What features should I look for in a "good" bass guitar

Roland

I haven't played bass for forty years, but this weekend I was at a 60th birthday party. The kids were playing guitar, keys and percussion, so I filled the bass slot and quite enjoyed it. Now I'm thinking about making a bass.

What features should I put in it? I'm thinking more jazz than thumping out eight to the bar on the same note.

axisus

4 strings.

mart

axisus said:

4 strings.

That was exactly what I was going to say. 

Ok, I suppose I'd better add something:

4 strings, and no frets.

Roland

Ha ha. Fretless is a possibility, but I thought I'd start with a fretted four string. I was hoping for informed comments on things like blend control vs pickup selector

mart

Blend control obviously gives finer control in shaping the sound, but it's a pain to change quickly. 

For me, I tend to use one setting the bass, and change the way I play in order to get different sounds to suit different songs (or parts of songs). I'd never change between pickups during a song. So a blend control works well for me. I set it exactly where I want it, and then forget it. In fact, on my main bass, I've hard-wired it to the setting I want. The only accessible control is a volume knob, and I don't even use that much.

If, on the other hand, you see yourself wanting to quickly flick between a sharper bridge-like sound, and a richer neck-like thump, then I'd say you really need a pickup selector.

Gassage

Make sure it has a personality bypass circuit...all bassists use them.

stimpsonslostson

It should look cool.

EricTheWeary

Balance. A badly balanced bass is more of a pain than a badly balanced guitar.

I have been impressed with the actives on our bassist's old Aria. I'm surprised at how much sense they make. Rather like having the amp's control panel on the bass so he can have a fairly neutral tone at the amp and control volume and eq from where he stands. Not like volume on a guitar where you are pushing or not pushing the amp but just louder and quieter without the top end roll off you get on a passive guitar.

fretmeister

Balance and lack of headstock dive.

If you pick an active bass make sure it has an option to turn it off - that way if the battery craps out you can continue without finding that elusive 9V that fell out of your bag somewhere on the stage.

Hundreds of recordings have been done with the good old P bass, but if it will be your only bass, then I'd look at a bass with 2 pickups. Whether that is a PJ set or a JJ set depends on your ears - but it's just a bit more versatile.

Most basses have blend controls or 2 volumes rather than a pickup selector. 99% of bassists don't even change bass settings for different songs so I wouldn't get too hung up on the types. I prefer a blend rather than the other options as sometimes in a boomy room I just want to tighten the sound a little and it's easiest to balance towards the bridge pickup a bit.

the 4 or 5 string choice is made for you by the music you play really. If the rest of the band is heading to the basement and you have to stick an octave in it can change to impact of a tune. I played 4 strings for 20 years, and then started to get piano scores to play and there's a lot going on under the E. I can play it in the right place rather than shift it and get in the way of the cellos.

Strings make a massive difference in tone and comfort. Even within a type - TI Flats don't sound anything like Chromes for example. D'Addario steels are quite different from La Bella.

Roland

Gassage said:

Make sure it has a personality bypass circuit...all bassists use them.

You mean "What does a bassist use as a contraceptive?"

Roland

fretmeister said:

Balance and lack of headstock dive.

So the headless route could be a good one? 

fretmeister said:

If you pick an active bass make sure it has an option to turn it off - that way if the battery craps out you can continue without finding that elusive 9V that fell out of your bag somewhere on the stage.

Hundreds of recordings have been done with the good old P bass, but if it will be your only bass, then I'd look at a bass with 2 pickups. Whether that is a PJ set or a JJ set depends on your ears - but it's just a bit more versatile.

Most basses have blend controls or 2 volumes rather than a pickup selector. 99% of bassists don't even change bass settings for different songs so I wouldn't get too hung up on the types. I prefer a blend rather than the other options as sometimes in a boomy room I just want to tighten the sound a little and it's easiest to balance towards the bridge pickup a bit.

Thank you. That's very useful

fretmeister said:

the 4 or 5 string choice is made for you by the music you play really. If the rest of the band is heading to the basement and you have to stick an octave in it can change to impact of a tune. I played 4 strings for 20 years, and then started to get piano scores to play and there's a lot going on under the E. I can play it in the right place rather than shift it and get in the way of the cellos.

Does anyone tune a 4 string to B E A D?

DLM

Roland said:

Does anyone tune a 4 string to B E A D?

Billy Sheehan says he prefers that over a 5-string. His doublenecks have one BEAD and one EADG.

guitarfishbay

Roland said:

fretmeister said:

Balance and lack of headstock dive.

So the headless route could be a good one? 

