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This is the most fun I've had with a short scale! It makes me appreciate my other basses' elbow contours, though... Edit: 2019 LTD Seafoam Pearl - it was love at first sight!

Same here! The Sterling 5 is next on my GAS list, but I'm holding out for more color options. :thumbsup:

New bass day! My very first Stingray just showed up, Special 5 HH in Frost Green Pearl. This thing is wicked, not nearly as heavy as I expected!

One of the lower controls on the stacked knobs functions as a passive tone control - the others knobs are master volume, pickup blend, and the 3 active EQ controls! I have been loving my natural ash one so far.

Definitely underpaid! Jazz doesn't have to be difficult to be good. The same goes for any genre, from metal to electronic to blues. The bands OP listed are really awesome and their technical chops are through the roof. That doesn't mean that jazz musicians are any less worthy of...

Obviously, it's an EXTREMELY subjective decision...personally, I'd go for the jazz. The ray has a really distinctive tone (brighter, almost a scooped sound), but you would probably find that the jazz sits a little better in the mix with a more rounded tone. Plus, that jazz has a SEXY finish!!

I completely agree, the the new Fender P necks are amazing...a great balance between the P's width and J's depth. OP, try out a new American P in a store, that neck could be a viable option.

You definitely can, sure. The original Fender Bassman had an open back, and that definitely contributed a lot to its tone. Sure, the Bassman is now mostly used by guitarists, but there are several bassists on these boards that are perfectly happy with theirs.

Sweet bass! I'm definitely writing down all my serial #'s asap. Glad you got it back!

There are lots of great players out there who love Chromes on their P-basses. You can also get great growl/presence by going with stainless steel strings, like DR Hi-beams. Personally, I like old roundwound tone, so I go with D'Addario EXL170's. They last forever, and the punch and booty just...

+1 It's almost impossible (for me) to get the truss rod to move with the long end. Your bass should be fine!

THIS. Not into how this bass looks (if basses could be strippers...), but I'm sure it plays like a dream and sounds even better.

Nice! I just bought one last week: sunburst, rosewood fingerboard, tort guard. My next pick would have been charcoal frost, it looks GREAT in person! You're going to really love it, I still can't put mine down. The TONE.

I've tried them out several times at various guitar stores...ended up coming back to my 4-strings every time. I'll just never grow to like the huge necks, but I definitely see their uses, especially if you're playing in a context where you can play chords.

Hello all! I got a GREAT deal on a used bass today, a 1996 U.S. Jazz Bass. It's in fairly good condition for its age, but there's one thing that slightly worries me: a chip through the finish on the back of the neck, where my thumb rests behind the 3rd fret, around 1/4" x 1/16". There's a tiny...

Yep, here: Invalid Link Removed Ugh...GAS... =[

I would go with either tort or, if you can order one, orange. Ryan Kienle from Matchbook Romance has a blue/orange G&L SB-2. I've always loved that color scheme. You can *sort of* see it in this video:

+1 My old Fender flatwounds went out of intonation after a few months. I'm sure the same can happen to rounds after a while too.

If anything, I'd probably throw in a Fralin and maybe a new tone cap (I just can't stand Fender's choice of cap values). That's of course, assuming that you don't like the stock tone. Visually, I don't see any reason to change it. I think it looks pretty sweet, congrats! Have you thought...

Yep, it's really a matter of taste. I like my bass to have really consistent tone on every track, so I go with old nickel rounds or flats to keep the same tone for months at a time. New string tone definitely has its uses, especially in rock and funk, but it's tough to afford a new pack of...

Congrats! Sweet color scheme...I don't know about blizzard pearl with rosewood, but the maple fingerboard looks great on it!

Now, there's no arguing any of that due to the electronic properties of the components involved, but honestly...P-basses sound so different from bass to bass that none of this would ever matter in real use. A little EQing or the right compression could make most Fender PJ-basses sound like most...

I usually favor the bridge pickup if I'm soloing, but I run both for general purposes. I get a lot more bass response from both, which sounds a lot thicker in a mix than just the neck pickup.

I love the options you chose, it looks a lot more traditional and straightforward than the examples on their site (which, for me, is a plus)!

WHOA, I agree about the grain! And that Hipshot bridge looks pretty sweet too. I think I would go with the knobs in a straight line, if not just to make the bass look a little retro. I know it will look a bit darker once you apply the finish, but I think it would look interesting if you dye...

:D Nearly all my basses make me look tiny. Congrats, though. It sounds like it was pretty fun! How was the sound/monitoring?

WHOA! P-bass + binding and blocks = AWESOME!!!

Definitely the Fender Deluxe 5! It's possible to get a modern tone, but set flat it sounds really organic and growly. I haven't had experience with any Sadowskys, but they seem like they may be able to sound a little more modern than the Fender.

Yeah, clips please!! I LOVE the stain on the 5, and those pickups look slick!

I agree with the TC, the tone is surprisingly good for the price, but I just can't get past the off-center, crooked bridge on every one I've tried. I'd rather spend the extra $$ on a MIM Fender that at least has everything aligned right.

Yep, it's polyurethane and looks pretty sweet. It's very resistant to scrapes, cracks, etc., but my stainless steel flats have left a lot of scratches on my fretless' fingerboard. Judging from the ebanol board on my fretless J, it seems to be a lot brighter and more articulate than any sort of...

Through-body stringing allegedly improves the sustain and provides more low-end, but I've honestly never been able to hear or feel a difference.

I tried one of the ash body/maple fretboard ones at my local Sam Ash. I think it was going for around $1,600 new. The playability was amazing, and it had one of the best J-bass necks I've ever felt. The tone was a bit on the thin side, but nothing that a decent preamp or a different set of...

I would go for it! My J-bass has taken a similar knock and it didn't affect the sound or feel at all.

Although it does sound really cool, I would opt for a used instrument. I don't have anything against Warmoth in particular, but it often seems like those sorts of "parts shops" overcharge in the long run. It just doesn't seem like the final product would be worth what you would have to spend on...

WOW!! I'm a fan of the older SRX's moreso than the newer ones, but that top is amazing. Congrats!

Although it was probably an employee's error, I wouldn't be all that surprised if it was intentional. I can't see it being a common occurrence, though, and I'm sure the company wouldn't condone it at all.

Mine still has the original stock strings (around 4 years old), and they've aged to a nice, convincing DB tone. Until I find a REALLY high quality 5-string set of true DB strings, the stock set is more than convincing for all of my jazz dates.

A few of my friends that work full-time in studios swear by it for bass tone. Personally, I don't see what it can do that any mixing board or solid dbx compressor can't. I guess it may be useful if you absolutely NEED a compressor for small, sans-PA gigs, and only if your amp doesn't already...

I'd say... Stingray : active electronics :: Precision : bass in general You see tons of people playing Precisions because it has the standard "passive sound." It seems to me that the Stingray is sort of the standard "active sound," but with a bit less history behind it.