Can you give an example. I've never seen this.
Instruments built in the style of 50's and 60's Fenders are like this.
Fender did not add a route for the truss rod adjustment until the 70's.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Bass Features: Top Ten Personal Turn-Offs
- Thread starter Debased
- Start date
Instruments built in the style of 50's and 60's Fenders are like this.
Fender did not add a route for the truss rod adjustment until the 70's.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,350
- Disclosures
- Endorsing artist: Dingwall Guitars
Its funny. I don't have 'demands' in terms of bass designs. I guess I'm more laid back and maybe a bit utilitarian when it comes to my needs.
I don't have a big list of don'ts, and I have to say that if a bass feels right and sounds right, I can overlook some of the little stuff. While I like basses with easy access to the truss rod, lets be honest...in hundreds of shows, I've never needed do a spot truss rod adjustment at the side of the stage. I like that my current bass allows for instant access, but haven't needed it in a pinch.
I've stated more than a few times lately, that I'll probably never buy another non-fanned fret bass. I think that they're a superior design ergonomically, tonally and in playability. I probably won't buy another 4 string. I've learned too much material on a 5 string neck in the past few years to want to play a 4.
I'll probably never buy another bass that has non-standard pickup size. It makes no sense in a modular instrument world to make an instrument that you can't change the pickups.
Any instruments that have pickups with sharp pole pieces...I tend to play over the neck pickup with a low action and high pickups...and if I dig, I cut up my fingers.
Any instrument that has a preamp thats not switchable seems to be a liability in my estimation. Also any preamp that is all boost and no attenuation. Although I'm not afraid to do either passive or active.
Everything else is matters of aesthetics and taste, but in the end the sound and feel have to win out. For instance, I wouldn't go out of my way for a 70's Jazz with black blocks (which look raunchy and trashy to me)...but if I felt like it was 'the one' I could live with it.
I don't have a big list of don'ts, and I have to say that if a bass feels right and sounds right, I can overlook some of the little stuff. While I like basses with easy access to the truss rod, lets be honest...in hundreds of shows, I've never needed do a spot truss rod adjustment at the side of the stage. I like that my current bass allows for instant access, but haven't needed it in a pinch.
I've stated more than a few times lately, that I'll probably never buy another non-fanned fret bass. I think that they're a superior design ergonomically, tonally and in playability. I probably won't buy another 4 string. I've learned too much material on a 5 string neck in the past few years to want to play a 4.
I'll probably never buy another bass that has non-standard pickup size. It makes no sense in a modular instrument world to make an instrument that you can't change the pickups.
Any instruments that have pickups with sharp pole pieces...I tend to play over the neck pickup with a low action and high pickups...and if I dig, I cut up my fingers.
Any instrument that has a preamp thats not switchable seems to be a liability in my estimation. Also any preamp that is all boost and no attenuation. Although I'm not afraid to do either passive or active.
Everything else is matters of aesthetics and taste, but in the end the sound and feel have to win out. For instance, I wouldn't go out of my way for a 70's Jazz with black blocks (which look raunchy and trashy to me)...but if I felt like it was 'the one' I could live with it.
Active electronics are always problematical. I was so jazzed when I bought my first active bass, with 3-band EQ onboard, and 3 different midrange centers to choose from. Fat City!
But after happily twiddling those knobs, in less than a month of experimentation I'd set them all to the 0 position. But I have no passive mode, so even though I'm neither boosting nor attenuating anything anymore, I'm consuming batteries. And forgetting to pull out the cord means the batteries are gone in a hurry. And when they're gone, no sound. Dead.
Then I discovered that getting at the batteries to change them was a major inconvenience. Three screws, of the wood screw variety screwed into the wood (guaranteed to get sloppy after enough removals). Then the plate was airtight all the way around, really pounded in the routed area so it was nearly impossible to pop off. Took some effort and care.
Some careful modding can ease the battery replacement process, but it's still annoying when I never move the EQ knobs from dead center.
But after happily twiddling those knobs, in less than a month of experimentation I'd set them all to the 0 position. But I have no passive mode, so even though I'm neither boosting nor attenuating anything anymore, I'm consuming batteries. And forgetting to pull out the cord means the batteries are gone in a hurry. And when they're gone, no sound. Dead.
