Why the Road Worn hate?

[sailri]

...

The RWs, though, are not PRIMARILY bought because of the sound. They are bought mostly for the look. Feel is secondary, at least in what I have been able to determine. ...

.....

Why would one drive a kit Shelby Cobra? Because, just like Fender Roadworns, people see you driving it and can only assume at first glance it is a real Shelby Cobra, and you get noticed, often praised, big time. Then, when you are at the car show and people start to notice its just a kit, you lose some of the props you had prior..

You might be right that they're bought primarily NOT because of the sound, but that wouldn't match what most of the RW owners on this forum say. They bought it because it's a better sounding and playing bass than the more expensive MIA models.

You might be right that people buy Kit Cobras to show off. I doubt anyone could change your mind. Of course that would mean that most people buy ORIGINAL Cobras to show off too. That would be pretty dismissive that the owners of either just want a kick in the pants, raw driving experience that "modern" cars don't provide. It would also assume that Kit Cobra owners just buy them to be seen. And of that you'll never convince me of.

 

[sailri]

I remember reading an article years ago, where a collector of Cord automobiles was asked about modern kit cars that were designed to look like Cords. He said something to the effect "Those cars are for people who haven't the taste or sophistication to own the real thing". Of course, he was right.

No he wasn't.
What he meant by that was:
"Those cars are for people who don't have as much disposable income for an antique toy as I do". And of course had he said THAT he would have been right.

 

[sailri]

So what I think we have here is two camps, one camp cares a lot about what a bass looks like and how it got that look and by doing so they attribute a lot of value to that perspective. The other camp would play any bass that floats their boat (with some reservations I'm sure) but definitely does not care what anybody else is playing.

So you tell me, who's being more pretentious here? The one's who find multiple reasons for a bass guitar to be "wrong" or "inauthentic" or the camp who doesn't care?

I'd even restate that the first camp cares a lot what OTHER PLAYER'S basses look like and how it got that look (and can't believe it's because the owners' liked how it played or sounded). Meanwhile the reason they would never own it is BECAUSE of how it looks. I think the whole thing is actually reversed.

 

[Jim Carr]

Disclaimer: Everyone should own/play what they want and can afford. Each person's tastes are their own.

I $675 bid on a Fiesta Red Road Worn, feeling certain it wouldn't get it, but I did. Earlier, I had played a number of RW Jazzes and P-basses when they first hit the music stores, and wrote a review which I quote here:

OK, I played 9 Fender basses today, 5 were Road Worn, 8 were new.

This morning, I learned that a local Kentucky dealer, Bob Willcutt has one RW P-bass at his Richmond, KY, store, and 2 RW P-basses and 2 RW Jazzes at his larger store in Lexington, KY. Besides these 5, I also played 2 60's classics (1 used) and 1 50's classic. Every single bass was MIM.

I started by spending about an hour with the first P-bass at the Willcutt Richmond, KY store while also visiting with some local community musicians and a former RSguitarworks tech who stopped in, as well as hanging with a couple of nice guys who work there. My initial impression was that the first P-bass felt a lot like my '55--a whole lot.

How so? Light and dry feel--complex tone. This was a very light P-bass! Moreover, there is a dry cool feel to the neck that is pretty much the same as a real vintage bass, minus some deeper wear on the lower fingerboard edges where one's fingers wrap around the first, second and third frets. The fretwork was very good, the body finish was pleasing, but I wasn't bowled over by the finish and wear, for better or worse--but I liked it. The exposed wood is mostly grey, as it should be, except where it is actively being worn by contact with skin/clothing.

In a good way, the RW P-bass C neck is much like a vintage C neck in shape, but (to me) not quite IT. The feel is very pleasing, action and frets are very fine. I just wish it were a bit shallower--fingerboard to back--though the nut width seemed about right--forget it, it's just me. I loved the tuners and neck tint. The cigarette burn, well, being a fool, I smoked on gigs for 15 years, yet never got a burn. Wish I hadn't done that smoking, but the burn is kinda cool in a "glad I haven't got cancer yet kind of way"

Tone: Excellent. Really sweet and warm. I was a bit surprised that with the tone knob full-on that the instrument produced a seriously bright top, but didn't become harsh. Good Bass. $1199.00 More on the tone later.

