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I've always been curious about this.
- Thread starter Isotonic
- Start date
that's a classic $5 bass!
I concur, it's stunning looks are surpassed by everything else except the lack of an upper fretboard.
I have 32 bass uke/mini bass guitars, 10 of which are single cut (red outline). They're either custom made, converted from existing short scale guitars, or modified bass ukes. Obviously I like either style, motivated by having existing styles in sub-short scale (21" to 24").
How would your $200 #1 “beat” one that costs $2000? What exactly are the determining factors that could be “beat”?
Every bass is beautiful to someone.
Every bass is fugly to someone else.
Every bass is fugly to someone else.
Instead of getting all defensive and gaslighting people, how about providing a link to a bona fide study with some actual science in it?
I’d prefer to reach no conclusion at all until I can get something a little more solid than assertions, an anecdotal interview, and snark to back it up. To me at least, the jury is very much out on any point except cosmetics insofar as it has a look that apparently appeals to some people. Proof being that some people are buying that type of bass.
So no, I don’t think you can argue the topic has been resolved.
($Quick question, do you own and play a bass of this design? I don’t, although I have had the opportunity to try a couple. Both were six strings. And while they were very nice basses (boutique custom builds tend to be very nice) I didn’t hear or feel anything extraordinary in the design itself other that the upper bout didn’t interfere at all with playing the upper frets. That much did surprise me.
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No I don't own one either.Instead of getting all defensive and gaslighting people, how about providing a link to a bona fide study with some actual science in it?
I’d prefer to reach no conclusion at all until I can get something a little more solid than assertions, an anecdotal interview, and snark to back it up. To me at least, the jury is very much out on any point except cosmetics insofar as it has a look that apparently appeals to some people. Proof being that some people are buying that type of bass.
So no, I don’t think you can argue the topic has been resolved.
Quick question, do you own and play a bass of this design? I don’t, although I have had the opportunity to try a couple. Both were six strings. And while they were very nice basses (boutique custom builds tend to be very nice) I didn’t hear or feel anything extraordinary in the design itself other that the upper bout didn’t interfere at all with playing the upper frets. That much did surprise me.
It just galls me that so many immediately discount them on the basis of looks.
"It's a whale hump!.Hahahahaha!"
Other than that it adds extra stiffness for super low action in the upper frets,no one has ever said that something extraordinary has been accomplished.
All I can and will provide is that same link to the site that explains Anthony Jackson's reasoning for his basses..
His reasoning was between Himself and Fodera.
It's on the PDF.
Whether they did a science study on it,I don't know.
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Let’s just dig a little deeper into the fundamental nature of your question….
At the very root of it is this: Why do Bass players have options? I don’t mind options. Some folks act like if you aren’t playing a P Bass with 40 year old flats than you’re doing it wrong. Me? Screw objectivity. Play the bass you love. Be you. That includes single cuts. Yes, I own one.
At the very root of it is this: Why do Bass players have options? I don’t mind options. Some folks act like if you aren’t playing a P Bass with 40 year old flats than you’re doing it wrong. Me? Screw objectivity. Play the bass you love. Be you. That includes single cuts. Yes, I own one.
I tried my hand at designing my own 'original' singlecut about 15 years ago: Gallery
But truly in my opinion, Mr. Sadowsky has absolutley NAILED IT - the optimal curves, right there:
But truly in my opinion, Mr. Sadowsky has absolutley NAILED IT - the optimal curves, right there:
I got one out of curiosity and impulse -- made by unknown luthier. It's my main playing fretted bass now, actually maybe my main electric. I do play more double bass. I tuned mine E-C
Ok. Thx. I was mostly hoping there was some study out there. Because there’s so much “woo! woo!” out there when it comes to guitar design. And so little of it is true.
I would have been equally happy to get an actual owner’s feedback. Because while I have tried a few, it doesn’t make me qualified to offer an opinion since a total of maybe an hour on two different ones all in isn’t the same as somebody’s opinion who uses one as his or her main rocker. So I was hoping
you’d be that person.
Interesting look going for it at any rate. Would definitely get some attention up on stage.
Like every style of bass, some ugly, some beautiful. I’d put the Stradi basses in the Beautiful category.
Stradi by Marek Dąbek
Stradi by Marek Dąbek
Speaking of awesome beautiful singlecuts, how could I forget: [Invalid or Expired Link Removed]
the quick n simple answer is TONE
of course tone is subjective to the beholder but if a P bass is considered THE tone choice of the ages and as a dedicated P guy I've found something that totally outclasses it for my picky tastes then I win. 'modern' players veer towards clean Jazz Bass sounds while I prefer meatier bigger and bouncier classic rock grit with real bottom, I went thru many fine low end basses only to find the more $pent on famous basses the further away from good tone it all got. I'll guess those questioning me like roundwounds over flats, it's all personal preference and I've spent a lifetime listening / searching for better tone. the search ended last year ...I think.
I see a claim that nearly 4 decades ago that it improves neck rigidity, but see no actual evidence of it. I'd also like to point out that materials engineering has advanced a long way in the intervening decades. Where was CF in use in instruments back then for example? Steinberger and I think Status and definitely Gould, but almost nowhere else.
Note in my first post I suggested this.
As for removing dead spots, again another mechanical claim I see asserted, but there being no evidence of.
There are also specious claims too like a $75 opamp 40ya needing to be used to remove distortion. Not true.
Not really, just unproven assertions and a very old article that's really only interesting from a historical perspective. I'm glad Anthony went down the development path with the 6s, but if it weren't for him, someone else would have eventually.
I don't in the least feel threatened by SCs, I just don't find them attractive, yet also in my first post O commented that they allowed strap pin placement on the neck end closer to the neck line potentially helping with ergonomics.
If it's 6s you're making the claim about me being threatened by, I own 5 and my most played bass is a 6 and sitting beside me now.
You seem to be the one being defensive about them.
