crazycloud

Bass VI types are generally the same as a guitar EADGBE, an octave lower. Baritones vary a bit more but the two most common I've encountered have been BEADF#B, or ADGCEA depending on scale, string gauge and what you're playing. But there are others.

I agree and I don't think it will last long. So buy one on run out, put it in the closet and reap the huge rewards in 10y when people start wishing they were available again. I mean, look what happened to T40 prices, right?

Guitar pickups work fine in basses, just avoid the really hot overwound types. Musiclily and Wilkinson have some twin blades wound around 8-10k that sound fine and are not expensive at all. Both on amazon and epay and Musiclily sell both direct. Another not expensive but name brand would be a Wilde (Bill Lawrence) L45S.

I like the resin loaded burl tops. Looks great here. Hope it's as awesome for you once you're playing it.

Agreed for the most part, but although I knew a lot of the history when I started, the instruments and players I looked to were using Spectors, Steinbergers, Ibanez Musicians and Alembics. Though I respect and admire say Jamerson, if he were starting in the 80s when I did, would he use the gear he did? I don't know, but maybe not. Basses are different to me aesthetically compared to cars. Whilst I think a 68 Mustang looks cool (because Bullitt, and more because McQueen could actually drive) a 2020 Camry has better performance, braking and handling. The 68 would be a great weekender to pose around in, but the Camry would be taking me hundreds of thousands of km. Because Leo made the first popular electric basses in the 50's doesn't mean we need to play them today or idolise them. I've never been told in 40y I need to pay a Fender or similar and especially live, tone is overrated. I have a day job so I don't depend on income from playing, so if a BL is going to be an asshat about it when I bring an SR370, they can find someone else as it's a modest looking bass. If the FOH guy wants me to use a P, then he should learn how to do his job better, not expect me to play a bass I find uncomfortable because he can't be bothered to dial it in. PS: I have a family friend who's a well known bassist and played with some huge acts based out of LA and Nashville. He's always used his custom 4 that looks far more like an F Bass than a Fender.

Snipped for brevity only. Excellent review and has given me quite a bit to think about. Thanks.

Leo did some basic engineering and then some clever marketing. It's not like he invented life from inorganic compounds. There are only so many shapes you can make a bass that it's comfortable and playable, he just developed that off Tutmarc before him. The rest is nothing special, it was just the first to be popular. Somebody else would have come along and done similar sooner or later. Pass on all of them thanks, unless the Beetle, original not the hideous recent one, has been substantially modified. Cheap Japanese scooters are way better rides than Vespas.

I have a bunch of Ibanez basses, but most are packed for the move so no pics - the old ones are on the server which is in a crate. I have an SR256, SR806, SR370 (to be sold as I don't play 4s much now), SRC6 and a BTB845v. I had a Blazer up until recently but sold it and have owned a whole lot of others including Musicians and several old Roadstars of the mid/late 80s. There's another likely incoming too but I'll post when I get it. The SRs are by far my go to brand/model of bass and don't honestly understand the love for the classic Fender and other early bass designs which I find ergonomically unsatisfying and about as attractive as a Soviet era Trabant. A MS in the form of an SRMS805/6 or an EHB might be in the future but I haven't tried one so it's an idea in my head, yet to be proven in my hands. If an early BTB1826 with the 9pce neck fell into my hands at the right price, I wouldn't say no, though I don't need it.

Hard pass thanks.

Thank you for that. Dimension wise I don't think they match the ones in my parts box but not at home ATM to confirm. However, that large neck rout looks like with a little tweaking with the router an EMG45 would fit. Same with the bridge, just more sawdust. I have a few of those in the parts box anyway. Perhaps an option for me and needing it to look like a J is not an issue. I've had another 5 turn up I'm interested in and have been wanting for a while, so if I get that, this one would be off the table. Much more $ though.

I love mine, close to the best money I ever spent on an instrument.

I'm aware (and also an EE). So go in the FX return (like the OP did on post 1) or leave the controls flat and the comp to minimum and connect conventionally. Still the cheapest 500/8 or 800/4 you're going to get in a compact package with a known amp module.

It can be quite physically challenging to play seated when you're not used to it.

I'm negotiating with a store now for a 5 I want as part of a larger deal, so the HB would be #8 as well as 5 6s. I already have 40 instruments. Thanks.

Harley Benton Block 800B. Standard ICE power module and a simple pre/EQ/comp/DI.

Same here. I'm tempted, but I don't really need a 6th 5er. Do you mind sharing the PU dimensions? Curious what might fit as I have some in my parts box.

Pretty much the same here with 2 slight differences. Sometimes I practice / study at my desk and use an ergonomic kneeling chair so the desk isn't too low, but I don't need to adjust the strap from standing. The other is an occasional coffee shop or small bar gig I do with a singer/songwriter and we're often on chairs, so for that I practice sitting, more a classical guitar stance, to make sure I don't mess it up for her. I use the same amp too for whichever one is coming up next.

I understand the physics and the reasoning behind FF, but have never heard a really good (sound) example that's going to convince me to shell out for one. The only ones I can find locally are the Ibanezes. I live away from the major cities but in my next trek to the big smoke I'm going to try a couple and maybe a Dingwall if I can. I'm not a traditionalist, so aesthetically I think most of the FFs look great.

I've been saying it for years about Fodera, Alembic and especially FCS. The latter especially I consider a massive rip off as I've had a few in my hands over the years. I've also owned Alembics which I loved in many ways and hated in others, but I bought them all S/H. Say a Fodera or a FCS is overpriced on TB and the fans will cry hater at you. Watch Ron Thorn's responses. Now before anyone tells me I hate them because I can't afford them, not so. I just don't see the value, nor do I get the whole 'mojo' thing. You want one of these and you can buy it without your family suffering, wonderful, I really wish it brings you joy.

No, I have considerable experience with blind A/B and A/B/X testing as well as amplifier design, and I'm basing my comments on that.

I would put very good money on the fact that you cannot tell the difference between a flat, unprocessed AB or D amp without knowing what you're listening through. I'm not commenting on what makes you happy, or even on what you might think makes you happy, but blanket statements like you've made here are far more likely to be about your predetermined ideas than reality in my experience, hence the confirmation bias comment.

No confirmation bias here at all.

I'm looking at a Marquess 5 after Christmas. I hope everyone else's good experience translates to mine. I'll let everyone know.