Next, off to Lexington, a 25 mile drive, across the Kentucky river and through rolling green Appalachian Spring into that lovely city. I reached the main Willcutt store about an hour and a half before closing. I brought my modified 2000/2001 60's classic.

The store was crowded, but no one was in the ample bass section (they have what must be hundreds of guitars, Fender, Gretch, Gibson, PRS, and more). There were 4 Road Worn basses waiting. I used a Mesa Carbine (model 6) amp, and started with a sunburst RW Jazz.

First impression: Wow. Set-up is dead-on. Not surprising, as owner Bob Willcutt is a terrific guitar tech with about 50 years experience. His crew do their jobs very well. The feel is about perfect, and even though I am not partial to the stock Fender SS round wounds, they sound great. In fact this bass sounds terrific. It invited me to spend a good 20 minutes playing, bouncing between jazz standard melodies, walks, Rock, Country guitar-style licks, chords, baroque bass lines, harmonics, slap etc. More than just very nice. Very very sweet! I want it--me bad. $1249.00 USD. More later.

On to another RW P-bass. Finally Fiesta Red!. Good feel, heavier than the Jazz (!), but not HEAVY. Something about the upper mids on this bass makes so much sense. The neck is very very nice, just like the one played earlier today. I love the dry feel of the whole bass. It seems like the wood has been baked in an oven. Is it possible?

I began to wonder how a 50's classic would compare, and what do you know, there was one hanging a few feet away. It was a very pretty blonde ($849 USD). I plugged it in and played. Whoa. Not heavier than the Fiesta Red bass, but interestingly different. The neck has different dimensions (a bit thicker front to back?), but still nice. The setup is not as good. Sighting down the frets was less impressive than the RW, but this bass has too much relief--I suspect it has sat in the shop longer, as I believe I saw it here about 6 weeks ago. None of that matters...it's the tone that is the issue.

The tone of this 50's classic is really different from the two RW P-basses, and it is not about string age. The 50's classic has a lot more upper mids with the tone control full on. To me, there is a harsher, more aggressive quality. This is not bad, just different, but honestly, I very very much prefered the RW Fiesta Red P-bass I had just played. BTW, the 50's classic P-bass had a very creamy and lovely darkside with the tone rolled off.

I grabbed the other RW P-bass, another tobacco burst. I liked it a little less than the Fiesta Red P, but am not sure why. Perhaps it is just the set-up. After a few minutes, I realized I needed to compare a 60's classic Jazz to the RW Jazzes.

My modified 60's classic Jazz was sitting in front of me in my gig bag, but there was also a new one on the rack, so I took the new one, and plugged into the Carbine. Nice, but yipes, the feel reminds me of the 50's classic P. I think it is a combination of set-up and finish. I like it OK, but the RW sun-burst Jazz blows this 60's Classic Jazz away for feel--it's the neck, of course. Tone wise, it is not so different. I am finding it to be closer to the RW Jazz, but it I feel it lacks a certain sweetness and tonal complexity. I tried the typical settings I use on my 60's classic, and then went back to the Fiesta Red Jazz. The owner stopped by. He said he had heard that prices were not going down. I agreed that is was unlikely, if for no other reason than as far I knew, Fender has NEVER lowered prices, except due to inflation. We agreed that the wood of the RW basses seemed baked or dried out like vintage instruments. Is he even older than I am? He must love his job--there is steady traffic in his shop.

The RW Jazz is lighter than the classic, but not by much. Again, there is that dryer lighter feel with is hard to describe. There is a bright edge to the RW, but the upper mids are less harsh with the neck rolled off ~50% and playing on the bridge pickup.

I went to my own '60s Classic. Bam! My strings are totally dead compared to these basses. I can't even be bothered plugging in. Duh! I should have changed the strings!!!! Grrrr. Oh well. Back into the gig bag it goes--btw, it sounds pretty good with dead Sadowsky Bright Nickels, but no way can it be rationally compared to the Jazzes here with new SS Fender round wounds.

Ok. Quickly back to the tobacco burst Jazz. I want it, but I am too poor. A young lad who works in the shop stops by and says, "I'm sorry, but we are closing. You have about 8 minutes more."

I chatted with him a couple of minutes, played a bit more, then packed up to go.

Final impressions from today:

1) As with all Fender basses, one may be better than the other.

