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I had a beautiful mim jazz sunburst with a maple fingerboard. Oh how I loved the color combinations.But let me tell you I could not get what I call good tone,CS60 pups,all kinds of strings never could hit my nirvana with it,now my mim p bass rosewood fingerboard CS60's I love it sounds awesome, so I sold it...12 year old kid,when he saw it he was so excited he was shaking,told them to call if any prob,never heard from them! Finally a year later I buy a mim jazz artic white rosewood fingerboard, I love it with Factory pups in it,still when I see maple fingerboards I salivate,but the tone meh,BTW I love maple on my tele's
Reminds me of when I worked at the meat shop. the not so good looking or green meat would be covered in 'hot spice', labeled as spicey, and a dollar more per kilo. I'm certain the same sort of thing happens with solid finishes.Excellent point...
I recorded the exact same riff with all of my basses in studio one and listened to the takes over and over. One bass completely destroyed the others. I will definitely be selling all of my other basses and using that one indefinitely. I don't give a crap about the color or what kind of hardware it has, but if it helps, it has a natural finish with a wenge/bubinga neck. I'm pretty sure the nordstrand Big singles have a lot to do with the tone and punch
solid colors are usually used on pieces of wood that aren't considered "pretty" (knots in wood, ugly grain, etc) so its possible that the wood typing underneath the respective finish could change tonalities from a burst/natural/etc to a solid-color (such as one full of knots)
....i think a person would have to have the hearing sensitivity of the average canine to barely notice these negligible differences, but still............
....i think a person would have to have the hearing sensitivity of the average canine to barely notice these negligible differences, but still............
