Terry M.

Agree. I use Superbrights and wonder why they're called that. Interesting what you say about the Hi Beam comparison as I personally found Superbrights more flexible and easier to push about. As I'm sure you already know they have a hex core but it's super thin. Did you use a like for like gauge on each brand? I use 40-120 on them.

Almost wide enough to accommodate a light aircraft landing on it 😂

It's like a very pronounced stand-off between sellers and buyers but someone has to give in eventually. I think the lower end of the market is experiencing a golden age with regards to pound for pound performance which might not be helping matters.

Still try one sometime even if to make a distinction between the fatter necks and the current slimmer ones. You clearly aren't short of a bass or two 😊 You would hate my Warwicks. Not only are they from the baseball bat era they are 5 string Broadnecks. SUPER wide!!!

Try a post 2009 example and it might be that you worked your way "up" to a Warwick 😉

This is very true. I think the "baseball bat" era necks were from 2000 to 2009 roughly. Ironically these are my favourite Warwick necks and I always look for used examples from this era. I have two and they're keepers.

I don't disagree with this at all. I just feel sometimes like there's maybe a bit too much focus on it based on actual real life playing. There is definitely a place for it however.

That is true indeed but for me at least the notes I do play always ring long enough for the song. I've never really required more length to notes than is needed and muting is a big part of my playing style.

I often wonder why sustain is so important to us bassists sometimes. How long do our notes really ring out for in the average song.

I've literally just left there. I didn't play any Sandbergs though 😊 Would love a Sadowsky one day based on what I've played in stores in the past including Guitar Guitar Epsom.

Totally agree on the looks and feel aspect but it's the sound aspect I'm not too sure about. Especially when preamps are involved as they all colour the sound differently. Not to mention amplification with different sized drivers,tweeters etc. Ironically I'm a huge Warwick fan 😊

I have to admit to not fully understanding this as the instrument was designed to be plugged in. I've heard it said before however and I'm not suggesting there's nothing to it. Just my understanding.

In my experience of both owning them and playing them in stores I can say that sometimes I experience a feeling of sterility. They are clearly well engineered but sometimes weirdly that can lead to a disconnection. This is only my opinion of course.

That makes sense to me. I've picked up many an "amazing" bass in stores with shoddy setups and couldn't put them back on the wall fast enough 👍

In my experience a bass that feels uninspiring to noodle on will feel that way regardless of being amped or not. What do you feel was missing or was it just the general vibe?

Wait till you play one of the German made ones. There's a Sandberg Appreciation Society thread on here started in 2018 by GisserD and still going strong 😉

I thought the Am Pro ii also had graphite rods.

That butterscotch colour though 🤤

https://www.fairdealmusic.co.uk/collections/bass-guitars/products/fender-jazz-bass-v-with-s-1-switch-in-sunburst-used I literally tried this bass from this Birmingham based retailer and I tell you this, when I activated the S-1 switch I almost bought it on the spot the series sound that came from it. I'm still thinking about it.

I literally bought two of these yesterday...from my Local Tesco Express!!! Spooky 😂 My wife bought me one of those bike multi-tool units from Decathlon of all places. It literally lives in my gig bag. It covers most eventualities I think.

I agree the wheel is very accessible as I've have Musicman basses in the past. So it's more of a convenience thing rather than being intrinsically better or worse? As long as the truss rod isn't frozen and moves freely in both directions as well as (hopefully) the infrequency of adjustments needed I personally don't really have a preference. The bullet adjustment at the top on some 70s and 70s Fender reissues wasn't too shabby I don't think. Thanks to IKEA I'm drowning in Allen keys.

Oh that is odd that the S-1 is now active/passive. You're referring to the American Series as it was called. The series/parallel on a Jazz was very useful. If one didn't like it then simply don't activate it. Nothing was lost.

As suggested look into lower tension strings.TI Jazz Flats are easier to push around but they're not cheap and may or may not suit you tonally. Just a suggestion.

Lower the action and alter your technique to accommodate (lighter touch) if not done already?

Just to help cure my genuine ignorance can I ask what is it in particular about the truss rod adjustment being down at the heel of the neck rather than up by the headstock that makes it more desirable? My Warwicks have them up by the headstock and I've never given it a second thought. What have I missed with this? I once had a Fender Classic 70s Jazz Bass that had the bullet truss rod adjustment up at the headstock and my tech when he set it up was wondering why Fender moved it as it was so accessible. The brand Alusonic seem to also have the adjustment at the headstock end along with Ken Smith. I know there are more.