MrWalker

I have also one of these underway from Thomann. It's intended for my granddaughter at 6, but I am also interested in testing out for my own pleasure (of course). The color of Burgundy Mist should be perfect for a young girl, but it doesn't really look out of place for adults, either?! In case she doesn't pick up bass eventually, I will probably more than likely keep it myself *hehe* I bet you didn't see that coming.....?!

This one could be an alternative, it's got a bolt-on neck that could be adjusted with the machine screws and inserts https://www.thomannmusic.no/hoefner_shorty_bass_white.htm https://www.montysguitars.com/collections/department-of-component/products/montys-neck-bolt-insert-kit

Slightly off on the answer, since you're looking for HBs... but for travel, I'd choose something that's smaller and more compact. The ideal would be a headless with a detachable neck, but not sure they have them for that cheap. The Spirit by Steinberger is headless and not too expensive, but cannot be folded. Point is, if you get a headless with a bolt-on neck, you could replace the neck bolts with machine screws with inserts (from Monty guitars), which would make an easily removable neck that would not be destroyed by multiple detachments 🙂

First of all, congratulations!!! 🙂 Glad to hear that it works for you! Makes sense on the way you want to use it! Is there dedicated eq for the piezo side of the bass? I remember the first version of the bass, there was a tiny jazz pickup in the bridge position for the fretless strings. I liked that. Agree with Lfalex, no picture no bass! 😄 Please share! Looking forward to hearing how you get on with the bass in the longer run.

I owned the original Ashula for a while, and I see they have improved a lot of the shortcomings that I found in the instrument. First of all, they now split the fingerboard, so the fretless part of the fingerboard is level with the top of the frets. On the original model, it was the same fingerboard across, which made a huge difference in level. Either you had to lower the fretless strings a lot, which made the bass feel a bit uneven across the strings, or you had to keep the fretless part with sky high action, which also felt uneven. I also like the fact that they moved the fretless part to the top of the neck, which makes sense as we tend to rely a little more on visual reference on fretless for intonation purposes. And they also increased the number of fretless strings, which makes the bass more accessible for fretless playing. The reason I haven't purchased the new bass is based on my experience with 7-string basses with wide necks. It makes it hard to comfortably play the upper registry on the lower strings. On a normal bass where the strings are tuned higher as you move across towards the treble side, this isn't much of a problem, as you tend to move diagonally on the fingerboard. The higher you get in the registry, the more you lean towards the treble side up the neck, and vice versa for lower notes. On this bass, however, to play in the upper registry of the fretless part, you need to cross four strings on the fingerboard to get there. Also, already being a 6-string player, the fact that the strings "start over" when you cross from fretless to fretted confused me. I wanted them to work as a regular 6-string, rather than having the doubling of strings. Of course I could have strung it as a normal 6-string (which I also did for a while), but that throws me off in a similar way... In essence, to me at least, a double neck fretted/fretless makes more sense. 🙂 But I'm curious to hear what others experience is 🙂

Actually I don't agree with you. 😊 It WAS a challenge. And great that you took the time to do it! Thanks! I think that the differences are subtle, but you covered the main genres of bass, so you made it a little easier that way. But all in all... The difference isn't THAT big.. It still sounds BASS! 😅 Thanks for taking the time to record it!

Not much response here! 🙂 These tests are usually quite hard, but I'll give it a shot.... with all danger of making a complete idiot of myself! 1: PJ-bass (E) 2: Westbury (B) 3: HB (D) 4: Stingray (A) 5: Jazz bass (C) The red herring... I thought that sample no 1 and 4 was similar, so I presume the red herring is the Westbury?! 🙂 For this recording, I thought sample 3 sounded the best.... which is maybe the Harley Benton B650?! But that's probably due to the "direct into the computer" recording 😉

I had one of those for a while, and I loved the neck profile, and I love the sound of it. I used it for several things and was very happy with it in total. The only thing I didn't like so much, was the noise issues when touching the metalic pickup, and the fact that the pickguard was extremely thin and flimsy, and moved when I turned the pots. So I was thinking about exchanging the pickguard, and exchanging the pickup to get rid of the noise issues and get a more solid feel of the bass. But in the end I found that selling it and getting something that feels right was better. But the neck profile was always a sweet memory, and I am happy to have found that again in my Stealth 6-string Have a lot of sweet memories of the Shark, though.

Excellent demo! It sounds very nice, especially for a cheap bass like that! Well played as well. And it looks sexy as well. You have to agree, as a check it's probably an excellent starting point 🙂 Thanks for demoing it! See, this is why I haven't really gotten into the fan fret business so far, because I have a lot of basses with great B-strings. So I haven't felt the need to tighten the low-end up. But now that I have everything else covered, and given the experience I have with my acoustic fan frets, I was just curious as to what the hype is all about... and eventually test it out for myself, one day. 🙂 And a Dingwall is definitely a little too high cost to use as a "test" 😉 Thanks for your input! hmm... makes me wonder... is multi-scale a solution to a problem that doesn't exist?! 😮

Thanks for sharing! 🙂 I'm just curious to test them out and see what benefits there are (if any). I have a couple fan fretted acoustic guitars, and on one of them I'm running alternate C6 tuning. The added string length helps a lot to keep the low C-string focused. I like it. On the other (which is an 8-string) I'm planning on adding bass strings on the lower strings to double as a bass guitar in addition to the acoustic 6-er. Project, projects.

Yes, strings are a big issue, of course... when you mention 33.8" to 36", is that for a multi-scale, or for a selection of basses with different scale lengths? I personally have a bunch of basses, and they range from 30" to 35", but I have no multi-scale basses, and no basses with longer scale length than 35" 🙂

They are still in business, it seems 🙂

True that 🙂 The multi-scale concept is introduced, presumably, to make the deeper strings sound better due to a longer vibrating string length. So that's what I referred to. If the string length is changed by a very low percentage, I would also presume that the sonic difference would be minimal. So when Dingwall varies from 34" on the G-string to 37" on the B-string, I would assume it makes a bigger sonic difference than on basses that make the G-string shorter to 33" and the B-string only sligthly longer to 34.5". Just assumptions. Is why I ask