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What makes a bass good?

#41
zagreus said:
About electronics, I see people buy guitars all the time and just replace the pickups immediately, and other electrical components, which leaves me confused, because if electronics is something that makes a bass good, why would some people go out and replace them right away? I appreciate your help so far. :)
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Because some people do stuff differently to how you or I would! That’s just people for you. I get the “this bass feels amazing but could sound a bit better” thing as mentioned by someone else. Personally, I wouldn’t buy a bass unless I loved the look, the feel and the sound - hence I’ve not felt the need to upgrade stuff.

…except on one bass I specifically bought to be a “Frankenjazz” project. On that one I’ve changed a few things. Added an Audere preamp, other bits of hardware. Last year I swapped the pickups to be side by side humbuckers but in a standard Jazz single coil housing. I really liked the previous pickups’ tone but wanted to eliminate some hum I got around the house. The new pickups sound just as good but are totally silent so there was a specific reason for that change even though the old pickups sounded good. Plus this was designed to be a bass for fiddling with, so that fitted the remit of the bass.

There are also players (some guitar players I’ve known have been terrible for this) who have an idea in their heads about questing for some mythical perfect sound. So they constantly buy and sell guitars because they “know” that the next one will be the fabled tone unicorn - only to find it isn’t and the they need to buy the next, next one because they know that… [repeat ad nauseum]. A variant of that is the serial “upgrader” who are convinced that if they add that high mass bridge, new pickup, different electronics, super lightweight tuners etc etc etc they will have reached bass nirvana… there’s probably a bit of that going on too sometimes.
 
#42
zagreus said:
What would make a bass good? What would make a bass bad? I'm in need of a new bass and am wondering what to look out for, and what to avoid. Previously had a cheap PJ squier from one of those kits that came with an amp and everything.
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A lot of good advise so far. Also take stock of what you like about your current bass and what you do not. Also set your budget up front. No point in looking at a $1200 instrument if your budget is maxed at $500. IMO there are lots of good choices throughout the prices ranges. Most of all have fun with it.
 
#44
zagreus said:
What would make a bass good? What would make a bass bad? I'm in need of a new bass and am wondering what to look out for, and what to avoid. Previously had a cheap PJ squier from one of those kits that came with an amp and everything.
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Jrussblues said:
...
An instrument that doesn’t get in your way of playing
...
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That this actually means is an instrument that responds in a predictable and consistent way to your technique, and that can grow with you as your technique grows, expands and improves. You know you have your instrument when you can produce the notes and sounds you imagine in real time.

@zagreus I don't know what level you are currently playing at but given your relatively recent join date and current kit I will say 'not long', which means you are possibly not yet in a position to fully trust your own ability to recognise good when you do play it, so...

Kerem Koseoglu said:
The bassist.
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... if you can, take someone with more experience with you when you go shopping. They should/will have a better sense of the inherent qualities of each individual instrument or should at least be able to guide you safely away from the dogs and the logs (firewood).
 
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#45
I'm not being sarcastic when I say this is like choosing what beer you want to drink or what flavor of ice cream that you like.......A bass is a personal experience and is an extension of yourself - and a bond needs to be formed with it

In my career as a working player and session guy, I looked for instruments that were acoustically loud without plugging them in. I prefer active basses live and passive basses to record with although that isnt a law with me and have gone back n forth with both PRN. I prefer basses with more than one pickup (Stingrays being the only exception) and preferably with switchable options. I prefer slimmer Jazz style necks...and, sometimes, even if all the above criteria is met, I may not bond with that instrument (I just had this happen recently with a Schecter and it wasnt for lack of trying)

Go out and get your hands on as many instruments as possible and get the one that speaks to you
 
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#46
I think what makes a bass bad is more objective (more people agree on what is bad, e.g. misaligned parts), tho sometimes quite fixable (e.g., replace electronics, bridge, tuners). What makes a bass good is much more subjective (individual's preferences) and you have to discover that on your own.

I pay most attention to the neck, as it is critical for the feel of the bass, as well as expensive to repair if it has defects. But a bad setup, which is common in stores, can mask both issues. Nevertheless, you can get a good feel for it by trying before buying. The sound and look have to appeal to you, but both can be easily tweaked if you're in the ballpark (e.g. replace pickups, pickguard, etc).
 