Then I discovered that getting at the batteries to change them was a major inconvenience. Three screws, of the wood screw variety screwed into the wood (guaranteed to get sloppy after enough removals). Then the plate was airtight all the way around, really pounded in the routed area so it was nearly impossible to pop off. Took some effort and care.
Some careful modding can ease the battery replacement process, but it's still annoying when I never move the EQ knobs from dead center.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,350
- Disclosures
- Endorsing artist: Dingwall Guitars
I play a type of music where the bass is never flat. My EQ settings on my amp are fairly extreme for my bass to fit into the traditional tonal structure of my chosen genre. Thus, when I contracted to have my new bass built I specified that I needed to be able to roll off high end and boost bass (this is where the 18v will come in handy). I'd also rather have 'my sound' coming from my bass rather than my amp, as any time I'm running from a DI I lose any of the EQ my amp provides.
I'm also lucky enough to be getting an instrument that's very well designed...the battery access is its own compartment that has no screws and isn't one of those crappy snap out boxes.
Of course, this is what you get if you're willing to wait and spend to get it...but then, it will have a bunch of features that people have put on their lists...angled tuners, more than 4 strings, a burst finish (albeit, a very unique one), non-traditional body style, etc.
What kills me are the 50's, 60's and 70's REISSUE basses that have the same flaw. Ostensibly, this is to maintain "authenticity". Penny-pinching at its worst, if you ask me.
Likely some repeats here. I don't have 10 - I'm pretty easy going when it comes to different designs - particularly things that are visual as opposed to functional:
1) No rout for truss rod adjustment. This alone has been the sole reason for me not purchasing a bass in the past. Taking the neck off to make a truss rod adjustment is not an option in an area where 40% changes in humidity and 100 degree swings in temperature are common.
2) Inexpensive basses with onboard preamps. If you are putting out a bass in the sub $800 price point - put the money into good construction and components, instead of providing a predictably crappy onboard pre.
3) Expensive basses without straplocks. If I pay $2000+ for a bass, I'm not taking the chance it will drop on the floor as I'm playing. Straplocks should be standard. If anybody wants the "vintage feel" of a regular strap button, let THEM do the after-market "upgrade".
4) Active basses without a bypass switch. Nothing like playing for a large crowd as the bass gets all distorted and quiet - and you have no safety net.
5) Basses with more than 5 control knobs. If my tone needs THAT much adjusting, I'll go back to the amp.
Gee, I hope lots of bass manufacturers are on this thread..
I only really have one, and thats:
1) Lack of innovation. I like to see something different or out of the ordinary.
1) Lack of innovation. I like to see something different or out of the ordinary.
That's probably why I've not had that problem with my 72 P.
Although when I was a kid I did own both a P and J that were made in the 60's. At that time, I wouldn't have tried adjusting the truss rod. Thinking back, I did trade the 60's Jazz for the 60's Precision because the neck was bowed and I didn't know how to fix it (probably because I couldn't see the truss rod and didn't even know that there was such a thing). The guy who got my Jazz said it was not a problem and I was happy to have the Precision with its straight neck. I was pretty green then and would love to own both basses now.
+1 on that one. I can't believe I forgot it. Man I too can't stand active electronics in a cheapie bass. A good preamp can really bring out something amazing in a bass, but a cheap crappy pre just masks something. That and I have a preference towards passive basses (though go figure: 3 out of the 5 basses I've ever owned were/are actives.)
1. Basses that have loads of neck-dive
2. Heavy basses
3. Crappy covers for the electronics (put a nice scrape on the back of my Washburn trying to pry the cover off, its too thick!)
4. Chunky necks
5. Anything with more than 5 strings (even saying that is being broad, I tend to stick to 4 stringers)
6. High action
7. Pickups without covers (Just looks ugly. *stares at his Ibanez and shudders*
)
8. The traditional Fender body and headstock shape
9. Stap buttons on the back
10. Finishes that arnt gloss (unless its a clear matte finish like on my Washburn)
2. Heavy basses
3. Crappy covers for the electronics (put a nice scrape on the back of my Washburn trying to pry the cover off, its too thick!)