2) RW MIM basses feel great, both the Jazzes and P-basses. The neck dimensions, finish, fretwork and fingerboards of the ones I played were all excellent. They can clearly set-up extremely well--basically as good as it gets set-up wise on a new Fender bass. I think the fret work on the new American Standards is a notch higher, but not so much as that would decide things for me in a shoot out--but this is off topic...

3) The RW P-bass neck feels so authentically like a vintage bass that I was really convinced. Fender did a great job on these necks--the roll of the edges is not as dramatic as on my '55, but the vintage feel is really there, IHMO.

4) The Jazz neck was more pleasing than the 60's classic, but not a whole lot--the big difference was in the finish, set-up, and strings with the two examples I played. The dimensions are very similar between the RW and Classic Jazz. The tuners are the same, though the RW tuners are obviously aged.

5) Tone. Here is the subjective part. There is a subtle and complex quality to the tone of these basses. I have played and owned many Fenders. These all have that sweet tone which I am thinking has to do with a stronger upper top, but a mellower upper mid. I am guessing here. Let's say it this way: the instruments seem warmer, and sweeter than the Classic series, but not dull or harsh, even if the tone control is full on or off.

6) Total impression. These basses were all very good Fender basses with a vintage feel and a warm complex tone. The price is what it is. I don't like the prices. If they were $250 to 300 less, I could probably swing getting one. I really want that Jazz, and only because I have an ample supply of P-basses (three) I can't justify a RW P.

7) Comparison summary--to me the P-bass felt the most authentic as a vintage-type instrument (as Bob Willcutt pointed out, these are not Reissues, they are their own thing). The tone of all 3 P-basses and both Jazzes was just lovely. Yes, they sounded better to me than the stock Classics, but that is personal preference. The body finishes were not really a big issue to me. The feel and tone of the RW basses OWNED the day for me. P and Jazz both cooked red beans and rice. I am a believer, but who is surprised???

 

[TRichardsbass]

You might be right that they're bought primarily NOT because of the sound, but that wouldn't match what most of the RW owners on this forum say. They bought it because it's a better sounding and playing bass than the more expensive MIA models.

You might be right that people buy Kit Cobras to show off. I doubt anyone could change your mind. Of course that would mean that most people buy ORIGINAL Cobras to show off too. That would be pretty dismissive that the owners of either just want a kick in the pants, raw driving experience that "modern" cars don't provide. It would also assume that Kit Cobra owners just buy them to be seen. And of that you'll never convince me of.

No, original Shelby owners buy them because:

1. it is the fastest production car ever.
2. It has a really cool, unmistakeable look.
3. It is a piece of muscle car history, a piece of ultimate craftsmanship.
4. Owning one puts you in a status that only other original owners have.
5. They have the cash or desire to own a real one.

I know a lot of kit car guys. Most of them just like to put together cars in their spare time. The one thing I've notices though is that the Shelby Kits they always seem to keep. Not the others.

Everyone knows that if you drive a Shelby you will get noticed. Kit version or real. Musicians notice other musician's axes. And we assign a status to the person who owns and plays them. That doesn't mean that someone playing an SX isn't the best bassist on the planet, but we do look differently at someone who has a Fodera or real '51P.

I wouldn't argue with you that the RW series MIM does, in many ways, out perform some of the MIA instruments. When you are Fender and you make so many models, its bound to happen. I said earlier yes, they do cost less. That is a good thing for them too.

But as I said earlier, whether its for the "worn in feel" or the "worn in look" its pretty much the same. To get the real thing, the real worn in vintagey Fender, it will cost you over $1500 easy. The RW less then a grand. That is a good value for the money you spend.

Look, I don't ever say that the RWs aren't good basses, they are. I actually primarily have problems with the real young kids who get them for the look and the cred they feel it gives them. The older we get, the more stripes you or I have earned, well, if it looks like you played it for your whole life, and you have enough life that it looks natural, then good.

I still prefer that instruments start new, looking new, and go from there.

 

[MtManiac]

Disclaimer: Everyone should own/play what they want and can afford. Each person's tastes are their own.

I $675 bid on a Fiesta Red Road Worn, feeling certain it wouldn't get it, but I did. Earlier, I had played a number of RW Jazzes and P-basses when they first hit the music stores, and wrote a review which I quote here:

Jim just owned this thread.

