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What makes a Sadowsky better than a Music Man or a Modulus?

For me, the huge tone that Sadowsky basses have makes it worth the cost. I don't see it as an investment, because my tone at the gig is more important than what I may or may not lose when I sell it.

This is true. Assuming, that Sadowsky is your tone goal. Like I mentioned previously, Sadowsky wasn't for me tone wise. But for others, it's the holy grail. I will say this, and take it FWIW.....the people/bar patrons you play for can't tell a Rondo from a Fodera tone wise. And frankly, they font give two ***** what you play. As long as the beer's cold, there are girls in the bar, and the music sounds good and isn't too loud; the placard on your headstock is the last thing they will notice.

However, if there are musicians in the club; then yes, that little placard might affect their opinion of you and their opinion of your tone. Having great tone and the appropriate gear might be the difference between fitting in with the right band, or not getting the gig at all. I failed an audition once because I brought my Lakland 5594 deluxe to the audition. The band was kinda a Wilco wannabe original group. Great sound, songs, talented musicians. They wanted a 4 string player. Prob wanted a vintage J bass or P bass. They didn't know I had a USA Lakland Hollowbody 4 sitting at home:roll eyes: It kinda pissed me off when I saw their craigslist add a few days after my audition that said "no 5 string players". I didn't bother telling them that I had 4 bangers at home. I won't play in a band where some guitar player dictates what kinda bass I play. Hell, maybe he looked at my headstock placard and thought "what the hell is a Lakland? Maybe it's some cheap $200 musicians friend guitar". IMO, I sound like me no matter what bass I play. So having a 4 banger would have made no difference in my tone. Let alone, having a Fender.

Additionally, I think your amp plays more of an influence on your tone than XYZ bass will. Granted, different pup configurations/style (MM, humbucker, single coils, etc) will affect the tone of a bass guitar. I would venture to say that a passive Fender, Sadosky, Lull, Lakland, Alleva, etc. will pretty much sound the same in a mix played through the same amp than most would like to admit. Again; I'm talking all passive, blind listening test. Active preamps, start to change things a bit. But even with the preamp engaged, I still feel a J bass will still pretty much sound like a J bass in any given mix. Again, I think the biggest difference is your amp. This is where the rubber hits the road so to speak.

One other factor people fail to remember is the influence of "you". As I stated previously, I sound like "me" no matter what I play. Along with my amp, my fingers are the next biggest influence over my tone. The way I play/approach/attack a bass has bigger impact over my tone than any bass build could ever have. Again, a MM will sound like a MM, a J will wound like a J; but chances are in a mix both basses would sound more similar than not if I played both basses on two different tracks and had somebody do a blind listening test.

As I stated previously, I own a Lakland 5594. I have owned this bass since 01' I bought her off flea bay used for $1500 (she's a 99' model). She came with a std body. I had Dan and crew install the deluxe body shortly after I bought her. I got $2 bills wrapped up in her. I am not opposed to buying expensive gear (I've owned Zon, Modulus, Elrick, Sadowsky, LEJ, in the past). Usually in any given band, I am the guy with the most expensive tastes. I can thank TB for that!! I guess it all boils down what feels the best in my hands. My Metro felt horrible to me. I couldn't get rid of that bass fast enough. My 99' Lakland is the std for what all other basses I buy are judged by.
 
And I'm mainly using Music Man and Modulus as my basis of comparison because they are the nicest basses I own; I know it's not totally apples to apples.

I've heard nothing but almost universal praise for Sadowsky basses over the years, but have never had a chance to play one. What exactly makes it $3000 "better" than my Stingray5?

I wouldn't say "better" at all. Music Man makes very fine quality instruments (never even seen a Modulus.) If you're dropping that amount of money on a bass, than for sure it's a personal justification of the price. Either you think its worth it, or not. I personally do not think Sadowsky's are anywhere near worth their asking price, but I think they're very fine basses.
 
While super thin necks can of course create some issues (FYI, Sadowsky necks are not particularly thin front to back), graphite bars do not really create more stability. Roger reports that he adds graphite to the NYC Sadowsky basses as an attempt to reduce dead spots.

Aged woods is more of a proxy for appropriately dried, which can be a result of age or of proper handling prior to production. However, +1, my very old maple neck on my Alleva-Coppolo has never needed adjustment in the 4+ years I've had it.