4. Chunky necks
5. Anything with more than 5 strings (even saying that is being broad, I tend to stick to 4 stringers)
6. High action
7. Pickups without covers (Just looks ugly. *stares at his Ibanez and shudders*
)8. The traditional Fender body and headstock shape
9. Stap buttons on the back
10. Finishes that arnt gloss (unless its a clear matte finish like on my Washburn)
Here are my own personal turn-offs when looking for a new bass.
1. Basses that you have to hold the neck up to stop it heading towards the ground - they restrict how fast and fluidly you can play
2. Single cut designs. I really made an effort to get into them but no.
3. I personally don't see the need for any more than 5 strings. I have played a 6 and was contemplating a 7 but decided that my style doesn't require the extra strings.
4. Basses that have HUGE strap buton screws so that you cannot put straplocks on them with the regular screws that come with them. My Ibanez SR1006.
5. Custom Shop relic basses. Why would I want to spend over the odds on a bass that had been scratched, dented, paint rubbed off it. I would rather either buy an older bass or do it myself over the years naturally.
6. Basses with far too many controls. 4 is enough, I don't need 6 knobs, 4 switches, 3 forward gears and a peanut dispenser.
7. Poor access to the upper frets. What's the point of having them if you can't reach them easily?
8. Bound bodies. They dig into your body and your forearm.
9. basses that don't sit on a stand very well or result in you having to buy a special one for them.
10. Highly sought after models which are produced in small quantities. yes I want them because they sound good and they look good but I would be too afraid to take it out of the case in case I damaged it.
1. Basses that you have to hold the neck up to stop it heading towards the ground - they restrict how fast and fluidly you can play
2. Single cut designs. I really made an effort to get into them but no.
3. I personally don't see the need for any more than 5 strings. I have played a 6 and was contemplating a 7 but decided that my style doesn't require the extra strings.
4. Basses that have HUGE strap buton screws so that you cannot put straplocks on them with the regular screws that come with them. My Ibanez SR1006.
5. Custom Shop relic basses. Why would I want to spend over the odds on a bass that had been scratched, dented, paint rubbed off it. I would rather either buy an older bass or do it myself over the years naturally.
6. Basses with far too many controls. 4 is enough, I don't need 6 knobs, 4 switches, 3 forward gears and a peanut dispenser.
7. Poor access to the upper frets. What's the point of having them if you can't reach them easily?
8. Bound bodies. They dig into your body and your forearm.
9. basses that don't sit on a stand very well or result in you having to buy a special one for them.
10. Highly sought after models which are produced in small quantities. yes I want them because they sound good and they look good but I would be too afraid to take it out of the case in case I damaged it.
I am an advocate of passive electronics for it's simplicity and my current lack of a need for active electronics but I have to agree with your point here.
The only solution to this when using passive electronics is a DI with eq'ing (Sans Amp BDDI).
...just like a cello is a cello. Do you see cellos with pickguards, multi-laminate doodahs, metalflake finishes and other pseudo-'50s-automotive trash?
Of course not.
So here are several things that turn me off:
1. Basses that imitate guitars. A bass ain't a Les Paul, it ain't a Firebird, and you limit its functionality to pretend that it is. Make the bass ergonomic, as Saint Leo intended. Show me a guitar-shaped bass and I'll show you one with neck dive: that strap button needs to be up around the 12th fret.
2. Flashy finishes. You can't hear paint. Give me my natural-finish ash bass any day.
3. Pickguards. I'm not playing a dinette table from the '50s, I'm playing a BASS. Geez. (In conjunction with my opening remarks, why are bass "stylists" so hung up on the 1956 Studebaker?)
4. Too many gizmos. My Tribute L2K is pretty much out there on the limit of what I can tolerate/keep track of while I'm gigging, and it has 3 knobs and 3 switches.
5. Fretboard inlays. As a graphic artist/designer for around 400 years, now, I have learned that adding decoration to a surface is an admission of failure of design. Make it look good without the gingerbread. I was looking at a photo of the original Alembic, and the thought crossed my mind "this is the instrumental equivalent of wearing cowboy boots with paisley vests." Keep it simple -- and elegant.
Other than that, the sky's the limit: number of strings, scale length, slab vs contour bodies, 21 frets or 36 frets or no frets, why, we all develop preferences as we learn and grow, and let the music dictate, not some C- industrial arts graduate with a French curve.
