I had this SG Standard guitar I bought 10 years back I'm sure Gibson would pay me not to post pictures of. It was the worst guitar I have ever seen at any price. It looked like someone took a chisel and carved out the cavities by hand as fast as they could. The binding on the neck was rough and looked like it was sanded down by a cinder block. The headstock laminate was coming off too. It was complete garbage of a guitar not worth 1500 dollars. I've seen Chinese copies with higher quality. It was brand new and returned after I showed everyone how ridiculous it was. That guitar probably cost them 20 grand in sales easy. I'm not surprised they were forced to sell the company.
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Most Disappointing purchase
- Thread starter Bill Murray
- Start date
The ES-330 is the opposite problem of the Firebird. On a Firebird, the neck feels awkwardly shifted to the left, and an ES-330 feels shifted too far rightward. Both sound great, though.
That's really going to depend on the generation of the ES-330 in question. The earlier ones - until around '66/67 - really have a "tugged in" (for a lack of better term) neck. It took me a while to get used to that on the '61 that I used to own in another lifetime. The post-67 models feel just like any other guitar of that size, at least to me.
I’ve had a few. The first one was 1997. I decided I HAD to have a 5-string bass. I take the 3 hour drive to Chicago from Urbana. My wife (then girlfriend) and guitarist come with. We hit a few different stores. I played a Modulus Q5 that would have been perfect but that I couldn’t afford. I played a new G&L L2500 that would have been even more perfect for my playing and our music. I played a few others. It came down to the classic looking G&L and a used Reynolds custom, that was sort of a pre Lakland Lakland. Beautiful set neck, Koa body, exquisite craftsmanship and very interesting electronics. The same price as the G&L. But it was mellow. And weighed a ton. My guitarist really pushed for the Reynolds, my wife loved the looks, and finally I bought it. It was a ton of money for me at the time. A ton.
I then spent four years fighting with it to get the tone I wanted out of it. Tried everything short of new pickups. It was a great bass but the wrong bass for me.
When I finally sold it, I took a big loss because Koa dents easily and it had been gigged a lot.
If I’d bought the G&L, I might still have it.
I then spent four years fighting with it to get the tone I wanted out of it. Tried everything short of new pickups. It was a great bass but the wrong bass for me.
When I finally sold it, I took a big loss because Koa dents easily and it had been gigged a lot.
If I’d bought the G&L, I might still have it.
Fender jazz. I had a perfect MIM fender jazz. I actually thought it sounded good until I was a last minute fill in. I played the beat up house Ibanez xxx200. Active eq. I was asked to play the next night so I brought my "jazz". It never could match the sound of the Ibanez. So I sold the jazz.
Ibanez is criminally underrated in the bass realm.
I have an Ashula and for a 7 string fretted/fretless hybrid it’s extremely playable (and it sounds sweeeet)
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I love Ibanez for making that bass. Love 'em or hate 'em it's hard to say they don't experiment.
I think the problem for Ibanez is we've all played a Gio, some of us have played an SR300/500, and a criminally small amount of us have had the privilege of playing something like an SR Premium. From the minute I played an SR Premium my perception of Ibanez completely changed. The SR2605 is now on my dream-bass list.
T'was a mint condition 2019 Danelectro Longhorn. Loved the sound and the looks of it and the simple but very effective wooden bridge insert, and of course the +5lbs weight was also most impressive. But I just couldn't get it to sit right in my lap (I no longer play standing or with a strap). It sat either too far back or too far forward for me for comfortable picking, or else perched on my leg on a curved fulcrum that made it neck-dive something fierce. Also the width by the nut turned out to be a sharp edged 1+3/4" which was uncomfortable for me. Sadly sold it at a good price to someone who was glad to get it, and who hopefully is now handling and playing it far better than I ever could...
Greywoulf
Greywoulf
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Flats. I put a set on my Squier fretless Jazz. Sounded dead. Replaced them with a set of TI Jazz Rounds. Bass came back to life.
I'm seeing a lot here about people not liking Indonesian instruments. I concur. Some people like them. That's their deal.
For me, I don't buy non-American instruments. I'd rather pay the money. My philosophy is I buy instruments from places where the culture and tradition have existed for a number of years and it's in the blood of those people to do it and do it right. If I were to buy a stand up bass, I would buy a German or Czech made bass. If I were to buy a Balalaika, I'd buy a Russian made one. Same thing for an Oud: I'd buy one made in the Middle East. You get the idea. I do think the Asian and Mexican manufacturers do their best to approximate this uniquely American art form for a reasonable price. And electric guitars and basses ARE uniquely American instruments. There's no denying that. But all they're doing is approximating it. As Zappa once said: 'The French may love blues and jazz for what it is. But they haven't got the slightest idea what a hamburger is.'
For those who think they're too expensive, let me help you out: sometimes you're right. But I ask you this: if you were a gigging musician back in 1962, would you own a Fender Jazz? Nod your head. Of course you would. Wanna know what a Jazz cost in 1962? $375. Wanna know what $375 is in 2021 adjusted for inflation? $2100. You can look it up. So, if you can't afford $2100, fine, you have an excuse to play inferior Mexican and Asian instruments. And they are inferior. There I said it. But if you can afford it, and you answered yes to the '62 Jazz question, then you're just cheap. If you're cheap, that's your business. Just remember, you get what you pay for and don't complain.
The only non-American instruments that I have are a Beatle bass and a Hagstrom Swede. Other than that, I don't buy non-American basses when I can get an American version, like a Fender or Sadowsky. Garbage in, garbage out.
