What makes a really great electric bass?

[MultiScaleMale]

Some basses have a really nice sound compared to the next one off the assembly line. We often think that it's the wood aging or the magnets getting all "vintagey" on us. But what it's just the matching of the actual resistor and capacitor values used in that bass. I'm talking about passive instruments primarily. I believe pot and capacitor values can vary by as much as 20% and still be in spec. I don't know how I'd ever test that without working in a bass factory.

 

[Bozendoka]

I'm mainly a neck man but either brunettes or blonde caps up on the top side can be fine. I can appreciate a shapely body with a nice bottom, but the clincher is her voice; how she sounds when I put my hands on her and use my fingers.

TMI?

I never thought I'd have to start a list of people who aren't allowed within 50 feet of my basses, but here I am.

 

[Grinderman]

I never thought I'd have to start a list of people who aren't allowed within 50 feet of my basses, but here I am.

You've got nothing to worry about; not interested.

 

[capnjagg]

Assuming all setups to be equal, it’s neck feel first, then ergonomics, then tone.

The part of a bass I’m most frequently interacting with is the neck, so if I don’t jive with a bass’s neck, whether it’s shape, finish, or whatever else, it’s going to be an immediate no for me, and typically you’ll know pretty quickly whether it does or doesn’t work for you.

Second on the list is ergonomics. Some basses feel great sitting, but are atrocious standing up, and vice versa (ask the shop for a strap if you can so you can really get a proper feel). Some have binding or sharp edges or even slab bodies that dig into your forearm (but you could also be someone who is unbothered by that). The bass could have a long reach (like a Thunderbird) that you love or hate. Or it could be a short scale that feels like a toy to you (or fits you perfectly), or it could have have serious neck dive that you are or aren’t willing to work with, or the whole thing could weigh as much as a boat anchor, etc., etc. Get your hands on everything that piques your interest even just a little bit.

Lastly, if I can’t get a tone I like out of a bass, it’s a pass, and I’ve passed on plenty that felt great just because it couldn’t hit the tone I needed. Granted, this one is a little trickier to determine, but it’s necessary. For me, I know what kind of tone I need, what’s going to work for me in a mix, and even what kinds of amps I do and don’t get along with. If you’ve got an amp at home that you like, try to play through the same thing or something similar in a shop, because otherwise you may run into issues where the bass you just bought doesn’t sound as good through your $500 combo as it did through that $2,000 rig you tried at the store (and then you start falling down a completely different rabbit hole). Outline your tonal goals, be realistic about what gear you have to work with, and just go from there.

I’m sure there’s plenty of great advice in this thread, and some of it might even seem redundant (or obvious), but collectively the members of Talkbass have years and years of experience that you can glean from without having to make the same mistakes many of us have made in the past (and some of us many times over lol). Hopefully this helps you and encourages you! Don’t be afraid to take your time shopping around, playing bass should be fun, and it’s hard to have fun when you’re settling on a lemon.

 

[ectoflanger]

Can I ask you to elaborate on what about particular necks makes them more desirable/playable? Is it just what you’re used to or dependent on the player’s hands?

My main 5-string upright’s neck is like the thick end of a baseball bat, so theres always a large degree of adaptation required by me for any EB.

Four main criteria that come to mind are neck shape, radius, neck width from low to high strings, and thickness of the neck from back side too fretboard which can vary within the same models, for example the 1950's style Fender Precision neck versus a more modern American Standard or later one-

Here Fender gives a quick talk on radius-

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Then there are asymmetrical ones whose measurements change as you move up the scale-

Once you learn the specs of a model you have played and liked, you may be able to find other makes with similar specs-

Sometimes these specs may be found in a manufacturer's brochure, some others you may have to go to a third party website such as this one-

https://www.xtxtshop.com/?category_id=4656616

There is also a Talkbass thread discussing neck shapes-

 

[Katoosie]

Hey gang,

Upright bassist experimenting again with electric bass after a 10 year hiatus here.

Wondering: what makes a truly exceptional electric bass? What makes one mass produced fender, for example, stand out from others? — assuming the setup is right.

In the upright world, it seems you generally commit to a scale length and then from there you’re going for the loudest, beefiest acoustic tone you can find with the most comfortable neck for what you like (+ again, pro setup is implied prerequisite).

With electric basses, it seems like everything, at least on Fenders, is pretty much interchangeable. If you don’t like the pickups, but love the neck, for example - easy fix. Almost too easy?

This is not a visual aesthetics question - I know some just look cooler than others with gnarlier or more stripped exotic wood, etc, but I am thinking strictly about tone/feel.

To say it another way: if you blindly played 100 P or J basses (whichever your preference) all setup the same and well, how would/could you go about identifying your favorites? Conversely, what would identify the underdogs and duds?

In your example, I would go by unplugged tone and feel first, then would move from there.