Feel free to disagree.
Of course not.
So here are several things that turn me off:
1. Basses that imitate guitars. A bass ain't a Les Paul, it ain't a Firebird, and you limit its functionality to pretend that it is. Make the bass ergonomic, as Saint Leo intended. Show me a guitar-shaped bass and I'll show you one with neck dive: that strap button needs to be up around the 12th fret.
2. Flashy finishes. You can't hear paint. Give me my natural-finish ash bass any day.
3. Pickguards. I'm not playing a dinette table from the '50s, I'm playing a BASS. Geez. (In conjunction with my opening remarks, why are bass "stylists" so hung up on the 1956 Studebaker?)
4. Too many gizmos. My Tribute L2K is pretty much out there on the limit of what I can tolerate/keep track of while I'm gigging, and it has 3 knobs and 3 switches.
5. Fretboard inlays. As a graphic artist/designer for around 400 years, now, I have learned that adding decoration to a surface is an admission of failure of design. Make it look good without the gingerbread. I was looking at a photo of the original Alembic, and the thought crossed my mind "this is the instrumental equivalent of wearing cowboy boots with paisley vests." Keep it simple -- and elegant.
Other than that, the sky's the limit: number of strings, scale length, slab vs contour bodies, 21 frets or 36 frets or no frets, why, we all develop preferences as we learn and grow, and let the music dictate, not some C- industrial arts graduate with a French curve.
Feel free to disagree.
Basses with far too many control knobs to be used without a comprehensive manual.
Basses with those daft designs on them, such as : Invalid Link Removed
[Honourable exception - George Harrison's Strat 'Rocky'].
Several of the recent signature models, such as where the same bass is available much cheaper without the 'St*ng' plate at the 12th fret. I object to paying well over the odds to have someone's name on a bass (especially Sting - he's a very good player, but I'd prefer the bass as it would normally be).
Basses that just can't be used live - I had a Fender HMT that had a piezo pickup that dominated the sound and the bass just didn't like live use at all - it lost lots of body in the sound - never have I used anything so inconsistent. It was great for recording, though.
Not the fault of the bass itself - but I hate not being able to get even a gig bag for some basses due to their size (Epi V, though I had a custom case made for another bass which I can use if I take it out)
Basses with those daft designs on them, such as : Invalid Link Removed
[Honourable exception - George Harrison's Strat 'Rocky'].
Several of the recent signature models, such as where the same bass is available much cheaper without the 'St*ng' plate at the 12th fret. I object to paying well over the odds to have someone's name on a bass (especially Sting - he's a very good player, but I'd prefer the bass as it would normally be).
Basses that just can't be used live - I had a Fender HMT that had a piezo pickup that dominated the sound and the bass just didn't like live use at all - it lost lots of body in the sound - never have I used anything so inconsistent. It was great for recording, though.
Not the fault of the bass itself - but I hate not being able to get even a gig bag for some basses due to their size (Epi V, though I had a custom case made for another bass which I can use if I take it out)
As far as asthetic things go ( ie. pointy bodies, pickguards, and gaudy paintjobs) I feel they shouldn't really count as far is this is all concerned. If you don't like it the chances are you're not going to buy the bass. Details about the basses I've owned are subjective, of course. I may dislike things other people may love.
Things that I dont care for
1) Non quick release bridges. Really inconvenient IMO
2) Crappy tuning machines and small vintage style bridges.
3) Preamps without an active passive switch. I've never had a battery die on me at a show but if it did....
4) Poor balance. This can be fixed as easily as adjusting a strap button and has been a deal breaker in the past.
5) Using out of the ordinary pickup sizes. I love to tweak but hate the idea of having to route out a bass that I love.
6) Batteries that require a screwdriver to access.
7) Lack of threaded screw inserts on higher end basses.
8) Visible epoxy or glue around inlays.
9) I used to hate one piece necks but my one piece quarter sawn G&L neck is the most stable I've ever seen!
10) Cavity covers that aren't recessed.
Things that I dont care for
1) Non quick release bridges. Really inconvenient IMO
2) Crappy tuning machines and small vintage style bridges.
