Most Disappointing purchase

[shufflebass123]

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 so many brands and models are farmed out to other cheaper labor places different from where they were originally created, it doesn't make a whole lot of sense to me to limit one's bass opportunities because of 'the blood' of the folks where they were supposedly made.
Greywoulf

Up to you. As for my 'blood' comment: culturally, things that are made from the culture where they came from tend to be better. French wine is generally better than other wine - certainly the champagne vs. sparkling wine. I'd much rather attend a baseball game here than in Asia or anywhere else. You'll see better players play better games in better stadiums. You just will. That was the point.

Your mileage or your experience may vary. I've never had a good experience with basses made in East Asia or Mexico. At least some manufacturers like Fender and Sire have the good sense to offer the cheap instruments at a cheap price. Then there's manufacturers like MusicMan and Lakland who want top dollar - in the $1400-1800 range, for the cheap basses. And I've played those, too, and been completely unimpressed. Then I get a G&L in my hands that's only $300-500 more, and is made in CA, and the difference is like night and day.

Suit yourself. Buy what you want. It doesn't affect me. Just know that for only a few bucks more, you get a superior instrument. You don't have to settle for mass produced, inferior instruments.

 

[pfern]

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.

Agreed on the Rotos, nice and zingy for a short time, then muddy. I've been really happy with DR Fat Beams for years now. Now, back to the original topic...

 

[Bill Murray]

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

I’ve always wanted to try one out but you’re right.. it’s near impossible to test drive. The music store I teach at is owned by someone who has an INSANE collection, biggest Fender collection in the USA, could easily be in the world. We once had a vintage ric but the price tag was so high I wasn’t willing to touch it haha

 

[Inara]

MTD Kingston Artist fretless 5, the old 90's passive one with a single humbucker and a sort of triangular pickguard. It was my first five string, and I kept it for one day before returning it and selecting something else. The most lifeless sound I've ever had. My fault for not thoroughly evaluating it ... I was so "desperate" to get a five that I didn't take the time I should have.

 

[electricGstring]

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

Same here, from an also “new guy”... I love the IDEA of a Rickenbacker but the (admittedly) few that I’ve been able to get my hands on just didn’t wow me like I thought they would. They just don’t feel right somehow and for that kind of money, I need to love every single thing about an instrument...

 

[MovingPitchers]

Every single Geddy Lee Jazz Bass I ever purchased.

 

[Rnr..........4]

Every single Geddy Lee Jazz Bass I ever purchased.

Is that the red or white? (MIM or US?)

 

[Rnr..........4]

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

Yeah I have the same sort of issues with the one I recently bought. The satin/matte finish is done quite well tho. Neck is chunky just like the Warwick Corvette. I like it tho. The shape and look of it is killer and the sound is straight up rock and metal.

 

[bdplaid]

I thought of a couple more:

Markbass 121p
Single extension cab for above.
Fender professional jazz bass

 

[CaptainWally]

Up to you. As for my 'blood' comment: culturally, things that are made from the culture where they came from tend to be better. French wine is generally better than other wine - certainly the champagne vs. sparkling wine. I'd much rather attend a baseball game here than in Asia or anywhere else. You'll see better players play better games in better stadiums. You just will. That was the point.

Your mileage or your experience may vary. I've never had a good experience with basses made in East Asia or Mexico. At least some manufacturers like Fender and Sire have the good sense to offer the cheap instruments at a cheap price. Then there's manufacturers like MusicMan and Lakland who want top dollar - in the $1400-1800 range, for the cheap basses. And I've played those, too, and been completely unimpressed. Then I get a G&L in my hands that's only $300-500 more, and is made in CA, and the difference is like night and day.

Suit yourself. Buy what you want. It doesn't affect me. Just know that for only a few bucks more, you get a superior instrument. You don't have to settle for mass produced, inferior instruments.

Respectfully, and IMO only...I think great stuff can come from anywhere.

As far as wine goes... Judgment of Paris (wine) - Wikipedia

The baseball analogy is a poor one. Sure, we culturally like it enough to pay for talent more here, but we should talk players....and they come from other places 'a plenty.