Some basses are very lively without being plugged in - I love those. Once you have a bass sitting in your lap that just wants to sing and wants to be heard without amplification, you have a winner.

Then it would come down to overall feel of the neck and the body to me, ease of play.

I can give you a quick example of this that happened to me a few years ago when I went shopping for my first in person direct purchase of a fancy bass at a store.

I was eyeing a few Spector Euro LTs and the shop I was had a few of those in stock. Exact same specs, strings, necks, pickups, electronics - the only different thing was the finish style or colour.

Well, I have tried all of them and one simply stood out every time. It was lively, sounded the best out of the bunch, felt at home in my lap. So I took it.

I really wanted to love the blue one... Ended up with the orange/yellow bass instead

The blue one sounded the worst out of the bunch and I hated it so much because I wanted to love it.

JUST LET ME LOVE YOU ARGGGHHH

 

[Sharko]

As long as you remember to play with a pick you’ll be fine

 

[grubdumpling]

I like that "just tamed a wild horse" feeling I get from playing a heavy, uncomfortable bass that balances poorly and occasionally cuts me. I like a bass that makes me stronger.

 

[ok-djmiller]

The neck. This is highly subjective for each player - but neck profile, scale length, neck finish, radius, fret job, nut width, are crucial for making a bass feel amazing in your hands or just meh. Body ergonomics, weight, and appearance are second.

Almost everything else important (pickups, electronics, setup, hardware, etc.) can be adjusted relatively easily. But if you don’t vibe with the neck, it’s a dealbreaker.

 

[bass12]

At the top of my list would be: a strong note fundamental (notes don’t disappear “in the mix”), note evenness across the fretboard (keeping in mind that it’s normal for notes to sound different higher up the neck), evenness of response from string to string (e.g., no weak G string), a lively response when strings are plucked.

 

[P. Aaron]

One can always argue an instrument's style, how it feels in one's hands, vibe, it's look, whether it's worn like a classic, or just a clean lookin' custom color, what really makes an electric bass great is when you can play it with abandon and simply make music on it and not be hampered by its ergonomics.

If a bass is a really great instrument, you're in musical growth, exploratory mode.

One can stare at it when off stage or after practicing.

 

[Mike Marshall]

Hey gang,

Upright bassist experimenting again with electric bass after a 10 year hiatus here.

Wondering: what makes a truly exceptional electric bass? What makes one mass produced fender, for example, stand out from others? — assuming the setup is right.

In the upright world, it seems you generally commit to a scale length and then from there you’re going for the loudest, beefiest acoustic tone you can find with the most comfortable neck for what you like (+ again, pro setup is implied prerequisite).

With electric basses, it seems like everything, at least on Fenders, is pretty much interchangeable. If you don’t like the pickups, but love the neck, for example - easy fix. Almost too easy?

This is not a visual aesthetics question - I know some just look cooler than others with gnarlier or more stripped exotic wood, etc, but I am thinking strictly about tone/feel.

To say it another way: if you blindly played 100 P or J basses (whichever your preference) all setup the same and well, how would/could you go about identifying your favorites? Conversely, what would identify the underdogs and duds?

It is the neck for me then the resonance played without an amp

 

[bassliner50]

With electric basses, play it unplugged with ear right against the horn to evaluate resonance. Some bodies and necks just interact with the strings in a superior way. Plug it in and evaluate its response to your fingers and over all tone. For me, I almost always find changing the pickups to a set I like is essential for me to be completely pleased. I have my preferences with strings as well. I do set my basses up to perfection.(that goes without saying). I might add, I prefer passive Fender or higher end Squiers to all other models. They are quiet (no inductive hum in crapily shielded rooms with florecent or neon lighting, electro-magnetic interference, or etc.). The P-bass allows me to dial up a useable tone with little fuss and I like that. And they respond to my touch in a way that alows me to have complete control and many options. No pedals for old school me of course.

 

[Katoosie]

With electric basses, play it unplugged with ear right against the horn to evaluate resonance. Some bodies and necks just interact with the strings in a superior way. Plug it in and evaluate its response to your fingers and over all tone. For me, I almost always find changing the pickups to a set I like is essential for me to be completely pleased. I have my preferences with strings as well. I do set my basses up to perfection.(that goes without saying). I might add, I prefer passive Fender or higher end Squiers to all other models. They are quiet (no inductive hum in crapily shielded rooms with florecent or neon lighting, electro-magnetic interference, or etc.). The P-bass allows me to dial up a useable tone with little fuss and I like that. And they respond to my touch in a way that alows me to have complete control and many options. No pedals for old school me of course.

Are P basses immune to fluorescent lights?