 

[El Beardo]

I don't see how it makes the bass sound any different so what's the point?
It's only the look of the instrument. I would rather they just skip the road wearing process and sell the basses for less money. I'll wear it out myself. To each his own though, I'm not running through music stores pointing and yelling at anyone and everyone playing these things. It just seems like a pointless trend to me. Maybe I'm wrong and it's not a trend. Maybe this Roadworn sensation will crossover into other things like selling brand new "roadworn" houses that come with cracked foundations, leaky roofs and nicotine stained walls. Maybe a brand new corvette that comes with bald tires and rust spots. I know houses and corvettes cost a lot more than a bass but it still seems like the same kind of crazy to me. Still, like I said before, to each their own.

 

[LiquidMidnight]

Wow, this thread has sparked a lot of controversey. As I stated earlier, I'm not a fan of the Roadworn series or factory reliced instruments of any sort. However, I don't hold anything against anyone who plays them, and I'm not going to psychoanalyze the reason why they play them beyond, "There must be something about the instrument that they dig."

As far as "mojo" goes. I agree that mojo is not an intrinsic value to an instrument. But I am a bit of a post-modernist. That's not to say that "mojo" doesn't exist as somewhat of a social construct. An instrument that's been gigged hard and has a history can have mojo. If I held SRV's worn, brown Strat, I'm sure I'd say, "This guitar has some serious mojo!" With that said, to me, all mojo disappears if an instrument is a dog. No amount of cool history or mojo overcomes a bad playing and sounding instrument. To me, most of the department store brand guitars from the 60s lack mojo. They were junk guitars then and they are junk guitars now. Also, while there's nothing wrong with paying a little more of a premium for some mojo, some of the prices on vintage instruments just because of mojo is outrageous. ...but we could start a whole 'nother thread about the craziness that is the vintage instrument market.

 

[Gaolee]

I don't care about the finish. I played a Mexi 50's P and liked everything about it but the feel of the neck. So I tried a RW. I bought the RW because it felt better. The whole relic thing is kind of silly, but I own one because I like the way it sounds and feels. I put ashtrays on it because that's where I like to put my wrist for playing certain ways. No problems for me. No problems for the audience. I don't care what you think. And, my van is older, cheaper, and uglier than yours.

 

[MrRobert]

I don't care about the finish. I played a Mexi 50's P and liked everything about it but the feel of the neck. So I tried a RW. I bought the RW because it felt better. The whole relic thing is kind of silly, but I own one because I like the way it sounds and feels. I put ashtrays on it because that's where I like to put my wrist for playing certain ways. No problems for me. No problems for the audience. I don't care what you think. And, my van is older, cheaper, and uglier than yours.

What?!? How dare you not care what anybody else says! What do you think you are, an individual?! I'll see you in hell, brother! Or sister!

 

[MrRobert]

If you want to impress the gear snobs, spend thousands of dollars and hours searching out that perfect vintage Fender bass. No one will ever know that someone else 'earned their stripes' and 'put some serious mojo' into that thing. I guess I need a vintage bass to impress the old fogeys in the audience instead of the 14 year old kids?
I'm not harshing on you in particular, Skychief, but there are a lot of comments on this thread in that particular vein. I think it's silly to compare a Road Worn to a vintage instrument. I don't want or need to impress anyone with my instrument. I play for myself only. Am I stoked when someone compliments me or my instruments? Of course! Do I need it? Nope. I don't care if anyone else thinks I've 'earned my stripes' or 'put in the time' to thrash my bass through years and years of hard playing. I like vintage instruments for their uniqueness and feel. I like the roadworns because they feel and play great. That is all.

 

[rodl2005]

I haven't read this thread, just the last few posts.
I've got a 50's RW-P & it's a DAMN good precision. I was simply after a good P bass & this one was available at a great price, so I grabbed it.
I honestly couldn't care re the RW look(it is handy not having to worry about bumping it onstage tho) as long as it's a good P.
& it is. One of the best I've ever played, including L series P's, 70's P's etc.
All I know is, it sounds great with both flats & rounds & tapewounds.

 

[bassbenj]

I don't care about the finish. I played a Mexi 50's P and liked everything about it but the feel of the neck. So I tried a RW. I bought the RW because it felt better. The whole relic thing is kind of silly, but I own one because I like the way it sounds and feels. I put ashtrays on it because that's where I like to put my wrist for playing certain ways. No problems for me. No problems for the audience. I don't care what you think. And, my van is older, cheaper, and uglier than yours.