 

[cdef]

An Alembic Series I that I've written about several times before. It would not stay in tune on gigs, no matter what = unusable. There were other issues as well, but that clinched it.

 

[phillipkregg]

EBMM Stingray 5. I have had a bunch of them. I really tried to like them. The G string on almost all of them would slip off the side of the neck while you were playing.

I’ve always had this problem with Music Man 5 strings and will never play another one because of it. The 4s are great and I have no issue with those.

Funny enough, the SBMM Ray 35 basses don’t have that issue at all. They play great. It’s the system used in the cutting and filing of the frets on the US made instruments that causes the problem. The slope is way too long and starts too close to the string.

 

[jim nolte]

I’ve always had this problem with Music Man 5 strings and will never play another one because of it. The 4s are great and I have no issue with those.

Funny enough, the SBMM Ray 35 basses don’t have that issue at all. They play great. It’s the system used in the cutting and filing of the frets on the US made instruments that causes the problem. The slope is way too long and starts too close to the string.

Interesting, my ‘ 94 SR5 did that and I always thought the G string was just to close to the edge of the neck, that and a 12 lb. alder body ended up being the reason I sold it.

 

[phillipkregg]

Interesting, my ‘ 94 SR5 did that and I always thought the G string was just to close to the edge of the neck, that and a 12 lb. alder body ended up being the reason I sold it.

I think it’s a combination of factors. It probably could be fixed by widening the neck and making the frets longer, or by tightening the string spacing.

But I think it could be fixed just but making the fret edges more steep so that the dropoff doesn’t begin right underneath the string.

Here are some pics that describe what I’m talking about:


Here you can see from the lighting how long the angle of the fret end is

and from the front, you can see that the string is sitting right on top of the point of the slope

It's honestly the ONLY thing I don't like about Stingray 5s.

If they would fix this, I'd probably play them all the time.

 

[Danny O Danny]

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.

I've owned many basses in the 40 years I've been playing. The best built basses I've ever owned--hands down--have been my Czech made NS Designs, my German made Sandberg, a pair of British Wals, and my American made Rob Allen. Runners up would be some of the Japanese made 80's Ibanez's I've owned. Geography or "blood" have no bearing on craftsmanship and pursuit of excellence.

 

[shufflebass123]

I've owned many basses in the 40 years I've been playing. The best built basses I've ever owned--hands down--have been my Czech made NS Designs, my German made Sandberg, a pair of British Wals, and my American made Rob Allen. Runners up would be some of the Japanese made 80's Ibanez's I've owned. Geography or "blood" have no bearing on craftsmanship and pursuit of excellence.

We all have our own experience. I've scarcely played a non-American electric bass that was any good. My experience with British basses is they have no bottom end. I've never played a Wal but I've never heard anyone speak well of them. The complaint about British basses is they have no bottom end. Specifically with Asian and Mexican basses, they're good for the money unless we're talking about an overpriced MusicMan or Lakland. But they're mass produced and made out cheap materials. I had a Mexican P Bass last year and barely bumped it and it dinged because it was probably made out of poplar. I'll still with my American made Fenders and Sadowskys. They're made out of better materials and in some cases, they're not even that much more expensive.

 

[Bill Murray]

I’ve always had this problem with Music Man 5 strings and will never play another one because of it. The 4s are great and I have no issue with those.

Funny enough, the SBMM Ray 35 basses don’t have that issue at all. They play great. It’s the system used in the cutting and filing of the frets on the US made instruments that causes the problem. The slope is way too long and starts too close to the string.

I hear this infamous complaint often enough that I know it has to be true. I owned a Sterling 5 that would sometimes do it but at the time I was very into Flea and had a really aggressive attack and approach.

Over the years I’ve gotten more into Reggae, R&B, Soul, old school funk, and Folk. My technique and vocabulary have evolved so much that I’m really not the same player I was.