3) Preamps without an active passive switch. I've never had a battery die on me at a show but if it did....
4) Poor balance. This can be fixed as easily as adjusting a strap button and has been a deal breaker in the past.
5) Using out of the ordinary pickup sizes. I love to tweak but hate the idea of having to route out a bass that I love.
6) Batteries that require a screwdriver to access.
7) Lack of threaded screw inserts on higher end basses.
8) Visible epoxy or glue around inlays.
9) I used to hate one piece necks but my one piece quarter sawn G&L neck is the most stable I've ever seen!
10) Cavity covers that aren't recessed.
1. Bodies that make it hard to reach the lower frets: Im a lefty and so many basses are impossible to flip because the fret access is nonexistent if played lefty (ex: Fender Basses).
2. transparent colors: give me a solid color or transparent, not a transparent green god it just looks so damn ugly.
3. pointy basses
4. no pickup in the middle: I need somewhere to rest my thumb.
5. Poly finishes: nitro is just so much smoother and calm looking.
6. dead frets.
7. Fender headstock: two on each side is so much more practical.
8. More thank two pickups
9. heavy basses: no more thank 10 lbs please thanks.
10. "Bright" sound.
After all of this I play a Fender P that has half of the things I put on the list, yet I still love it...weird.
2. transparent colors: give me a solid color or transparent, not a transparent green god it just looks so damn ugly.
3. pointy basses
4. no pickup in the middle: I need somewhere to rest my thumb.
5. Poly finishes: nitro is just so much smoother and calm looking.
6. dead frets.
7. Fender headstock: two on each side is so much more practical.
8. More thank two pickups
9. heavy basses: no more thank 10 lbs please thanks.
10. "Bright" sound.
After all of this I play a Fender P that has half of the things I put on the list, yet I still love it...weird.
Hm. I think that for me the list breaks down as follows:
1) Pissantish little tuner heads. I like the cloverleaf tuners. I have those stupud little Y-shaped ones on my Godin, and if there was enough space on the headstock to replave them with ultralite clovers, I'd spend whatever it took. I don't like the way they look and I *hate* the way they feel in my fingers when I'm tuning.
2) Weird body shapes. Call me a classicist, but I like my body shapes to be Fender-esque or at least vaguely guitar shaped. When I was playing Metal (about 15 years ago) I had a T-Bird, and that's as far into that territory as I'm willing to go. On the other side of the coin, I'm not a jazzcat so I'm not interested in a $3000 piece of fancy driftwood either.
3) Screwed-in battery covers. Dude, I've had a battery go out on me onstage. It's not fun with an easy-access battery cover, so don't even *think* about selling me an axe where I'm going to be seen taking a screwdriver to my bass in front of an audience.
4) Opaque colours. I used to be an exclusively black bass guy, but I've since come around to liking natural the best.
5) I don't like headless basses. I don't have feathered hair, nor do I wear eye liner or a blazer with the sleeves rolled up -- so there's no reason for me to have the bass equivalent of all these things.
6) Gold hardware always looks classy -- if you think that 'classy' means bringing da bling in a big honking SUV that's covered with Swarovsky crystals, a solid gold .45 in the pants that you're artfully wearing halfway down your bum, and some doofy looking baseball hat with gold-leaf dollar signs printed all over it. Does one still leave the tags on those these days, by the way?
7) Neck dive. Do I really have to go there?
8) Pups that hiss and pop. Yeah, it's all vintage and shizzle. Maybe it's my lack of mojo, but if I spent big bucks on a bass, I expect it to run silent -- when it's not scrambling the colons of everyone in the first row, I mean.
9) Overly angular headstocks See 'Headless,' above.
10) Glossy necks. Purists may hate me for this, but oiled isn't my fave; I like a neck with a satin finish, though maybe if I got used to an oiled, quarter-sawn neck like on those Lakland USA axes, I'd change my tune. Until then, I'm good with satin.
That's my list as of right now. I'd probably add things like a 2+2 headstock if I was making it longer, but honestly, I've seen at least one or two 2+2s that I've kinda liked...
1) Pissantish little tuner heads. I like the cloverleaf tuners. I have those stupud little Y-shaped ones on my Godin, and if there was enough space on the headstock to replave them with ultralite clovers, I'd spend whatever it took. I don't like the way they look and I *hate* the way they feel in my fingers when I'm tuning.