Finally, single cuts are a strange thing. Clamping one side of the neck up to the 12th fret doesn't really seem to make much sense other than aesthetically, and possibly to increase the mass of the body without making the body larger. Necks don't really move much below the 12th fret, and if they did, fixing one side of the neck and not the other would be a questionable thing to do.

That all being said, all these builders you mention use premium woods, well age and/or dried, and use all the tricks of the trade to make the basses sound great, have limited dead spots, stable necks, and otherwise perfect fit and finish.

When I had some neck moving issues with my Stingray and 75 reissue Fender,I thought my next basses must have graphite bars in the neck.Unfortunately still haven't got any experiences with them.What do you think about Sadowsky Metro necks?They dont have these graphite instalments and I guess Metro necks not even quartersawn or aged (like Allevas).But are they still stable?I'm about to get one so just hope they are reliable.
 
When I had some neck moving issues with my Stingray and 75 reissue Fender,I thought my next basses must have graphite bars in the neck.Unfortunately still haven't got any experiences with them.What do you think about Sadowsky Metro necks?They dont have these graphite instalments and I guess Metro necks not even quartersawn or aged (like Allevas).But are they still stable?I'm about to get one so just hope they are reliable.

Do you know how many vintage(ish) Fenders/Peavey's/Ibanez's, etc are still out there without graphite rods or quarter sawn necks? LOTS. Don't worry about it. Take care of your bass and she should serve you well for a long time!

Dan
 
I wouldn't say "better" at all. Music Man makes very fine quality instruments (never even seen a Modulus.) If you're dropping that amount of money on a bass, than for sure it's a personal justification of the price. Either you think its worth it, or not. I personally do not think Sadowsky's are anywhere near worth their asking price, but I think they're very fine basses.

I think this sums it up very well. By the time you hit a grand or two in a bass, there isn't much you can add in the way of materials unless you stud it with diamonds or something and that wont change the tone a bit. So a 5 or 8 grand bass is really all about finding a maker who shares your vision of what bass should be. And that means it's a very personal justification and not about a bass being "better". What you are saying is it's better for YOU! If you don't share the vision then the instrument simply isn't worth the price.

I have a stingray and I understand what it can do. And while I love it, it isn't what I'd call my "vision". But listen to the guy playing on the Sadowsky video. That bass simply sounds like a Fender! It's got that sound, that feel, the whole nine yards. Yeah, you can argue the "on steroids" part, but you have to admit the basic deal is a FENDER vision. And that right there is why to me a Sadowsky is no where NEAR worth the asking price. My vision of a Fender-like bass is an SX where a $99 price tag is part of the vision. :)

My Goto bass is my Modulus. And the reason is many of those Roger outlined in his video. In a band it cuts like a knife. It's got definition. (And oddly only has treble and bass EQ which I'm not quite sure I share Roger's views on) But my vision calls for a modern bass. An ultra stable TOTAL graphite neck. Non-Fender style barts. Now what it does NOT do is give immediate satisfaction to everyone who hears bass with their eyes and need a Fender headstock to sound "good". It does not satisfy all the engineers Roger talked about who can't EQ any other brand bass. My view is too bad. It's MY vision of bass.

But that's it. I dont' care what your vision of bass is. It can be a Sadowsky, some "vintage" Gibson or a Ritter art-bass. Doesn't matter. If it's where YOU see yourself going, then you may just end up forking out a big stack of cash to go there, while everyone else just shakes their heads. But that's OK because it's not THEIR vision. See?
 
Fer cryin out loud! What is there to argue about? This thread, like so many others, is getting silly... I've had a couple a drinks and I may regret this post in the morning... but what the heck... here goes:

On TB I keep coming across threads where people who've graduated to more expensive gear and/or instruments made by 'boutique' luthiers are continually having to justify their decisions to people who've evidently made a commitment to working with more commonly available, production line stuff.

With all due respect to my fellow TBers, "who gives a rat's a$$??!!" Expensive or cheap, either you can play that damned bass or you can't. Period.

When I first started out I was playing a frickin wash-tub bass - broom handle, rope and big metal bucket, I kid you not - backing up my mom (who plays the heck out of a piano, BTW). Over time I've played almost every bass out there and I currently play (and love) a pair of Sadowsky basses.

