played a dozen Schecter basses before, not a single bad thing on any of them, and always incredibly setup from factory).

I'm a Stingray5 guy who's been wanting to add an alternative/more "chamaleonic" 2 pickup 5er for years but couldn't find anything that both could do some P and J stuff and also would play like my Stingray 5ers, have as serious a low B and had also this wild "in-your-face-ness" to its tone (playing Musicman basses for so long has made pretty much anything else sound TAME). I've been thru: 1) FENDER AMERICAN DELUXE P 5: HORRIBLE BASS, doesn't play up to Ray 5ers, sounds dull, awful low B, crafting isn't even acceptable for the price. 2) MARUSZCZYK JAKE 5A+: NICE, light, comfortable, just couldn't stand the DEAD big pole Delanos. Appreciate the same thing on any Sandberg I've played, can be made to sound decent, but that doesn't avoid the disapointment any time I'd plug my Ray 5 after the Maru, it'd sound like someone removed a heavy blanket from over the amp. Could have changed the pickups (even on the cheap, I even prefer Wilkinsons to those Delanos) but decided to sell the bass and move on. 3) YAMAHA BB425X (passive): left me half in love about a lot, just decent, but the 5 piece neck shape has some "shoulders" to it I didn't like (sorta' D shaped). 4) YAMAHA BB615 (active): same as the 425, sounded "average", better neck than the 425, still failed to love it, not brilliant in any aspect really. 5) IBANEZ ATK305: not a P+J, but a MM+J (a very punchy and fat J that can do the P great): overall tame, VERY comfortable and light (early 2000s, MIK, mahogany body). 6) FERNANDES GRAVITY DELUXE 5: again, not a P+J but can do P amazingly well: had 2 for years, light and comfy, but in the end didn't have the needed heft to their tone. 7) EBMM STERLING 5 HS: the neck pickup is too close to the neck and even the more "jazzy" combinations don't sound J at all, couldn't move on with it (even tho' I loved how it played and felt) because of that and the modern preamp which sounded noticeably thinner than my Stingray5s (both pre-2008, 3-coil ceramic) and also sorta' "shy" on the EQ (in my Rays, just a little off the center detent of the EQ knobs goes a long way, with modern Musicman preamps you have to really mean it). A note on what I've learned about pickup placing and combinations: a neck humbucker is more useless the further it's located from the Musicman spot towards the bridge (it can even be great moved the other way, even at the P spot, but useless if moved towards the bridge too past the MM point). Now, all these basses have been blown out of the water since last February, when I got what's definitely my keeper fender'ish "impersonator" 5er, the SCHECTER CV-5 (Diamond Series). No PJ I've ever played can even touch this bass. Best 35" neck I've ever played (I luv'em SKINNY), 2 J-bucker pickups that look like guitar pickups but are really like 2 Jazz pickups together, both can be switched independently for single-parallel-series wiring. It comes with a 3-way pickup selector, which I swapped for the appropriate taper blend pot for extending its already wide tone palette. Can do SEVERAL FLAVORS of J, P and some more stuff. It's comfortable, not that light for today's standards (~9.5lb), and it packs both some serious balls for a passive bass (WAY more gain than my Stingrays) but also serious tone shaping options for a passive bass as the coil tapping of each pickup (if you know what to expect from series -thick and meaty-, parallel --more hi-fi- or single coil and the combination of both pickups -more of a timbrical tuning-), you can literally boost/cut bass, mid or treble with the flip of a switch. I've owned a Peavey T40, which had the nicest passive electronics I had played, but even then you had to mess with cutting back the tone controls to make pickups go from single to humbucking, this is so much straightforward, sort of like a poor man's Roscoe Beck V (with a way more comfortable neck -same 22 frets- and a 17mm string spacing @bridge I much prefer -used to my Rays 17.5mm, so no problem-). It's got light tuners and carbon neck reinforcements, things you usually don't see in this price range (this cost me little over 600€ new, got it from the USA -shipping and customs included-). Made in Indonesia, but better construction and overall perceived quality than a (also Indonesian) Sterling by Musicman Ray35 I just sold (little higher price range new, mine went for 550€ second hand). Here's a cool review of the CV-4 which shows some of the many tones this bass can do. And here's a quick demo of my CV-5 over some drums and the whole "band". Bass is recorded on a Zoom R24 recorder using just a built-in SansAmp emulation in has. This is neck pickup in single coil (uses bridge side coil) and bridge pickup in parallel, playing with a pick (sorry for that, here's me playing some Billy Talent with my fingers on it -same settings-, phone sound but you can really appreciate the thickness, punch and overall aggressiveness).