I must admit that for a long time i was very skeptical of all the people saying the reliced instruments sound/feel/play better. The whole relic thing struck me as some sort of basic dishonesty: Trying to take credit for years of "dues" on the road that you never paid!

So I'm over at Sam Ash and as usual I'm cracking about the reliced instrument on the wall (this time it was a tele which I'd NEVER own even on a bet). There was a reliced one and right next to it a shiny new (cheaper) one. So I'm making remarks about how I can save money by buying the new one and dragging it a few miles on a chain behind my pickup truck!

Well, the Counter jock sees a sinner and tries to make a convert. Nope, he says, the reliced one REALLY, feels and plays better, REALLY! Try it! Ok. so I do. WOW! I'm amazed and astounded! The "worn" version has a neck as smooth as glass and just as fast, compared to the shiny and sticky neck of the "new" one. The whole "feel" of the instrument is MUCH more "natural" and "at home" in your hands. And I swear the tone was better too! And this was on an instrument I hate!

So after that I AM converted. If someone says they bought it for the feel and tone and not to pretend to be a "seasoned pro", I'm sorry but I have to believe them because I've seen it myself and it's a true thing!

 

[plankspanker13]

Fender has an obvious solution: Make a "RW refin" series that has all of the great playability and "aged" pickups of the RW, minus the relic job.

I seem to remember the bygone Closet Classic series as being in a similar vein. It's just a matter of getting the manufacturing and marketing arms coordinated.

 

[TRichardsbass]

Here's another take on it from me.

I own an original oil painting from a local artist. From my painting she made a series of about 100 signed, numbered and dated lithograph copies. My painting cost me a couple of grand. Her lithographs cost about $100 each.

I had a friend come over one time and they saw my painting and the first thing they said was, "wow, what did you pay for your lithograph? I have mine hanging in the foyer of my place too." Then I had to point out to her it was the original.

What does this story say? Whenever you make copies of things, even licensed or official ones, it devalues the original in some way, sometimes a big way, sometimes in a small way.

My opinion, but having the RWs sort of devalues the ones that are original basses that someone did put their blood, sweat and tears into and now shows its true character. I'm not talking about devaluing its price (although it does that a bit too) but its stature. I know, its an inatimate object, but we do place human qualities to them.

Maybe I'm just weird. I have purchased a couple of the Kubicki imitators over the past couple of years and destroyed them. As cool as it is to have the copies, they weren't official and they are inferior. One made a really good fire.

That's me. And its my opinion, doesn't have to be other's opinions.

If someone has a RW, great. If you see me in the crowd of your show, and you are using a RW, and I ask you about it, don't try to use the bass to make me think you've been playing it forever (and I have seen that.)

Interesting thread. Based on the comments here if I were Fender I'd stop making MIA instruments, because the RW's are better playing, better feeling, weigh less and everyone seems to want those.

 

[georgestrings]

Jim just owned this thread.

No surprise - Jim is a very smart man, and always a gentleman...


- georgestrings

 

[jfh2424]

Whenever I read these threads, I always come to the same conclusion: it is amazing that some bass players are that passionate about an instrument's finish.

It brings back a sad thruth that I learned a while ago about music: people listen with their eyes.

All this love/hate about RW just reinforces this.

I find it especially difficult to bear because we are musicians. Like, you know, people interested in music and notes and all that.

John

 

[AMJBASS]

Interesting thread. Based on the comments here if I were Fender I'd stop making MIA instruments, because the RW's are better playing, better feeling, weigh less and everyone seems to want those.

I wouldn't say that necessarily. Not everyone wants MIM/RW(which is fine). The new MIA Standard series are really nice instruments as well. They are more like a modern version of a classic(String through body, carbon fiber rods, flatter radius, modern neck shape). The RW are focussed towards those wanting a vintage feeling, and sounding instrument without the price tag.

 

[TRichardsbass]

Whenever I read these threads, I always come to the same conclusion: it is amazing that some bass players are that passionate about an instrument's finish.

It brings back a sad thruth that I learned a while ago about music: people listen with their eyes.

All this love/hate about RW just reinforces this.

I find it especially difficult to bear because we are musicians. Like, you know, people interested in music and notes and all that.

John

....is not about music. I don't listen with my eyes. Music is music. Walk into any big studio to record something and they ultimately always hand you a Fender P or J, no matter what you might bring with you.