I say knock off this nonsensical discourse and get back to making music! Buy a production line bass and play the hell out of it - like James Jamerson - or buy a production line bass and mod the heck out of it - like Jaco and Marcus - or buy a 'boutique' bass and dig in - like Will Lee, Stanley Clarke, etc. Whatever...! Just play an instrument that inspires you - make the listener feel something; make music!!!!!!!
 
I wasn't really fond of my Metro's neck, but my NYC's neck was sublime. A lot of Sadowsky naysayers judge them by the Metros, but they really ought to base it on the NYCs and experience the fast neck and chambered bodies firsthand, it's quite something. It would be like forming an opinion on Fenders based only on their MIMs, Foderas on their NYCs or MTDs on their Kingstons.

I no longer own any Sadowskys, but I still consider the NYCs one of the best, if not the best basses out there. Personally, I would choose a new Fender Deluxe Jazz 5 over a Metro, unless I got a really good deal on a used Metro.
 
Do you know how many vintage(ish) Fenders/Peavey's/Ibanez's, etc are still out there without graphite rods or quarter sawn necks? LOTS. Don't worry about it. Take care of your bass and she should serve you well for a long time!

Dan

Cheers Dan,I know and I do a good care of my basses.They've got their own bedroom with always on the same good temperature.Just hate adjusting the trussrod on string or seasonal changes.I had a Clover Avenger 5 with Canadian hard rock maple neck and after purchase never had to adjust its neck (amazing craftmanship by Jorg).Recently I played Sadowsky Metros in a shop and now I know I must get one and just want to hear opinions about their neck stability.
 
I gotta chime in with a ba*cough*loney on this one.

Plenty of people have done this. Let me describe one hypothetical, but based on reality, example:

I buy a Warmoth body that is finished exactly how I want, using wood that I like, and is very light.

I buy some Sadowsky pickups and preamp.

I buy a neck that is just what I want (Allparts, Warmoth, USACG or whatever).

I buy top shelf tuners, output jack, knobs, pickguard, etc..

I put it all together. Then I send it to somebody who really knows what they're doing (say, johnk_10 - or maybe I just buy the whole thing from him in the first place). He strips the neck, reshapes it, and refinishes it with an awesome nitro satin finish. He levels the board and does everything one could ask for to the frets. Then puts it all back together and sets it up.

When I'm done, I have a bass that, correct me if you think I'm wrong, has equal (at least) quality to an NYC Sadowsky. And I've got a shload less than $5K in it.

To say "no you can't" build your own that is equal quality to an NYC Sadowsky is to say that there are no other builders/luthiers in the world (that I can employ for custom work) that do as good work as Roger Sadowsky and Co..

Completely agree here.

I'm not knocking a Sadowsky at all and I'd be lucky to own one . However, if you know what you're doing you can build a bass that will be equal to a Sadowsky and if you don't you can hire someone to and do it without the $5000.00 price tag.

Roger builds great basses because he has experience in his field. His strings and electronics he sells are top notch.

You can buy:

Sadowsky strings: $30.00
Sadowsky Pickups: $200.00
Sadowsky Preamp: $200.00

Put them in a quality body with a quality neck and hipshot or schaller tuners and a brass bridge and you've got the winning formula.

When you buy a Sadowsky you are buying a great bass, but like a Fender, you are also buying a name. Roger does a great job of not cheapening his name. IMO.


Put that baloney on white breed with cheese for me.....

Lets say your into the "parts" for $1600. reasonable IMO, if not a little lean.
Send it off for the mods you mentioned. Say that's i dunno, $600.
So yeah, your into this for $2400 to $2500.
And it may completely utterly suck.
You have zero recourse, and zero back up if something goes wrong with the neck or anything else.
Also, you missed out on having a neck and body matched exactly to each other from the very very beginning.
Not one pulled off a shelf stuck in a box and shipped along side a random body.
Plus, you get a top shelf Pat Wilkins finish. (you could send you stuff to him as well, but add about another $800 to your price).

My point, which was missed, was EVERYone says they can do it "just as good but for a lot less", but funny, NO ONE ever steps to the plate to back that up and grab a piece of the pie. Nor do they ever, with the exception of a few do it even for themselves.

Sure grab some parts, send them to be adjusted and get them back. But you have a pile of parts modded to be what you want.
Watch the video. A Sadowsky is so far from just a pile of parts is sad.
Again, it's that last 10% that is the biggest difference.
 
Mike:
the scenario you describe pretty well mirrors an experience I had.
I ended up at about the price point you suggest, and sold at more or less a 50% loss.

