40hz

My USA SUB was nigh on identical in sound and quality to my old USA Stingray. The only perceptible differences were, obviously, the finish, and the SUB was wired in series, so had a thicker, slightly ballsier tone. Other than that, with the Slab body, it is for all intents and purposes, a Classic Stingray for a third of the price. Absolutely brilliant things.

Fenders USA models are, in this climate, about 'right' price wise. £1500-ish for a USA built instrument is almost bargainous when compared, for example, to things like Musicman Basses (£2800-3000) and European Teambuilt Warwicks (2-3.5k). On the flipside, with just how good the Mexican line is, and the higher end Squiers, one does have to wonder if they're worth it in comparison to their stablemates. I've always thought, just how much *can* you perfect these relatively basic designs before you're solely trading on the catchet of being USA built. As long as it's solidly constructed, finished well and has fairly decent hardware, do the differences between USA, Mex and Squier (which are fag-paper thin) really matter? To end my stream of consciousness post, if you can afford it and you like it, isn't that really all that matters?

Genuinely speechless at this! I have so . . many . . questions . . . Does he not look at his 'creations' and compare them to other basses? They make Glarrys look like Alembics in comparison, for f***s sake. Delusion on quite an epic scale!

Late to the party here, but DAMN. That Dolphin is flipp(er)in spectacular!

Great video. I watched this intently, tonight, as need to buy a Pre-amp/DI. For me, there were two clear winners ; The MXR and the Origin Effects Vintage (Blue one). They sounded thicker, fuller and smoother, and more powerful than the others, with real 'body' and presence. Conversely I disliked the Darkglass ones and thought the Trace Elliot and Ampeg were the poorest sounding across the board. Although TBF, it sounded like the settings for the TE were all over the shop. On the back of this, I've ordered the MXR!

Now it's playing on my mind! Just checked 'internet way back' archiving. GAK, had them at £549 in 2004!

Jazz bass has a nicer neck and is more flexible, but my vote goes to the P. It has an inherent 'body' and thickness to the tone which just underpins a band better than a Jazz, IMO (I say this as somebody who solely owns a Deluxe Active Jazz at the moment). No matter what I do, Jazzes just have an inherent scoop to them which make it harder to punch through in a band setting (in my experiences). If I roll back to the back pickup, the tone is way too thin and makes you sound like a Jaco impersonator. The front pickup is a slightly worse facsimile of the P-Bass tone. However, they do have a bit more 'pop' and are great for slap bass type sounds - Disco, Funk etc. Edit - I prefer the smaller body of the Precision too.

Are you sure they were £1000 here? I distinctly remember very nearly buying a Japanese Aerodyne PJ Jazz for around £600, new, in 2004, before settling on a Yamaha TRB4II in the shop.

Stingray has a much nicer midrange, but I vote Sandberg as it was warmer and a bit thicker sounding - would get my vote in a band context.

I'm 36 and I'd say, after the Red Hot Chili Peppers, The Beatles are my all time favourite band. They changed music completely. The sheer amount of incredible songs they wrote is beggars belief, all while young men in their 20's and early 30's. I sometimes see 'they weren't good musicians' bandied about as a counterpoint to them, which; A - is absolute tosh B - smells a little bit of the same attitude that we see online when people say they like a certain bass player. "I like flea!, He's the best! "How can you like Flea? Les Claypool and Mark King are much better technically, therefore they are superior bass players!" Kinda defeats the point of music. It's about the songs created, not technical ability, and judged by that metric, no-one can touch The Beatles.

Green for me!

His video for the LB-100 also mentions multiple QC issues.

I love Warwicks. *LOVE* them. Imo, the best bass brand, best sound, feel and quality. But Imo, these are gawky looking (like most of the cross-breeds they design). The price at £3400-3500, is bonkers. Who's buying these new? Also, Andertons bass videos only really work with Nathan and Lee.

Dunlop Marcus Millers / Elites Stainless Steel are the brightest strings I've used.

Off the top of my head (and some tongue in cheek before responses from over-earnest brand defenders). Ampeg - need to do a small, valve/hybrid head - Like a PF800 but more Boutique-y. Ashdown - get rid of the VU - turn it into a tuner. A super light ABM too please. Fender - I'd like to see 'Mini-esque' levels of customisation with new basses. Pick your colour/pickups/fretboard Musicman - lower your insane pricing - allow some form of customisation of orders if you don't. Warwick - See above, and also some new designs please. You always make interesting, unique, designs, but, there's been nothing new for 10/15+ years. Markbass - slimline your range. Your products all seem like the same thing, in different chassis. Spector - you make possibly the best mass produced basses - stop marketing them solely to the rock and metal crowd. It does the basses a disservice. Gibson - reissue your classic basses. Do you not like making cash or something? I want to see an import line of Grabbers and Rippers. Barefaced - nothing. You are perfect.

I'd always go higher power. It's not necessarily about volume, but about cleanliness at volume. Smaller powered amps will get you loud, but normally you'd work the gain control that bit harder, resulting a lot of harmonic content. You may think this is a good thing! For me, gigging, minimum 500w for a composed tone.

It is fair in this Instance. It was the worst I have ever seen. It was so far out of whack as to be unplayable. I reiterate - how that left the factory and was signed off, is utterly beyond me. I appreciate this is not everyone's experience, totally. But it was mine, sadly.

I rejected it there and then and went and bought a far superior MTD instead!

When I went 5-string shopping earlier in the year, I got GuitarGuitar to order in a L2500 in Jet Frost, and much like you, I had heard nothing but great reports of QC. But, calling a spade, a spade, here, it was utterly shoddy. White stains in the lacquer by the neck pocket, poor fret ends and nut, loose tuners and worst of all, a set-up that was beggars belief in how that ever left the factory. The strings were resting on the pole pieces and sticking to them due to the magentization. No neck relief. It was a complete dog. Something must be going on at their factory, as I've seen QC issues reported elsewhere recently.

I've had another look. Missed the non-original electronics and missing decals. Even if you stripped this back and completely refurbished and refinished it to an expert standard. you'd genuinely struggle to hit 2-3k. This is utterly pie in the sky pricing.

When I started playing bass in 2003 aged 17, it was Stuart Zender. It was all sparked off by listening to the song 'Travelling Without Moving'. I then downloaded a load of live bootlegs from Limewire and could scarcely believe a Bass guitar could sound that good. His insane feel and phrasing, combined with that rubbery, growling tone. I started to try and ape that - I'm no closer 20 years (and numerous Warwicks) later!

Taking the owner out of the equation entirely (I don't want to be disrespectful at all), when viewed as a standalone bass, I legitimately wouldn't pay £300 for that.