For me, I don't buy non-American instruments. I'd rather pay the money. My philosophy is I buy instruments from places where the culture and tradition have existed for a number of years and it's in the blood of those people to do it and do it right. If I were to buy a stand up bass, I would buy a German or Czech made bass. If I were to buy a Balalaika, I'd buy a Russian made one. Same thing for an Oud: I'd buy one made in the Middle East. You get the idea. I do think the Asian and Mexican manufacturers do their best to approximate this uniquely American art form for a reasonable price. And electric guitars and basses ARE uniquely American instruments. There's no denying that. But all they're doing is approximating it. As Zappa once said: 'The French may love blues and jazz for what it is. But they haven't got the slightest idea what a hamburger is.'
For those who think they're too expensive, let me help you out: sometimes you're right. But I ask you this: if you were a gigging musician back in 1962, would you own a Fender Jazz? Nod your head. Of course you would. Wanna know what a Jazz cost in 1962? $375. Wanna know what $375 is in 2021 adjusted for inflation? $2100. You can look it up. So, if you can't afford $2100, fine, you have an excuse to play inferior Mexican and Asian instruments. And they are inferior. There I said it. But if you can afford it, and you answered yes to the '62 Jazz question, then you're just cheap. If you're cheap, that's your business. Just remember, you get what you pay for and don't complain.
The only non-American instruments that I have are a Beatle bass and a Hagstrom Swede. Other than that, I don't buy non-American basses when I can get an American version, like a Fender or Sadowsky. Garbage in, garbage out.
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I never really considered the American history behind electric basses and guitars. Really intriguing to see the the price is essentially exactly where it should be to (we should all just be making more $$, but that’s a whole different conversation).
I’ve owned a handful of non-American instruments and while none of them disappointed, I just like seeing made in America on my basses. It’s not a patriotic thing, I couldn’t care less about that, but there’s just something about it that’s comforting.
Rotosound strings and all the hype. I tried these because they were supposed to sound good on a Rickenbacker. They sound good for about a week and then go dead as 20 year old flats. Ernie Ball Slinkys and Dunlop Stainless or Nickel sound and feel better and last longer.
I couldn't agree with this more. I took this tack in a previous thread and the armchair economists all threw their copies of The Fountainhead at me. I did not see that coming.
I have a pack sitting round I have yet to throw on my Geddy Jazz. Currently use DR Pure Blues which are good. Still like the NYXL carbon steel core/nickel Rounds more on my Warwick but I do worry they'll eat frets.
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I have to totally disagree with your statement.
I have/ had import basses that are way better than the same US bass.
For example a Fender Jazz that I returned a couple days later after buying it.
I’d say that in this current days it doesn’t really matter where the bass is build.
That’s why you should if possible always try before buying.
OK... I'm glad I'm not the first to diss the Ric. When I saw this thread, I told myself, "..no way am I going there! Sure-fire way to get flamed -- and new kid on the block? Nope." But I see I'm not alone.
Bo't a 4003sw about a year ago. First official act was to put TI flats on it. PHENOMINAL sound! I played it everyday for about 2 months. REALLY wanted to love it but despite the great tone, we just could not bond. I tho't the neck was...well...clunky. A personal preference, I guess, but I didn't like the biggish neck. I just didn't enjoy playing it. I couldn't find a happy place to finger-style the strings either.
As far as workmanship, I tho't it was adequate but not great. There was a bit of glue around the neck-body joint and I tho't the nut was a little too high. The first fret was hard to play. I too had some issues with the built-in mute (that was a disaster...). May have been an aberration. I have a Harrison '63 360 12-string reissue that is phenomenal in every way (except when it's restringing time...) Anyway, after 2 months, it went back. Not a hater--just didn't like it. Given their scarceness, they are near impossible to test drive in a store so you have to order and take your chances. Fortunately GC has a liberal return policy.
That whole "ric-itude" is real (hence my hesitance to speak up). I've been on the Rickenbacker forum a number of times and saw Ric's CEO (whose name escapes me at the moment) post occasionally and seems like there was a common theme to his contributions of "that's not our fault."
Tim
Bo't a 4003sw about a year ago. First official act was to put TI flats on it. PHENOMINAL sound! I played it everyday for about 2 months. REALLY wanted to love it but despite the great tone, we just could not bond. I tho't the neck was...well...clunky. A personal preference, I guess, but I didn't like the biggish neck. I just didn't enjoy playing it. I couldn't find a happy place to finger-style the strings either.
As far as workmanship, I tho't it was adequate but not great. There was a bit of glue around the neck-body joint and I tho't the nut was a little too high. The first fret was hard to play. I too had some issues with the built-in mute (that was a disaster...). May have been an aberration. I have a Harrison '63 360 12-string reissue that is phenomenal in every way (except when it's restringing time...) Anyway, after 2 months, it went back. Not a hater--just didn't like it. Given their scarceness, they are near impossible to test drive in a store so you have to order and take your chances. Fortunately GC has a liberal return policy.
That whole "ric-itude" is real (hence my hesitance to speak up). I've been on the Rickenbacker forum a number of times and saw Ric's CEO (whose name escapes me at the moment) post occasionally and seems like there was a common theme to his contributions of "that's not our fault."
Tim
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I haven't seen any BGs that are made with 'blood' inside them. So I buy what I like, and what I can afford...
If there are some places where BGs are sometimes made better than in other places and they're not priced beyond my means, I'm okay with that... Why not?
I would think most bassists would like to get the best bass for the price they can manage...
But nowadays corporations farm out so many brands and models to other factories different from where they were originally created and branded, it doesn't make much sense to me to limit one's bass opportunities because of 'the blood' of the folks where they were supposedly made.
Greywoulf
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