It did turn out very well though, but I think that's mostly based on the fact that someone pretty good did the work and not me;)
 
You know guys... I'm on a Fender vs Sadowsky research trip as we speak

I'm looking at the Will Lee Metro Jazz vs the Fender Deluxe Jazz

In fact, I just called up Sadowsky a minute ago & hell who picks up the phone? The man himself... pretty cool

Its without question that the Fender MIA Deluxes are hit & miss when it comes to noise, most of em have a good amount. The question is... is it the lack of shield job? Or the electronics circuit?

The Sadowsky has both covered... the Fender, maybe the shield job works, maybe you still have some trouble.

ALTHOUGH, the Metros don't have a graphite reinforced neck like the MIA Deluxe Fenders

Still on the fence myself
 
Put that baloney on white breed with cheese for me.....

Lets say your into the "parts" for $1600. reasonable IMO, if not a little lean.
Send it off for the mods you mentioned. Say that's i dunno, $600.
So yeah, your into this for $2400 to $2500.

1600+600 = 2200

Also, to put together a bass wouldn't be 600.00 unless you took it to a guy like Mike Lull who has his inflated shop rates. I'd say no more than 400.00 to put a bass together for someone. Any average player could get the bass together 80% of the way(tuners, bridge, neck onto the body, shielding). All that would be left is the nut, the electronics, and fretwork/setup. Seeming as how setups run around 40 bucks, nut is about 50, and fret level and crown run about 150.....what does that add up to? Right, 240.00. That leaves 160 for electronics and or room to move. IF you wanted to have the neck reshaped, which I'm not sure why you would need that, you might hit that 600 mark, but for most people, they are simply going to have someone put it together.

So in my case, the cost of parts would be a about a grand (priced it out after your post). Labor would be nothing. If I sent it out to Pat Wilkins for finish, I'd be out another 500 for finish and shipping NOT 800.00. I'm not sure where you get your numbers from, but they are more than suspect. There is a way to make your point without exaggeration.

So let's break this down. Lets say I spend 4500.00 on a new Sadowsky and then sell it for 2600.

4500-2600 = 1900.00 net loss

Say I put together my build at around 1600.00. I sell it end make 600.00 off of it.

1600-600 = 1000.00 net loss.

This is operating on the assumption that the bass gets sold. The point is moot if the people who own these basses keep them and enjoy them for the rest of their lives. At that point, the builder is obviously on top, financially speaking. They both win in reality though.

My point, which was missed, was EVERYone says they can do it "just as good but for a lot less", but funny, NO ONE ever steps to the plate to back that up and grab a piece of the pie. Nor do they ever, with the exception of a few do it even for themselves.

No one missed your point. Just because you can doesn't mean you want to. And not wanting to doesn't = can't, as you've suggested.

I could build a bass, however I don't need to because my needs are met by instruments that are already being made. There is no point in making a bass simply to make a bass. I'd rather get a production bass, work the frets and nut and be done with it.
 
No one missed your point. Just because you can doesn't mean you want to. And not wanting to doesn't = can't, as you've suggested.

I could build a bass, however I don't need to because my needs are met by instruments that are already being made. There is no point in making a bass simply to make a bass. I'd rather get a production bass, work the frets and nut and be done with it.

+1

I HAVE done it. A friend of mine HAS done it. I've read plenty of threads on here where other people HAVE done it. I don't get where MikeBass is saying nobody does it.

Further, my example was meant to illustrate the extreme example. I totally agree on buying a good quality bass, like an EBMM or Fender American Standard or G&L and then sending it to somebody for any leveling/fretwork/setup work that needs to be done to bring it that last 10% of the way to being the same quality as a Sadowsky - and having a shload less money on the table when you're all done. Even if you buy for example, a Fender Jazz and have the electronics swapped out for Sadowsky.

Putting aside the name (and the man and his people behind the name), the tangible differences between good production basses and Sadowskys that people have mentioned are fretwork/setup, weight, and sound. And the point is, you CAN get a bass (with some custom massaging) that has equal quality fretwork/setup, weight, and sound, for a lot less money.

So, to come back to the OP's question (again), which was "what makes a Sadowsky better than a Music Man or Modulus" the answer is (possibly) a few hundred bucks worth of custom work, the convenience of having that custom work already bundled into the bass and the price, and the name (including the support of the man and his people).