 

[Snaxster]

A question for the ages:

https://www.talkbass.com/threads/what-makes-a-bass-good.1600818/
https://www.talkbass.com/threads/what-is-your-sign-of-a-great-bass.1498423/
https://www.talkbass.com/threads/what-makes-a-bass-great.1372634/
https://www.talkbass.com/threads/what-makes-a-very-good-bass.1335907/
https://www.talkbass.com/threads/what-makes-a-good-bass.699792/
https://www.talkbass.com/threads/what-makes-a-“good-bass”-good.493636/
https://www.talkbass.com/threads/what-makes-a-good-bass.247178/

 

[conttador]

Sometimes it’s not even the bass…

it’s the amp…

It’s a system and it will take trial & error to find what you like. Probably the thing that gets many musicians in trouble is continuing to chase and as you can see in the classifieds, they are paved with instruments that people thought would be the next best thing only to be disappointed. If you dig deeper you’ll see many former owners endorsing an instrument all the while expressing regret for ever letting it go in the first place.

I’m fortunate enough to have a decent collection of instruments but I have favorites and I have some that I just never bonded with so if I see something I like on the classifieds I’ll leverage those by trading or selling to fund another purchase.

For me personally, I’ve never had issues getting a tone that SATISFIES ME or the other folks I play with. Fit & comfort is where my struggles lie. I have small hands so chunky necks wear me out. Try playing Mr. PC or Tenor Madness on a chunky neck for 10 minutes while everyone solos over the form 3-4 times! You play upright so you can probably relate…

You should have at least two basses in your arsenal. A P w flats & a jazz w rounds, that would cover you for modern music and retro or retro sounding music if you will.

Oh… and whatever you do, don’t fall into the old which is better P or J. In my honest opinion they are different tools so I don’t think it’s an apple to apples comparison. Or the rounds vs flats. Both are essential in the right settings.

 

[Dincrest]

When I strap it on, does it nestle against my body comfortably? Does it balance well so my left hand can reach the money notes without issue? Does it also balance well such that the neck angles upward, doesn't dive to the floor? Does the neck feel comfortable in my hands (P and J have different neck dimensions and profiles)? Is this a light-enough bass I could play an hour-long set on without feeling fatigued?

I think that a bass that you can play effortlessly, that allows you to easily translate what's in your head into music... that's your Excalibur.

If the bass feels fantastic but the tone isn't quite what I want, I'll simply try different strings on it. That's usually the least expensive way to dramatically alter the sound. There is something to be said about the old adage that the bass chooses the player and that the bass chooses the strings.

 

[conttador]

You're assuming that "truly exceptional EBs" exist in the first place.

Manufacturing today is astoundingly consistent and high in quality, even for a $200 bass guitar. As you noticed, the vast majority of EBs use the same designs, and it's pretty modular. I.e. I don't think there are a lot of physical differences between EBs in the first place.

But let's assume I'm wrong about that. The next issue is that there is no One Single Sweet Perfect Bass Tone.

The timbre(s) we like are all subjective... and extremely difficult to accurately recall after 30 seconds anyway. One person can easily prefer "warmer" pickups, another "brighter" pickups, and both will insist that their favorite has "more clarity" or "sits better in the mix."

Further, the bass is going to sound different because of the context anyway. Even if every venue or studio you're in has excellent sound and great engineers, the timbre will be influenced based on the timbres, volume, placement etc of the other instruments, as well as the acoustic environment and choices of the engineer. As a result, I can't imagine there is one specific set of timbral differences that are simultaneously incredibly tiny nuances, and are absolutely critical, and are consistently superior in every context.



Even the most discerning listener would be utterly overwhelmed by that task.

So, what happens when we're overwhelmed with choices like that? Per Barry Schwartz, one thing we do is exaggerate the minor differences. IMO this is why people obsess over tiny details that, on some level, they know will be ignored by the audience, missed by the other musicians, butchered by the engineer, and lost in the mix.

Thus, I recommend that you don't sweat the small stuff. If you're getting paid, get a Fender, as that's what the people hiring you will expect; so it goes. Otherwise, find an instrument that sounds good and feels good when you play it, and don't worry about whether it is "exceptional."

I think you hit the nail right on the head… What constitutes exceptional is going to vary, wildly at times, across musicians so everyone will need to create their own definition and figure out how to make it come to fruition.

 

[Marc DLarosa]

The MOOD that You're in.

Not being facetious, at all. Being fortunate enough to own over 60 basses, a different instrument seems to find favor on different days. Although... yes... my '79 Sabre ALWAYS finds it's way to the top of the heap (it has been temporarily dethroned many times by BRIEF honeymoon phases).
I'm also finding that I'm really enjoying my "weirdo" builds more than my mass produced basses more and more. Yeah, thanks, TB...

 

[mikewalker]

For me, "a truly exceptional electric bass" by definition must transcend every 'mass produced fender' - because Fender doesn't build any fully-composite instruments (yet!). For me, the magnificent tuning stability and highly articulate and balanced sounds found on a Basslab or a "Status Streamline" are unmatched by any wooden instrument to date. And there are some impressive builds going on made entirely of various metals, which offer similar advantages...