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#47
Personally, I try to avoid black and white thinking as much as possible with everything in life, including basses. E.g., this bass is "good" or that bass is "bad". If I were forced to make a simplification, then I would say the bass that inspires me to play bass is a good one. Finding a bass or basses you bond with is a journey that is very personal and there are no shortcuts. You just have to play. You may find one you really like and bond with, and then later decide you want a divorce because you have found another. All good.
 
#48
zagreus said:
What would make a bass good? What would make a bass bad? I'm in need of a new bass and am wondering what to look out for, and what to avoid. Previously had a cheap PJ squier from one of those kits that came with an amp and everything.
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Depends on entirely on what you're looking for. Sound and feel are very subjective. Beyond that you want a straight neck and a well-assembled instrument. If you're new to bass then having an experienced player shop with you can be really helpful.
 
#52
define good?

a person that uses tape-wound strings, with a foam mute at the bridge, and plucks with a rubber pick will define "good" very differently than I will.

I need punch, clarity, and sustain from my instruments.

good is an instrument suited for it's intended use. some can get by with very little, some demand much more.
 
#54
There was a story about a famous violinist - I think it was Itzhak Perlman - he was backstage with his Stradivarius and greeting certain special guests.

One of them, came up to him, gave him a kiss on both cheeks and then said: "This is the famous instrument I have heard and loved?"

Perlman replied: "What do you love about it?"

The guest said: "The tone is so gorgeous! It is unmatched in the world!"

Perlman bent over while holding the violin to his ear and said: "Funny. I don't hear anything, right now."
 
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#56
As subjective as "good bass" is, for me there are two important thigs: Sound and playability... A good bass has a good sound: powerful, defined, with it's own character and voice but always adaptable to the sound YOU need.
Second: Playability... this is something I always noticed in a quality bass!! Many are almost effortless to play, are easier to set up, and it maintains this quality more time. This goes beyond the string spacing, or action: A good instrument has a better, more refined design and shapes, which translates in a much more playable instrument, that makes you play with less effort and more "fluidity"
 
#58
For me, it starts with look. If I go to a bass shop or see something on sweetwater that catches my eye, that’ll be the one I research. Once I listen to an online sound test and see if it sounds good to me, I’ll go to a shop and test it out for myself. Once it’s in my hands, I’ll go find an amp that is most similar to mine, and dial in my settings. I try to do this all before playing the bass, as to simulate what’s it would be like at home if I were to own it. I then play the bass, and see how it feels in my hands. Obviously, because I’m playing it, I’ll see if it sounds as good in person. I will adjust the settings and eq on the amp, and the bass itself. If it feels good to me, looks good to me, and sounds good to me, all that’s left is to look at the price tag, and decide I’ll stick to my squier 60s pbass.
 
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#59
Ok, but when all is said and done its the sound dude/producer that makes a bass sound the way it does. As I said on that other thread, and got slammed for it. Play what you like spend big bucks but the dude on the board will just dime the FOH subs and kill everything else...result? woomph, woomph, woomph, heard it so many times at concerts, gigs, festivals. Mush.
 
#60
tvbop said:
In the classic world its all about practise, study and personal development and very little about the instruments
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Whilst the bit about practice, study and personal development is absolutely true, the disinterest in instruments is less true.

Below a certain level a lot of instruments are simply incapable of producing the quality of sound necessary for classical music. My daughter is currently in her second year BMus Classical Double Bass, at the Royal Academy of Music. In 18 months she has completely outgrown her £4,500 bass and £600 bow that were good enough to get her through the audition process. By most general standards this was a good bass and bow, and on a superficial level it sounds nice - it generates a good full tone, picks up quickly and projects well. But as a fine orchestral instrument it it not enough. When she plays with the Academy Symphony Orchestra she uses one of the Academy basses (made around 1860 and currently insured for £70,000) and a new bow by Brian Tunnicliffe (Tunnicliffe profile | Brian Tunnicliffe - Master Bowmaker). The bow was the game-changer - it can extract more from the £4,500 bass than was ever possible with the intermediate bow. The combination of the Tunnicliffe bow and the old bass is impossible to quantify but quite astounding - there is a complexity in the sound that penetrates the soul in ways that defy description. Of course without well-developed sophisticated technique neither bass nor bow would matter, but the instrument has to be able to keep up!! I believe that the same holds true for electric bass
 
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