I want to add one more thing, lest somebody think I'm knocking Roger Sadowsky or his business. I own a Sadowsky Metro. I greatly admire Roger, his craftsmanship and the business he has built. I have exchanged email with Roger regarding my Metro and I really appreciate his responsiveness. He seems to be genuinely a really great guy. As far as what his basses (or anything else) are worth, I have always maintained that a thing is worth what somebody will pay for it. Therefore, as far as I'm concerned his basses are worth the $5K or whatever that they go for. That doesn't mean that I can't be objective about exactly what the buyer is getting for their money. Or that I would personally spend the money to buy one. There is no bass made that can provide $5K worth of value to ME - unless somebody makes one that can literally play itself like Stanley Clarke that I don't know about. :D
 
And the years upon years of gathering the reputation of pretty much one of the best in the buisness has zero value.
So, yeah, how many necks and bodies will you go through to get ones that work? None. You'll take what they send you.
And don't get me wrong, my guess is they will be nice. But not hand selected based again on decades and decades of experiance (which has no value right?)

Sorry, you can send the parts to who ever, but when every componant is selected based on tight specifications, and not.randomly yanked.off.a.shelf like Warmoth by example. And then each part is mated to the other exactly.
The level of detail BEFORE it's able to have a finish put on is unreal. The amount of hand finishing done I'd bet you didn't factor in did you? Wilkins doesn't hand and finish that body for free.......or the neck for.that matter. So add that $$ to you cost.
Oh, you want the neck.pocket to be an exact fit, almost unique to the neck? Did you add that $$$ into your final number?

I've built basses and gave them to some of the better guys in the country to do exactly what you said Will. And yeah, they were great. But not to the level of what I have had in the past from Sadowsky.

I'm out of this as if anyone of us with no experiance could pull off what Sadowsky does for cheaper, and doesn't grab a piece of the pie$$$ is fooling themselves.
 
Agreed.

1600+600 = 2200

Also, to put together a bass wouldn't be 600.00 unless you took it to a guy like Mike Lull who has his inflated shop rates. I'd say no more than 400.00 to put a bass together for someone. Any average player could get the bass together 80% of the way(tuners, bridge, neck onto the body, shielding). All that would be left is the nut, the electronics, and fretwork/setup. Seeming as how setups run around 40 bucks, nut is about 50, and fret level and crown run about 150.....what does that add up to? Right, 240.00. That leaves 160 for electronics and or room to move. IF you wanted to have the neck reshaped, which I'm not sure why you would need that, you might hit that 600 mark, but for most people, they are simply going to have someone put it together.

So in my case, the cost of parts would be a about a grand (priced it out after your post). Labor would be nothing. If I sent it out to Pat Wilkins for finish, I'd be out another 500 for finish and shipping NOT 800.00. I'm not sure where you get your numbers from, but they are more than suspect. There is a way to make your point without exaggeration.

So let's break this down. Lets say I spend 4500.00 on a new Sadowsky and then sell it for 2600.

4500-2600 = 1900.00 net loss

Say I put together my build at around 1600.00. I sell it end make 600.00 off of it.

1600-600 = 1000.00 net loss.

This is operating on the assumption that the bass gets sold. The point is moot if the people who own these basses keep them and enjoy them for the rest of their lives. At that point, the builder is obviously on top, financially speaking. They both win in reality though.



No one missed your point. Just because you can doesn't mean you want to. And not wanting to doesn't = can't, as you've suggested.

I could build a bass, however I don't need to because my needs are met by instruments that are already being made. There is no point in making a bass simply to make a bass. I'd rather get a production bass, work the frets and nut and be done with it.

Agreed.
+1

I HAVE done it. A friend of mine HAS done it. I've read plenty of threads on here where other people HAVE done it. I don't get where MikeBass is saying nobody does it.

Further, my example was meant to illustrate the extreme example. I totally agree on buying a good quality bass, like an EBMM or Fender American Standard or G&L and then sending it to somebody for any leveling/fretwork/setup work that needs to be done to bring it that last 10% of the way to being the same quality as a Sadowsky - and having a shload less money on the table when you're all done. Even if you buy for example, a Fender Jazz and have the electronics swapped out for Sadowsky.

Putting aside the name (and the man and his people behind the name), the tangible differences between good production basses and Sadowskys that people have mentioned are fretwork/setup, weight, and sound. And the point is, you CAN get a bass (with some custom massaging) that has equal quality fretwork/setup, weight, and sound, for a lot less money.