While I do completely understand the issue you’re explaining (frets being rolled off a little too soon, making the neck slightly wider, etc) I’ve got an SR5 and an SR5HH and I’ve never had the G string slip off once or even come close to it. It’s the most comfortable I’ve ever felt on a neck and I wouldn’t change a thing.

to each his own though, both experiences are real

 

[Bill Murray]

We all have our own experience. I've scarcely played a non-American electric bass that was any good. My experience with British basses is they have no bottom end. I've never played a Wal but I've never heard anyone speak well of them. The complaint about British basses is they have no bottom end. Specifically with Asian and Mexican basses, they're good for the money unless we're talking about an overpriced MusicMan or Lakland. But they're mass produced and made out cheap materials. I had a Mexican P Bass last year and barely bumped it and it dinged because it was probably made out of poplar. I'll still with my American made Fenders and Sadowskys. They're made out of better materials and in some cases, they're not even that much more expensive.

There is some truth in American Companies outsourced models being of less quality. They cut corners where they can, use cheaper woods, QC (definitely not always, but is sometimes cause for concern), etc.

That’s not to say that all American basses are flawless I had an American Jazz that’s neck was a total joke (Fender did take care of it though)

It’s just that I do tend to see and hear about more issues from basses that have been outsourced. Squire, Subs, MIMs, Epiphones, Gios, etc. I’ve never heard of an issue with a Sadowsky, Fender Custom Shop, Kiesel, Reverend, (just to name a few).

I don’t think it has to do with craftsmanship as much as it has to do with big companies being greedy and trying to sell as much as possible. You get that perfect bass by paying for the time and attention to detail (which you don’t get with mass production).

You could get a MIM flea for $1200 with a gig bag or an Elite Jazz for $1200 with a OHSC. The Fender Deluxe series (MIM) you can usually find for $750-$900 which is the same price point as the American standards. You can grab a sterling 5 for $900 which is what I paid for my SR5 with its OHSC. At the point your better going American and enjoying the higher quality and value retention.

For what it’s worth I’ve owned many Fenders. My favorite was the Elite P but the runner up would be a deluxe MIM. Strictly tone and playability though. The Elite looked nicer and you could feel the difference in builds for sure.

 

[Erasmusman]

In the early 2000's, I had two Rickenbacker 4 strings which included the limited edition Chris Squire (should have never let it go). They were great sounding and beautiful basses, but, I really wanted a 5 string Rickenbacker. Lo and behold, Rickenbacker came out with the 4003S/5. I was so excited about the new basses, I sold stuff to purchase two of them, one in black and the other turquoise. As a relatively new player playing strictly with the fingers at that time and not the pick, I struggled to play them properly. I figured the problem was me, I needed to practice more. In the meantime, Rickenbacker came out with a 4003S/5 in a custom color I think in 2002, called desert gold (DG). Another beauty, but as time went on, no matter how hard I practiced, I couldn't play them without repeatedly hitting the wrong strings with my fingers. For me, the string spacing was too tight.

Disappointed, I ended-up selling all three basses. I learned an important lesson, a good looking bass isn't as important as having one that enables you to play to the best of your abilities. On a happier note, I did get one of Rickenbacker's new 4003 5 strings in maple glow (MG) with wider string spacings and am reallly happy with it.

 

[trseal]

I've been pretty fortunate, I guess, when it comes to "outsourced" guitars. When I first dabbled in bass, I bo't a Squier P, not sure if bass was going to be for me. Now, I can't attest to the relative quality of the hardware or electronics but the workmanship on that Indonesia-made bass was, as far as I could tell, flawless.

Same experience, except for maybe 1 very minor flaw, with a Squier fretless soon after. In either case I'd have to say the finish work on both was better than the Rickenbacker I bo't later. I did sell both Squiers and replaced them with the USA-made namesakes because I wanted "the real deal."

I recently acquired a Sterling Ray5 (also Indonesia-made) to venture into the 5-string arena. Workmanship is OUTSTANDING especially considering the price point.

I have a foreign-made Epiphone Les Paul with OEM Gibson '57's and I defy anyone to find anything about it that makes it lesser in any way than the Gibson at 2 1/2 times the price. I could go on. Most of my guitars are USA-made but it really wasn't build quality that influenced those choices.

Tim