2) Weird body shapes. Call me a classicist, but I like my body shapes to be Fender-esque or at least vaguely guitar shaped. When I was playing Metal (about 15 years ago) I had a T-Bird, and that's as far into that territory as I'm willing to go. On the other side of the coin, I'm not a jazzcat so I'm not interested in a $3000 piece of fancy driftwood either.
3) Screwed-in battery covers. Dude, I've had a battery go out on me onstage. It's not fun with an easy-access battery cover, so don't even *think* about selling me an axe where I'm going to be seen taking a screwdriver to my bass in front of an audience.
4) Opaque colours. I used to be an exclusively black bass guy, but I've since come around to liking natural the best.
5) I don't like headless basses. I don't have feathered hair, nor do I wear eye liner or a blazer with the sleeves rolled up -- so there's no reason for me to have the bass equivalent of all these things.
6) Gold hardware always looks classy -- if you think that 'classy' means bringing da bling in a big honking SUV that's covered with Swarovsky crystals, a solid gold .45 in the pants that you're artfully wearing halfway down your bum, and some doofy looking baseball hat with gold-leaf dollar signs printed all over it. Does one still leave the tags on those these days, by the way?
7) Neck dive. Do I really have to go there?
8) Pups that hiss and pop. Yeah, it's all vintage and shizzle. Maybe it's my lack of mojo, but if I spent big bucks on a bass, I expect it to run silent -- when it's not scrambling the colons of everyone in the first row, I mean.
9) Overly angular headstocks See 'Headless,' above.
10) Glossy necks. Purists may hate me for this, but oiled isn't my fave; I like a neck with a satin finish, though maybe if I got used to an oiled, quarter-sawn neck like on those Lakland USA axes, I'd change my tune. Until then, I'm good with satin.
That's my list as of right now. I'd probably add things like a 2+2 headstock if I was making it longer, but honestly, I've seen at least one or two 2+2s that I've kinda liked...
My top 10 Bass turnoffs.
1. It doesn't look like a Stingray
2. It doesn't sound like a Stingray
3. It doesn't feel like a Stingray
4. It doesn't play like a Stingray
5. It's not a Stingray
6. It doesn't look like a Bongo
7. It doesn't sound like a Bongo
8. It doesn't feel like a Bongo
9. It doesn't play like a Bongo
10. It's not a Bongo
I'm not very picky.
1. It doesn't look like a Stingray
2. It doesn't sound like a Stingray
3. It doesn't feel like a Stingray
4. It doesn't play like a Stingray
5. It's not a Stingray
6. It doesn't look like a Bongo
7. It doesn't sound like a Bongo
8. It doesn't feel like a Bongo
9. It doesn't play like a Bongo
10. It's not a Bongo
I'm not very picky.
1. STICKY NECKS. i dont care if its a $100 SX or a $10K ritter. if theres gloss on the back of the neck, i WILL sand it down.
2. active basses which eat batteries like i eat milano cookies. i played a variax for a year. 'nuff said.
3. poor grounding/shielding. i have an SXJB which i havent bothered to shield or properly ground yet...she screams at me
4. 20 fret necks. ive been kept down for too long! i will rise above that lowly Eb! i cant believe fender has the wherewithal to deny bassists that high E, EVEN TO THIS DAY!
but thats just my opinion
5. only having ONE KNOB or ONE TOGGLE SWITCH. pete wentz and nikki sixx, im looking at you. to me, that translates to, "i dont care about my sound enough to even bother with 2 knobs."
on the other hand...
6. having too many knobs. when knobs take up half of the bass, i think youre messing with little details in your sound that NOBODY ELSE IS GOING TO HEAR. i can understand a volume for each PU, a 3 or 4 band EQ, some series, parallel, single, or toggle switches, but beyond that, i think it quickly becomes a whole lot of nothing.
7. spalted maple. its rotting wood...i mean, really...just my personal preference though.
8. neck dive. its been said over and over, i wont bother saying it again.
9. playing someone elses signature axe. i know some sig basses are exactly what you want (i would know, roscoe beck stole every element of my dream bass :scowl
but i personally want to make an impact with my own instrument, not a copy of someone elses.
