I think the difference between the various possible bass coats will be negligee if not effeminate, almost impossible to perceive. However, the naked ones will seem a little colder and some of the sunburst coats will be a little shadier, especially the more psychedelic bursts which will often become a little flaky and less focused, over time. And the tobacco bursts will, after a few decades, become a little slow in their responses and more wheezy sounding, for obvious reasons.
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my frankensteined 5 string jazz basses are quite different from most other jazz basses and from each other. one is active and one is passive.
The bottom one I would imagine has a very complex sound.
The cats telling you that you need a tort pickguard don't understand the science behind it. The pickguard is too close to the pickups to affect resonance. The fretboard inlays makes a huge difference because the distance from the pickups allows them to have a great affect on the pickups. If you want to save some money, you can just change the inlays below the 12th fret. That will make it pretty close.
I agree, switching to tort inlays on my jazz bass made a HUGE difference.
If a want a deep dark mellow tone, I play my black one - best for blues and jazz. If want a brighter sound, I'll play my sunburst. For Metal or real hard rock, I use my red one. But I'm thinking I need a blue one for blues and I'll save the black one for jazz... Then I have a classic white one with a tort pickguard - it covers everything - white includes all colors, and the tort definitely gives it a lot more range.
Note: Besides the sunburst these are solid colors. I don't have much experience with other bursts besides sunburst. There are experts that specialize in that.
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Brooklynburst sounds like pepperoni pizza to me.
If a want a deep dark mellow tone, I play my black one - best for blues and jazz. If want a brighter sound, I'll play my sunburst. For Metal or real hard rock, I use my red one. But I'm thinking I need a blue one for blues and I'll save the black one for jazz... Then I have a classic white one with a tort pickguard - it covers everything - white includes all colors, and the tort definitely gives it a lot more range.
Note: Besides the sunburst these are solid colors. I don't have much experience with other bursts besides sunburst. There are experts that specialize in that.
You don't see too many of those. But Fodera is in Brooklyn - I'll bet for $10k you could get a really nice one.
I'll bet that STP sticker gives it terrific punch too! A cheap upgrade for any bass.
I read an interview with Geddy Lee back in the '80s and one of the questions asked was "why do you always plays black basses?". His response was that he thought black paint gave the bass a better tone. There was no indication that he wasn't being serious, but I assumed that he had to be joking.
Fast forward to 2015 and I hear Geddy talking about how the pearloid blocks on the new USA GL Jazz give the bass a brighter tone.
Who's telling him this stuff??
Fast forward to 2015 and I hear Geddy talking about how the pearloid blocks on the new USA GL Jazz give the bass a brighter tone.
Who's telling him this stuff??
I have a fodera bass! (emperor deluxe 5). However last year I sold a very nice '77 walnut brown p bass to a sound engineer guy from brooklyn and that bass sounded exactly like chocolate walnut brownies!
Was it because he started too many threads like this one?
I have a fodera bass! (emperor deluxe 5). However last year I sold a very nice '77 walnut brown p bass to a sound engineer guy from brooklyn and that bass sounded exactly like chocolate walnut brownies!
SWEET!
For those contributing to this thread who need professional help!
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You are welcome!
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You are welcome!
Too bad they didn't have this group back in 1968 when I first started suffering from that condition. I'm afraid it's too late for me now.
Was fear doorbell ditching, or did faith just take too long?