I have several basses I bring with me into sessions. Maybe the best recording of them are the Kubicki's, but they are just space age Fenders in many ways.

When I bring my Vaccaro Gen X just about every guy instantly hands me the Fender or Fender copy. I have to sit the guy down and show him how to eq and take my bass. When I get called normally its because they want my sound. Which comes from a variety of basses.

When I comment on instruments in threads like this, its my opinion of something intangeable. Has nothing to do with the music. RWs make beautiful music in everyone's hands for the most part.

When you are on stage looks matter, whether we like it or not. An old school punker like me cannot pull off a Bootsy Collins bass on stage. Sorry. Can I pull off the Kubicki's or the Vaccaros or any of my vints? Yes.

You won't see a country bassist playing a sparkly Adam Clayton Fender signature, and you definitely won't see him playing a Buzzard Bass. Not that they are inferior basses, they are not. But Unless he plays for Southern Culture on the Skids he just won't be taken well by the crowd, and that matters.

Who sounds better to the average bar patron? The old guys who show up in stained t-shirts, ripped shorts and flip flops or the kids who put on the "uniform", say black shirts, black jeans, white ties and put on a show? I know several people here will disagree, but I think I'm right on this one. The second band, even if they aren't as good as the first band. We instantly judge with our eyes. We are human.

I personally don't judge anyones playing by the instrument they play. But I am always aware of it. There is a blues guy in the area who has a Conklin 7 string. He plays the living crap out of it. When he plays with the blues bands, which are basically all of his gigs, he only uses the primary 4 with an occasional dip to the B. So then why have a 7 stringer, or better yet, why even bring it? Its his bass, so no big whoop for me, but I have seen people tell him how good he is because of all the strings. He's good, but no better then some of the other guys who can really make a groove on their 4's.

Everything is subjective.

I'm pretty sure when people discuss cool muscle cars they don't only talk about how fast it went yesterday.

 

[MikeBass]

....is not about music. I don't listen with my eyes. Music is music. Walk into any big studio to record something and they ultimately always hand you a Fender P or J, no matter what you might bring with you.

I have several basses I bring with me into sessions. Maybe the best recording of them are the Kubicki's, but they are just space age Fenders in many ways.

When I bring my Vaccaro Gen X just about every guy instantly hands me the Fender or Fender copy. I have to sit the guy down and show him how to eq and take my bass. When I get called normally its because they want my sound. Which comes from a variety of basses.

When I comment on instruments in threads like this, its my opinion of something intangeable. Has nothing to do with the music. RWs make beautiful music in everyone's hands for the most part.

When you are on stage looks matter, whether we like it or not. An old school punker like me cannot pull off a Bootsy Collins bass on stage. Sorry. Can I pull off the Kubicki's or the Vaccaros or any of my vints? Yes.

You won't see a country bassist playing a sparkly Adam Clayton Fender signature, and you definitely won't see him playing a Buzzard Bass. Not that they are inferior basses, they are not. But Unless he plays for Southern Culture on the Skids he just won't be taken well by the crowd, and that matters.

Who sounds better to the average bar patron? The old guys who show up in stained t-shirts, ripped shorts and flip flops or the kids who put on the "uniform", say black shirts, black jeans, white ties and put on a show? I know several people here will disagree, but I think I'm right on this one. The second band, even if they aren't as good as the first band. We instantly judge with our eyes. We are human.

I personally don't judge anyones playing by the instrument they play. But I am always aware of it. There is a blues guy in the area who has a Conklin 7 string. He plays the living crap out of it. When he plays with the blues bands, which are basically all of his gigs, he only uses the primary 4 with an occasional dip to the B. So then why have a 7 stringer, or better yet, why even bring it? Its his bass, so no big whoop for me, but I have seen people tell him how good he is because of all the strings. He's good, but no better then some of the other guys who can really make a groove on their 4's.

Everything is subjective.

I'm pretty sure when people discuss cool muscle cars they don't only talk about how fast it went yesterday.

I disagree.....I played country (well, the "pop" type) with basses from Fodera single cuts to Warwick Thumb basses on tour and ALWAYS was received as well as I was with my Sadowskys.
No one EVER had a word negatively to say either about the look or sound.

BUT!!! I do agree, people have a tendency to hear with their eyes. And have been saying that for years.