Munurmunuh

You might like Yamaha's three colour sunbursts, they seem to be modelled on 70s Fenders:

This is the fault of the music staff who prepared her the first time around - if the accompanist just followed the rhythms she was making instinctively, then those rhythms become ingrained. And then further down the line, everyone else has to do the same, except they're a band, not a single pianist, unless someone is prepared to put the time and effort into reprogramming the singer.

This is the subforum you need to post your advert in - there's a FAQ post to read there, too https://www.basschat.co.uk/forum/19-basses-for-sale/

The published specs for the 424 1024 and 2024 necks are identical. Whether they actually feel the same in the hand is another matter, I suppose, what with the endless variety of possible curved lines going from A to B via C. My hand absolutely loves the 424 neck, so it's useful for hear that the orange metallic delight would be less suitable for me – pushes temptation away

Is the 414 neck profile less deep than the 424, more like the 434? Have to agree that the published weights for 2024's are helpfully off-putting (as are the targetburst finishes)

Six identical posts ramming the message down our throats over and over seemed appropriate to the subject....

Presumably this is an example of that?

From TB:

BBP34: might break your neck, might not BB2024: <snap>

When I read 414 and Orange in the URL I had a horrible worry it was yours. Never been glad to read 'Stowmarket' before.

From EBMM blurb for the Cliff Williams reproduction Stingray: The original bass has a treble knob marking on the control plate to indicate his preferred tonal location, which we recreated through exact resistance measurements of the potentiometer. So, same for Cliff

To be clear, I've never so much as laid my eyes on either a 1024 or a 2024, but I have enough performance experience to know that differences in feel are worth noticing even when there's no difference in sonic result. I've performed unamplified in many different venues. Sometimes the space's acoustics make it a breeze to perform there and sometimes the acoustics make the whole thing a struggle: sometimes there's no bloom to the sound; sometimes, to overcome a soupy acoustic, your articulation needs to be more crisp. From the audience's point of view, the resulting sound is no different, but the pleasure of performing in the different venues varies enormously, as compensating takes effort and sucks up your attention. So when I imagine a very talented bassist faced with a 424 and a 1024 and a 2024, I'm sure they'll make all three of them sound wonderful, their personal tone transcending each instrument's limitations, but I would also expect them to prefer the one that requires less effort from them, the one where the instrument almost feels like its playing itself. Just because the Indonesian Yamaha factory is good – and I wish my Squier P had been made there – does not mean that there won't be perceptible differences in the MIJ version, even if it's hard to put them into words.

Yes, there's something too compact about a series tone to impersonate that loose guttural P sound

Is this one tuned to Drop D too?

Interregnum could work, too

Would they have to call it the Vintera Performer? 🤯

.....which then equivalates to how the manufacturers of the 1024 and the 2024 use their tools. Degrees of quality are everywhere. The reason I gave two performances of the same specs was because I was appealing to your understanding as a musician that the same thing can be done to two do levels of quality, in the hope that you would be able to see that the Katherine Jenkins in the large Indonesian factory will not be producing the same quality of work as the Maria Callas in the small Japanese factory. As a matter of interest, when you played a 2025, was it after you had bought and got to know your 1025? I can appreciate that once you've grown to know something, the qualities of something similar become harder to care about.

It's not that they've different vocal chords – to make that point, I would have posted Callas and Joyce DiDonato – the point is that Callas is operating to much tighter tolerances than KJ: the notes are clearly articulated, not just smudged over; the tone is naturally resonating, not something artificially plumped up by the sound guy. So as a comparison it's very much to the point: exactly the same music, delivered at different price points.

Yes, just as I could tell the difference between the Yamaha grand pianos at college and the Bechstein I grew up practising on

As a musician, are you genuinely impervious to the idea that two people can execute the same musical instructions and yet produce performances of differing quality?

Versatility is wasted on me – presumably thanks to being brought up on acoustic instruments, once I've found how to make the one noise I like best, I stop there and forget about the controls. I had a bass with two pickups and 3-band EQ, and it got no more fiddling with than my P. Were I to get a Stingray, it would be to find that sound that I like so much, and make it. Looking through out-of-date adverts left online by helpful retailers, it does seem that not so long ago there did exist a Stingray with • alnico pickup ✔ •2-band EQ ✔ • contoured body ✔ • 1 5/8" nut ✔ .....which gives me something to think about.....

Apologies to people who dislike old threads being resurrected, but this thread came up when I was searching around for a couple of answers, trying to get my head around the Stingrays evolution Firstly, was there a time when the trad 2-band EQ and alnico pickup was paired with a contoured body? Secondly.... Watching an Ed F demo of a Classic* I realised that the Stringray sound which makes me 🥰 comes at Treble 7, Bass 10; is the Special, with its NeoThingy pickup and 3-band EQ, capable of impersonating that specific sound? Thirdly, since I'm on a roll, did the Special nut start off at 1 5/8" and then change to 1 11/16"? (or have I been reading a mistaken listing?) *3'12" to 3'38":