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I prefer the fingerboard to have as uniform a surface and feel as possible. So no inlays (or small dots) on the fingerboard would be my preference.
I don't really use or need the dots that often. And on those rare occasions when I do, I find the side dots are more than adequate.
I don't really use or need the dots that often. And on those rare occasions when I do, I find the side dots are more than adequate.
Ric5
Inactive
- Jan 29, 2008
- 29,772
- 30,452
- Disclosures
- I like 5, 8, 10, and 12 string basses
I really only see them in photos...so perhaps we should ask the audience? 
Black blocks on a maple fretboard, or pearloid trapazoids on a Rosewood or Ebony fretboard.
Special shapes. Sucks that most every short scale bass had dots though because that's all I play.
I voted for Ric sharkfins, but I also like blocks.
One of Tony Iommi's left-handed SG guitars has killer cross inlays.
not a bass, but Angus Young's inlays are pretty cool:
One of Tony Iommi's left-handed SG guitars has killer cross inlays.
Side dots only for me since I can't see the fingerboard while playing. If someone else wants to figure out what I'm playing, make'em work for it . . .
I love everything, from subtle dots to my favorite guitar:
It's from Vietnam and I won it new off ebay from an auction for a great price. The company makes a beautiful planet inlay too which I kind of preferred but that is the one I scored. So far I have replaced 2/3 of the pickups and upgraded most of the electronics, it sounded and played great all stock though. Probably my favorite instrument I own.
The seller, Inlaid Artist, also makes some beautiful basses but I never saw one auctioned and don't need one right now. Honestly I bought it mainly for the thru neck and wooden pick guard, the beautiful body/ neck and inlays are just a huge bonus. I have dinged it up a little as the finish is thin but it still is gorgeous and plays smooth as butter.
Even though a dragon is a pretty cheesy design I actually really love the oriental style of this one and the way all it's scales glimmer in the light. The woman wrapped in it's tail and the plants around her are also very breathtaking in person. Very rich vibrant colors, I will try and get a few pics from different angles to capture it:
I forget exactly how much I paid as it has been a few years but I believe it was right under 250$ including overseas shipping and around 100$ less then the buy it now price. Mexican bocote bodywood, I bought a wooden backplate as well but I tend to just leave it off
It's from Vietnam and I won it new off ebay from an auction for a great price. The company makes a beautiful planet inlay too which I kind of preferred but that is the one I scored. So far I have replaced 2/3 of the pickups and upgraded most of the electronics, it sounded and played great all stock though. Probably my favorite instrument I own.
The seller, Inlaid Artist, also makes some beautiful basses but I never saw one auctioned and don't need one right now. Honestly I bought it mainly for the thru neck and wooden pick guard, the beautiful body/ neck and inlays are just a huge bonus. I have dinged it up a little as the finish is thin but it still is gorgeous and plays smooth as butter.
Even though a dragon is a pretty cheesy design I actually really love the oriental style of this one and the way all it's scales glimmer in the light. The woman wrapped in it's tail and the plants around her are also very breathtaking in person. Very rich vibrant colors, I will try and get a few pics from different angles to capture it:
I forget exactly how much I paid as it has been a few years but I believe it was right under 250$ including overseas shipping and around 100$ less then the buy it now price. Mexican bocote bodywood, I bought a wooden backplate as well but I tend to just leave it off
I like blocks on vintage style jazz basses, but not on precisions or most other basses (an exception is that mind-blowing custom blue Wal with blue blocks that was posted a while ago). I like dots, offset dots, and PRS inlays. I dig the Gretsch neo-classic inlays a lot:
Not a fan of busy stuff, vine of life, and silly tribal/barbed wire/gaudy inlay.
Not a fan of busy stuff, vine of life, and silly tribal/barbed wire/gaudy inlay.
My brother had that same guitar in jet black...I think he bought it in '90...?
But seriously, those... and dots and blocks. I agree vines and weird stuff are just meh to me.
He wound up stripping th paint off and we were very surprised to see 1-piece Mahogany under all that paint. Wound up giving it a wax-finish, looked beautiful.
I had one of the earlier Satriani-esque models with rounded body edges and F1 pickups in both neck and bridge positions...circa '91 I think...