So, to come back to the OP's question (again), which was "what makes a Sadowsky better than a Music Man or Modulus" the answer is (possibly) a few hundred bucks worth of custom work, the convenience of having that custom work already bundled into the bass and the price, and the name (including the support of the man and his people).

I want to add one more thing, lest somebody think I'm knocking Roger Sadowsky or his business. I own a Sadowsky Metro. I greatly admire Roger, his craftsmanship and the business he has built. I have exchanged email with Roger regarding my Metro and I really appreciate his responsiveness. He seems to be genuinely a really great guy. As far as what his basses (or anything else) are worth, I have always maintained that a thing is worth what somebody will pay for it. Therefore, as far as I'm concerned his basses are worth the $5K or whatever that they go for. That doesn't mean that I can't be objective about exactly what the buyer is getting for their money. Or that I would personally spend the money to buy one. There is no bass made that can provide $5K worth of value to ME - unless somebody makes one that can literally play itself like Stanley Clarke that I don't know about. :D

I don't wanna argue anymore. My whole point was not that a Sadowsky isn't worth what you pay. My point was you can make or have someone make you a bass just as good for less coin. Do you get the support from the company? No. Do you get a small builder's experience? No. But you do get a very nice bass that's as good as *insert brand here* for less money a lot of time.

Roger's basses are worth the asking price because people are willing to pay it. Just as Mike Tobias, Vinny Fodera, Stuart Spector, etc...
 
And the years upon years of gathering the reputation of pretty much one of the best in the buisness has zero value.
So, yeah, how many necks and bodies will you go through to get ones that work? None. You'll take what they send you.
And don't get me wrong, my guess is they will be nice. But not hand selected based again on decades and decades of experiance (which has no value right?)

You seem to be arguing the point that people think Roger's basses aren't spectacular instruments. I don't think anyone is saying that; most certainly not me.


The level of detail BEFORE it's able to have a finish put on is unreal. The amount of hand finishing done I'd bet you didn't factor in did you? Wilkins doesn't hand and finish that body for free

It's not unreal. It's a set of steps that everyone who finishes wood has to go through. And no Pat doesn't do it for free. He does it for the 400.00 (might be 450.00 now that I think about it) that he charges you. That's his job. To do the prep work, spray the bass, and then finish it.

.......or the neck for.that matter. So add that $$ to you cost.

I did not, nor do I need to, as I prefer as bare a neck as I can get. I could tru-oil it myself for nothing.

Oh, you want the neck.pocket to be an exact fit, almost unique to the neck? Did you add that $$$ into your final number?

I just want the neck to fit into the pocket. I don't buy into the "tightest neck pocket possible" nonsense. As long as it fits into the pocket and there aren't huge gaps, I will be happy.

I'm out of this as if anyone of us with no experiance could pull off what Sadowsky does for cheaper, and doesn't grab a piece of the pie$$$ is fooling themselves.

What exactly are you talking about? Are you talking about someone who could build a bass as good going into business and making a living out of it? I have a job, I repair and work on instruments for fun. Plus there are enough Fender clone builders out there, they don't need one more:D
 
http://www.talkbass.com/forum/f57/slightly-different-jazz-bass-build-827735/

You think any less experience or craftsmanship went into this build?

You think it's of any lower quality than a Sadowsky?

I don't know how much it cost, but I'll bet you a dollar it was way less than $5K.

I believe he charges somewhere in the 2K range for his basses. Worth every penny IMO. His work is beautiful. He's got a real eye for aesthetics. That's something I have a hard time with in regards to Rogers basses. They never really strike me like some others may.

Dan
 
That could very well be a fantastic bass all-around, but personally, I've experienced too many basses that looked absolutely stunning in pictures, but had a real bothersome flaw when I actually tried it out, such as the bridge bottoming out before I can get a decent action on the g string, bridge not being perfectly aligned with the neck, correct intonation being unattainable (maxed out saddles), neck dive, body dive, ski ramped fretboard, finish flaws, ridiculously heavy weight (12+ lbs for a fiver, my old Warrior), and the list goes on.

I've owned close to 30 basses so far, and i've realized that even the big names make mistakes; I can only imagine what can go wrong with a bass that wasn't engineered to work perfectly with the rest of its parts.

I also think there are many great choices for 4 strings, even budget basses that look and play well, but not so with 5 strings.