I don't see this as a matter of it "being worth the effort" (which indeed isn't much really if you're smart and choose a skinny fast neck), but a question of how you need it and how willing are you to explore the 5 string bass and let it change you as a performer. I own and play exclusively 5ers (save for an Epiphone Viola I don't use at all and am about to sell) and the good thing is I let the 5 string bass change me starting 25 years ago. Made me a "low" bassist, I too use the low B more than the hi G, and could probably get away with a 4 banger strung BEAD for all the rock stuff I do.

Another Stingray5 guy here. I own 2, from the ceramic era (circa 1997 & 2003). The Stingray5 has been my #1 choice since 2001. - It plays like no other 5er (absolutely love thin sharp C necks, mine are 20mm thick @fret1, also 17.5mm spacing is where it's at for me) - It has an aggressive personality I love to its sound (much prefer ceramic to alnico SR5s, too hi-fi'ish/"tame" for me in comparison) - It cuts in a mix like no other instrument (thanks to some notorious "prrrrrrrrr" magic in the lo-mids) - Has a really serious low B, top stuff amongst 34" scale basses Been looking for a 2 pickup timbrically Fender'ish bass with those 4 features for the occasional need. I've settled on a Schecter CV 5. The neck's even thinner (so is the spacing at 17mm, not even remotely problematic to me) and it's so comfortable to play I can't even tell the extra 1" in scale length. Very versatile twin switchable humbucker configuration, sounds all sorts of Fender, but with that "in-your-face-ness", punch, cutting ability and playability I love about my Stingray5s. As a reference, I've owned many other 5ers including: - Ibanez CT-5 - Ibanez SR-505 - Ibanez ATK-305 - Ibanez ATK-405 (2 pickups) - Fernandes APB-5 - Fernandes Gravity Deluxe 5 - Maruszczyk Jake 5a+ - EBMM Sterling5 HS - Cort Curbow 5 (Mighty Mite pickup version) - Yamaha BB-615 - Yamaha BB-425X

Only bass I really hated amongst those I owned was a USA G&L L-1505. Bought it for a steal in 2003 ($700, new). By that time I'd already had my first Stingray5 for a couple years. I'd read it was like a "logical evolution" to a SR5, and I would've been satisfied with it at least being a viable backup, but it wasn't even that. WAY harder to play than a Stingray5 (thick neck, nothing like modern Kiloton5 or JB-5 necks, old L range neck), sounded real tame compared to a SR5 (I had a whole year to A/B them, no contest), and the onboard EQ of the L line is simply flawed (hissy a/f -even after thoroughly shielding all cavities, made ZERO difference- and orthopaedic, virtually just a treble boost -something an L-1505 doesn't need really-). HATED the damm thing. Second to that bass in my frustration ranking was a Maruszczyk Jake 5a+, totally ruined by those DEAD MC/PMVC Delanos. TBH the bass played great, was light and comfortable and superb quality all in all, just a terrible pickup choice. Not only it sounded obviously dead compared to the real thing (Musicman) but even plugging in an 88€ Thomann P style kit bass felt like somebody had lifted a blanket from upon any amp I'd use and boosted the mids, I'd take that no brand P pickup over the Delano PMVC all day long (surprisingly good P pickup, BTW, also liked it better than a Bill Lawrence P-46 I tried in that kit build).

I've done that exact same repair to a friend's beat up guitar. It involved Titebond III and some clamps and wedges and hard (but adapting) foam to make the clamps press tight and really perpendicular to the crack. My skills end WAY LONG before luthier level, most skilled woodworking I do is press and shape some longskate decks from time to time, but the crack was fixed OK and the guy didn't even need (nor want) any refinishing as the guitar was in terrible cosmetic shape and was his intention to keep it like that (or worse).

I prefer Classic Vibe '70s P bass (spec'd the same as the former Matt Freeman sig. model) to any other P besides a friend's Custom Shop. Thin neck, lovely playability and the right Precision clonk for my taste. I agree the CVs are superior to the VMs, build and finish feels and look better IME and I like the offered models better too.