ghostwheel

Each to their own? P.S.: in my opinion, it's a shame that speaking of famous fretless players, nobody ever talks about John Giblin. Does somebody know whether he played flats or rounds?

Isn’t that good for the ego?

In my (admittedly short) experience with Fender 9050, they didn't feel much different to Ernie Ball Group flats. I've got two sets of Ernie Ball Group III on two basses, and to me, they feel and sound very good. I play with a lot of slides and small corrective movements, for those being fretless basses. It might feel different on a fretted one though. My only fretted bass is a Stingray strung with Cobalt flats. I think it might also be about one's mind-set. Mine was "it will work whatever effort it needs". P.S.: Dunlops are fine, but they also are bloody expensive. They feel a bit smoother though. Each to their own.

The allegedly good ones wouldn't have known they were good if there hadn't been any allegedly bad ones.

I wonder what would Mr Orwell have said about it, had he still been alive.

Yes, they were. It’s where mine came from.

In this bass, there is a simple output socket connected directly to the PU. I quite like how it sounds passive.

Pink Floyd "Wish you were here" springs to mind.

Stratitis maybe?

I wouldn’t have written it, if he was. Seems like my take on humour wasn’t very successful. Sorry for that.

Sorry, I was on Holiday. @RAY AGAINST THE MACHINE why wouldn't you consider buying a P instead?

It’s some sort of blasphemy, really. Everyone needs a Precision. Or maybe three.

These days, it seems quite a popular deed, so here is mine. Music Man Stingray EX, ebony fingerboard, originally 3EQ preamp. The latter is now replaced with a 2EQ M05400 (once again, thank you very much @Hellzero). The treble pot is C500k. Strung with Ernie Ball Extra Slinky 40-95.

Said @Hellzero and took mystery to bed.

It'd be hard to compete with @tauzero, but the second place is mine for sure.

It may jolly well be. I've bought two Chinese fretless necks of eBay thus far. They are very well built. The only issue, aside of side dots placed where they would be on a fretted one, with the first (with coated maple fingerboard) was its width at the nut (38mm). The second one was more of a hit than I expected. Although described as having a rosewood fingerboard, it's actually got an ebony one. At least, it looks and feels like ebony. Love it. As for the first one, I'd love to ship it free of charge should anyone here need one. The screw holes at the heel are drilled to fit into a Sire P7.

https://www.emgpickups.com/parts/bass-accessories/abc-2.html

For those who don’t like Diamond/Alma, there’s another option: Ampeg Opto Comp.

I think it's rather "why don't give it a try despite the fact they're an artist signature ones." An effing lot of people play TI Jazz flats, but they hardly sound like Pino, neither do they want to (at least, I suppose they don't). In my humble opinion, it's just a very expensive set of strings. They might be good though. P.S.: I assume Pino has never played those on any recording yet, so we actually don't know whether they sound "like Pino"

My .02£ I haven't literally compared them, i.e. they haven't been put in the same bass. My impression was that The Duke is way more mellow maybe, not as bright as the Classic P. Some people say, the Classic sounds more like '62 P (Custom Shop?), and The Duke replicates Pure Vintage '63, more or less.

Which ones are irrational?

I'm sure, the Russians are duly confused now.

I wonder what would it sound like if read out loud by a Spanish person

Is that supposed to be understood by a bass player?

Just my two pennies. In one of his videos, Billy Sheehan said he would spend some time every day just noodling around on an unplugged bass, learning something new about the instrument, technique, etc. every time he does. I've been following his advice since as much as I can. I think it works. It doesn’t matter how good (or bad, in my case) one is at playing the bass, or understanding what exactly they do. It may well be just playing four notes per string or the like. I reckon, it’s a good way to get a feeling of the instrument. I'm sorry if it doesn’t sound very understandable. Another thing is to learn how little of pressure one needs to do with their fretting hand. Someday, I started to play some passages like Tony Franklin (it wasn’t my intention, it just happened somehow), with the thumb of the fretting hand under the neck. It might be considered as a bad technique, but it helped me.