Basses don't have to be headless to balance well.  Due to their size, switching to lighter bass tuners (and many basses come with them stock) can be enough to sort out the balance.  It really depends on the instrument itself.  Take a strap with you to test them out.

Roland said:

fretmeister said:

If you pick an active bass make sure it has an option to turn it off - that way if the battery craps out you can continue without finding that elusive 9V that fell out of your bag somewhere on the stage.

Hundreds of recordings have been done with the good old P bass, but if it will be your only bass, then I'd look at a bass with 2 pickups. Whether that is a PJ set or a JJ set depends on your ears - but it's just a bit more versatile.

Most basses have blend controls or 2 volumes rather than a pickup selector. 99% of bassists don't even change bass settings for different songs so I wouldn't get too hung up on the types. I prefer a blend rather than the other options as sometimes in a boomy room I just want to tighten the sound a little and it's easiest to balance towards the bridge pickup a bit.

Thank you. That's very useful

Also don't discount that you might prefer the sound of a passive bass completely.  I've yet to find an active bass I like as much as a good sounding Jazz or Precision.  When comparing, remember to account for the volume difference (active basses are generally louder).  But YMMV.  It is easy enough to add a preamp pedal which will give you control over EQ.

Roland said:

fretmeister said:

the 4 or 5 string choice is made for you by the music you play really. If the rest of the band is heading to the basement and you have to stick an octave in it can change to impact of a tune. I played 4 strings for 20 years, and then started to get piano scores to play and there's a lot going on under the E. I can play it in the right place rather than shift it and get in the way of the cellos.

Does anyone tune a 4 string to B E A D?

I tune B F# B E, because I double a lot of lines to guitar parts tuned to drop B.  Otherwise I'd tune B E A D (buy a 5 string set and use the bottom strings).  You will have to file out the nut slots to be a bit bigger.

fretmeister

Plenty of people use BEAD - for some reason my brain rejects it, but I'm happy on a 5.

I play an active Marleaux most of the time - but all the EQ controls are left flat, unless the room is annoying me. It's got a great preamp in it that when set flat sounds exactly like when it is turned off completely.

I've also ripped out the actives from my Stingray. I've put in EMGs - but only with a traditional tone control. So it's not really active in the usual sense as there is no EQ system. It sounds a lot better now.

Headless basses are fine if you like them (I do) but string choice can be more limited and some band members complain about the 1980s look.

A well made bass with lightweight tuners can be had without any neck dive.

After that - it's all about your budget.

octatonic

A strap long enough so you don't have it up under your armpits. I tune mine BEAD as well.

Roland

The objective is to make a bass. I'll learn a lot more by making one than I would by buying several. However as part of the design process I shall have to visit a few shops and try out some basses, so taking a strap is a good idea.

fretmeister

A pet hate of mine are bridges that force the entire string length to be passed through. Bass strings are expensive and I like to swap types for different genres. Having to uncoil the tuner end parts weakens them each time.

A bridge with slots in it like the Hipshot A style allows just the ball ends to be laid into the bridge without that faff.

guitarfishbay

With bridges the break angle does affect the playing feel, and I find this can make a difference with tuning lower on a 34" scale bass (since you've mentioned tuning BEAD).

I honestly find there to be a difference when through body stringing my low B (I use a .130).  It feels tighter to play and subsequently has more controlled fret slap/rattle if I string it through the body, but E upwards all seem to feel better top loaded.  If I top load my B I find it harder to control the fret slap/rattle.  I do like a little bit of controlled fret slap/rattle as it helps cut against heavy guitars, but for cleaner stuff I'd set it up differently with more clearance.  I also found shimming and increasing the break angle at the bridge changed the feel too, I'm using a small shim made from a business card.  My personal preference is for a bolt on neck for these reasons.

A longer scale length will help the B sound more clear, and if you search YouTube for Dingwall basses you'll find plenty of fanned fret videos with longer scale lengths on the lower strings to hear how that sounds.  If you aren't going to make a fanned fret bass then 35" is a common scale length for a 5 string and could be applied to a 4 string.  I had a cheaper Peavey 5 string with 35" scale and found it to work well for the low B, but with the right setup a 34" low B can still sound really good.

fretmeister

Construction is all.

My 34 scale Marleaux sounds better on the low B than my Dingwall did at 37 scale.

Winny_Pooh

Just build a Lakland 44-94, it's got almost everything you need from a 4 string unless you specifically want a P bass pup in the middle. 

Roland

fretmeister said:

Construction is all.

Which aspects? I'm thinking the neck should be laminated for stiffness. What else?