But getting back on topic...I like blocks when done a certain way, like how Fender does them - they maintain constant block-to-neck width ratio throughout the neck. I don't like it when all the blocks are the same width throughout.
I also like no inlays...especially on a figured fretboard.
...but these PRS Dragons are killer...!!!
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It depends on the instrument. No inlays to a full on Tree of Life inlay are appropriate for different instruments.
Voted "blocks" because they're my favorite, aesthetically- black blocks on maple / ivory on rosewood !!!
But I gotta say, I've grown pretty used to seeing just plain ole' dots, nothing wrong them 'em..
Although!! Five minutes ago, I did just purchase a Ric 4003 - Does this make me a blocking contradiction?
But I gotta say, I've grown pretty used to seeing just plain ole' dots, nothing wrong them 'em..
Although!! Five minutes ago, I did just purchase a Ric 4003 - Does this make me a blocking contradiction?
I guess it just depends on the instrument. I don't have any hard and fast preferences, unless they just slop over the line into some goofy "look what I can do" kind of thing, that's not really playable without damaging it.
- Vine/Tree of Life; I've seen some of these on really old, fancy banjos and mandolins that were beautifully done, to the point that it's hard to imagine the instrument without it. Unfortunately, IMO far too many newer ones have sailed to "Goofy-looking Land". And the ones that haven't? Grand Ol' Opry stars can afford them; I can't..
- Special Shapes; much as I like them, the shark fin inlays on Ricks are really too big, and just a little out there. But, I'm not going to throw my 3 Ricks away because of that; they're how you know they're Ricks.... Blocks are OK, as long as they aren't obnoxiously large. And the abalone ones on My Carvin LB-20's ebony neck are. My Kramer Forum III has little MOP diamonds; which, considering what the bass looks like and when it was made, are a model of elegant restraint..
The "Vintage Thumbnail" markers on my Gretsch Broadkaster are an excellent idea, IMO. Not too big; not too small; on the side of the fretboard where your hand never goes when you play; and always easy to see. I wish more instruments used them... As for other special shapes? Unless it's an Alembic, my attitude is usually "Meh"...
-Dots; They work; I'm used to them; most of my basses have them. Even my Gibson T-Bird has them. So does my Japanese Epiphone EA-260; but they're offset way to the "no hand" side of the neck - like the Gretsch, kinda...
-None; surprisingly, my Alembic Epic is the only bass I have with a bare fret board. Which would be fine if it was fretless; but, it's not. The naked ebony took some getting used to, and frankly, every time I play it, I feel kind of cheated. It's an Alembic!! Where are my ultra-hip, at-one-with-the universe inlays?!?!?
- Vine/Tree of Life; I've seen some of these on really old, fancy banjos and mandolins that were beautifully done, to the point that it's hard to imagine the instrument without it. Unfortunately, IMO far too many newer ones have sailed to "Goofy-looking Land". And the ones that haven't? Grand Ol' Opry stars can afford them; I can't..
- Special Shapes; much as I like them, the shark fin inlays on Ricks are really too big, and just a little out there. But, I'm not going to throw my 3 Ricks away because of that; they're how you know they're Ricks.... Blocks are OK, as long as they aren't obnoxiously large. And the abalone ones on My Carvin LB-20's ebony neck are. My Kramer Forum III has little MOP diamonds; which, considering what the bass looks like and when it was made, are a model of elegant restraint..
The "Vintage Thumbnail" markers on my Gretsch Broadkaster are an excellent idea, IMO. Not too big; not too small; on the side of the fretboard where your hand never goes when you play; and always easy to see. I wish more instruments used them... As for other special shapes? Unless it's an Alembic, my attitude is usually "Meh"...-Dots; They work; I'm used to them; most of my basses have them. Even my Gibson T-Bird has them. So does my Japanese Epiphone EA-260; but they're offset way to the "no hand" side of the neck - like the Gretsch, kinda...
-None; surprisingly, my Alembic Epic is the only bass I have with a bare fret board. Which would be fine if it was fretless; but, it's not. The naked ebony took some getting used to, and frankly, every time I play it, I feel kind of cheated. It's an Alembic!! Where are my ultra-hip, at-one-with-the universe inlays?!?!?
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