Boodang

Yeah, as you say the bulk of playing is always going to be below the 9th (unless you're Gwizdala!) but it's nice not to ignore the dusty end. Funny enough, as I've been playing mostly with keyboard players (piano/bass/drums stuff), I've gravitated to centering my playing on the C rather than working from the low E, as I'm the only 'string' instrument in the band.

Gwizdala plays 5 string but strung high C. I'm just using his playing as an example of what can be done but you're right, it's hardly mainstream. I've got a custom that's made for that type of work but when I play fretless 4 string I still want to use the full range of the bass but not necessarily in a Gwizdala way. I'm just bemoaning the fact that i like to play Jazz basses but it would be nice to have one available without the bulky bolt on, without having to go the extent of getting it custom made.

Check out Michael Moore's book Melodic Playing in the Thumb Position to see how being up around the 15th fret can be ... well, melodic! Double bass players have long realised there's a lot of effective playing a bass player can do in that region and they're not afraid to go there. It seems it's more in their DNA than bass guitar players which is ironic given how much harder it is to do on a DB.

As the saying goes, the money notes are not at the dusty end of the neck.... but that doesn't mean we can't go there! So, whilst the 19th fret is not that hard to get to, try doing an exercise out of Janek Gwizdala's book Chordal Harmony with a bolt on and see how you get on. Ah you say, just buy a bass that's suitable.... and you're right! Except it just raises the question that is a bolt on joint actually up to the job (and I mean playability not strength) and i would say it's not fit for purpose. If you gave 2 pieces of wood to a proper joiner he wouldn't bolt them together. It just seems like a cheap, unimaginative way to make a bass. Now as to why I'm up there, well as we've established it doesn't have to be widdling. Check out some of the double bass icons and see how far up the neck they go when walking to add interest into their lines. Also chordal stuff (aka Gwizdala) works nicely, again to add interest (and no, I'm not a frustrated guitarist, how dare you! The upper register notes on a bass sound so much different to a guitar). I used to play in a folk/rock band and play high up to double the lead riffs which sounded good, and my fretless lines start/end up in dusty end often as again it adds interest. Many reasons to be up there.

Yep, such a shame that they will not be in production for much longer. I was disappointed though when the series 4 went over to bolt on as I thought their thru neck basses were something truely special, especially with their own single coil pickups. I did actually email to ask them why they moved over to this construction method but the reply was very wishy washy and therefore made me think it was for financial reasons. At some stage I want to track down a Vigier Passion thru neck with a delta metal fretless board but you don't often see them for sale. One of the truly great basses. Incidentally they changed the name of the 'delta metal' fretboard to 'iMetal' which irritated the f*ck out of me as everything seems to have 'i' in front of it these days in a misguided marketing attempt to make it somehow modern and relevant (another old man rant from me!). I sent them an email about that as well!!

I used to use a bit of reverb but then I got into Janek Gwizdala who uses delay instead. I've got the TC Electronic flashback with the Gwizdala toneprint which is basically a triplet repeat in a low mix... this has now replaced my reverb on the pedalboard. As for tremolo, no idea as that just seems too bonkers for bass and haven't found a use for it yet.

Every now and then Olympia comes up as a brand to try... never tried them myself but please do a review. To be honest the cheapness is off putting, so would be interested to know how good they are. The flats I currently use are the Galli Synthesis which are considerably more.

Have to admit I've never broken a neck but I wouldn't choose a bass based on what would happen if I did. I remember being in a music shop overhearing a conversation between a salesman and a punter when this arguement was presented and I thought no! Buy the bass you like playing not the one you think is easier to replace a neck on because A. that will more than likely not happen and B. If it does, who gives a sh*t! At least you'll have a good story.

Ah, Pedulla basses are wonderful. Shame they're not going to be making anymore. Definitely a bass I want to add to my collection at some stage.

When it comes to construct and tone, as you say there's many variables but in my opinion none of those should include a neck body join that makes playability more difficult.

I would say if you're shimming a neck there's something fundamentally wrong with the bass that needs fixing. Shimming is generally a botch to cover an underlying issue. But that's different to what I'm talking about which is a neck joint getting in the way of your thumb when you play up the dusty end.

A bolt on might be stronger than both neck neck and body but for me that's not the point. It's not engineering elegance if it's not the best solution and for me something that means it gets in the way of playing (as I said, try playing a Cm root ten double stop at the 20th fret with a typical fender) doesn't achieve that. If the frets are there it's meant for playing, so why not design the bass with that in mind.

I've lugged gear IN Luton.... does that count?

In terms of playability I've always preferred a neck thru, in terms of tone I liked both. I've always found a neck thru to be less prone to dead spots but that could just be luck of the draw. Now, I'm going to put my cynical hat on here and hypothesise that 'the sound is tighter' is code for it's cheaper to to build a bolt on. Vigier did the same thing, versions 1, 2 & 3 are neck thru, then along comes version 4 and it's a bolt on. A tone decision or a cost cutting one?

Just as well you don't care about getting higher than the 7th fret with that bass!

I don't find Eb on it's own too much of a problem but a Cm root ten double stop up there is not that comfortable and I do like double stops! (Aka Janek Gwizdala Chordal Harmony). Definitely also a tone thing... I think a set neck has a similar tone to a bolt on which is why I'm going that way with a new build so I get the best of both worlds, a jazz bass with better upper access.

I don't think it has to be expensive to not be a bolt on. I guess the neck joint is like a DB where the body/neck join is a position indication.

Also, and I know I'm dragging this out so bear with me, try playing a C minor root ten double stop at the 20th fret to see how comfortable your bass is at that point. In answer to those who say why would you do this anyway, it's because it sounds nice.

Janek Gwizdala's Chordal Harmony book!

Meant to say in the OP the reason for raising the neck joint thing and why I'm playing up that high... Janek Gwizdala's Chordal Harmony book! Now I've never been a bolt on fan and the exercises in this book definitely highlight the issues. My Sei is ideal and was designed for this sort of thing (5 string high C) and I'm sure Mr Fender never had this sort of playing in mind with his designs, but it would work well if upper access was easier. Hence a custom build in progress of a set neck jazz 4 string fretless with 24 'fret' access.

It's utter madness when I play my 5 string Sei which is strung high C and has a 24 fret neck. I have to admit it's not very James Jamerson when I'm playing up there!

Well, let's see.. your thumb is on the back of the neck (or wrapped over the E string if your name is Navarro), you play high up, your hand slides up to get to that 21st fret (in your dreams Fender!), your fingers get there but the thumb is left behind, blocked by a lumpy piece of wood called a neck joint. It's like playing in the thumb position on a DB!

Interestingly someone did a comparison (it's in YouTube somewhere I think) between two similar Ibanez SR models where one was bolt on, the other was a neck thru. The bolt on seemed to have less highs and more mids in comparison to the neck thru. Not conclusive or comprehensive by any means, but interesting.

Conservatory... best room in the house, always too hot or too cold.

I play double bass as well, so upper fingerboard access is not exactly a breeze.... at least not for me. Funny enough I enjoy the challenge of thumb position playing on the DB but when it comes to bass guitar I prefer a neck that's 'access all areas' which as there is not a huge acoustic body in the way shouldn't be difficult to achieve.