10. poor upper fret access. what can i say? i like range.
2. active basses which eat batteries like i eat milano cookies. i played a variax for a year. 'nuff said.
3. poor grounding/shielding. i have an SXJB which i havent bothered to shield or properly ground yet...she screams at me
4. 20 fret necks. ive been kept down for too long! i will rise above that lowly Eb! i cant believe fender has the wherewithal to deny bassists that high E, EVEN TO THIS DAY!
but thats just my opinion
5. only having ONE KNOB or ONE TOGGLE SWITCH. pete wentz and nikki sixx, im looking at you. to me, that translates to, "i dont care about my sound enough to even bother with 2 knobs."
on the other hand...
6. having too many knobs. when knobs take up half of the bass, i think youre messing with little details in your sound that NOBODY ELSE IS GOING TO HEAR. i can understand a volume for each PU, a 3 or 4 band EQ, some series, parallel, single, or toggle switches, but beyond that, i think it quickly becomes a whole lot of nothing.
7. spalted maple. its rotting wood...i mean, really...just my personal preference though.
8. neck dive. its been said over and over, i wont bother saying it again.
9. playing someone elses signature axe. i know some sig basses are exactly what you want (i would know, roscoe beck stole every element of my dream bass :scowl
but i personally want to make an impact with my own instrument, not a copy of someone elses.10. poor upper fret access. what can i say? i like range.
1 poor access to the truss rod adjustment nut (Personally I am very interested in necks without truss rods a la Vigier)
2 lines on fretless necks.
3 lots of switches and knobs. they confuse me
4 dead batteries, poor wiring, faulty grounds
5 in-line headstock, makes a bass heavier than it needs to be for sure
6 pickguards...I don't use a pick and don't care for pickguards.
7 front rout basses, I prefer the tidier look of a rear rout
8 painted basses, I really love the look of Wood, especially oiled finish woods
9 did I mention too many knobs and switches?
10 See number 9!
2 lines on fretless necks.
3 lots of switches and knobs. they confuse me
4 dead batteries, poor wiring, faulty grounds
5 in-line headstock, makes a bass heavier than it needs to be for sure
6 pickguards...I don't use a pick and don't care for pickguards.
7 front rout basses, I prefer the tidier look of a rear rout
8 painted basses, I really love the look of Wood, especially oiled finish woods
9 did I mention too many knobs and switches?
10 See number 9!
Let's see.
1. Narrow nut width. Jazz-size necks make my left hand cramp, with no exceptions-I prefer a wider nut for comfort. This leads us to:
2. Necks that are very thin front-to-back. These also make my hand cramp.
3. Truss rods that require neck removal to adjust. Pure stupidity.
4. Basses where the bridge has no screws for intonation adjustment. Also kind of stupid.
5. Dual truss rods.
6. Basses where the top laminate doesn't cover the whole top, leaving a large line of body wood around the edge (Schecter is especially guilty of this)
7. Basses with bridges that aren't top-loading (unless they're string-through)
8. Black basses with white pickguards
9. Fender Precision Bass
10. Signature models
I'm really pretty open-minded about bass designs, but these are pet peeves of mine. Some of them wouldn't stop me from buying an instrument if I really liked it, but some (especially the neck issues) would keep me from considering a given instrument.
1. Narrow nut width. Jazz-size necks make my left hand cramp, with no exceptions-I prefer a wider nut for comfort. This leads us to:
2. Necks that are very thin front-to-back. These also make my hand cramp.
3. Truss rods that require neck removal to adjust. Pure stupidity.
4. Basses where the bridge has no screws for intonation adjustment. Also kind of stupid.
5. Dual truss rods.
6. Basses where the top laminate doesn't cover the whole top, leaving a large line of body wood around the edge (Schecter is especially guilty of this)
7. Basses with bridges that aren't top-loading (unless they're string-through)
8. Black basses with white pickguards
9. Fender Precision Bass
10. Signature models
I'm really pretty open-minded about bass designs, but these are pet peeves of mine. Some of them wouldn't stop me from buying an instrument if I really liked it, but some (especially the neck issues) would keep me from considering a given instrument.
