Boodang

I don't find Eb on it's own too much of a problem but a Cm root ten double stop up there is not that comfortable and I do like double stops! (Aka Janek Gwizdala Chordal Harmony). Definitely also a tone thing... I think a set neck has a similar tone to a bolt on which is why I'm going that way with a new build so I get the best of both worlds, a jazz bass with better upper access.

I don't think it has to be expensive to not be a bolt on. I guess the neck joint is like a DB where the body/neck join is a position indication.

Also, and I know I'm dragging this out so bear with me, try playing a C minor root ten double stop at the 20th fret to see how comfortable your bass is at that point. In answer to those who say why would you do this anyway, it's because it sounds nice.

Janek Gwizdala's Chordal Harmony book!

Meant to say in the OP the reason for raising the neck joint thing and why I'm playing up that high... Janek Gwizdala's Chordal Harmony book! Now I've never been a bolt on fan and the exercises in this book definitely highlight the issues. My Sei is ideal and was designed for this sort of thing (5 string high C) and I'm sure Mr Fender never had this sort of playing in mind with his designs, but it would work well if upper access was easier. Hence a custom build in progress of a set neck jazz 4 string fretless with 24 'fret' access.

It's utter madness when I play my 5 string Sei which is strung high C and has a 24 fret neck. I have to admit it's not very James Jamerson when I'm playing up there!

Well, let's see.. your thumb is on the back of the neck (or wrapped over the E string if your name is Navarro), you play high up, your hand slides up to get to that 21st fret (in your dreams Fender!), your fingers get there but the thumb is left behind, blocked by a lumpy piece of wood called a neck joint. It's like playing in the thumb position on a DB!

Interestingly someone did a comparison (it's in YouTube somewhere I think) between two similar Ibanez SR models where one was bolt on, the other was a neck thru. The bolt on seemed to have less highs and more mids in comparison to the neck thru. Not conclusive or comprehensive by any means, but interesting.

Conservatory... best room in the house, always too hot or too cold.

I play double bass as well, so upper fingerboard access is not exactly a breeze.... at least not for me. Funny enough I enjoy the challenge of thumb position playing on the DB but when it comes to bass guitar I prefer a neck that's 'access all areas' which as there is not a huge acoustic body in the way shouldn't be difficult to achieve.

I think my point is, if you're going to make a guitar with a bolt on neck, why do it in such a way that makes upper fret access more awkward than playing elsewhere on the neck. For me, if there's frets there should be a neck behind them, not a neck joint. For me, the standard Fender type joint is quite a clumsy solution.

That's why I'm going for a set net with my latest build rather than a neck thru.

Good point! I guess Mr Fender thought nobody would be playing up the dusty end so why worry about doing a fancy joint!

Right there, Fender acknowledging there's an issue! Of course if you don't venture up the dusty end it's a bit academic!

I definitely feel as if the bolt on is getting in the way of my playing on a jazz. I'm playing with a different technique around the joint area (stretching over with my fingers and my thumb not under them on the neck, mostly because there isn't one at that point), compared to my neck thru where it's seamless.

Don't get me wrong, I own jazz basses and love them but in every case they would be better without that clumsy neck joint that stops your thumb around the 15th fret. I'm finally getting around to having a jazz made with a set neck (see build diaries) so upper fret access will not be a chore. But which would you prefer. This; Or this; My custom is a through neck and if there's fretboard then there's a neck behind it not a neck joint. When you go from this to a bass with a standard bolt on neck it really does feel clumsy, clunky and awkward. I'm sure there's a moduler cost saving element to it but this is a guitar not an ikea table and for me a bolt on is far from ideal. And how much is a Fender American standard? Maybe bolt on necks should just be banned!!!

A speeding ticket?!

Occasionally I get buyers send me their delivery address before payment, then after a few days and I haven't posted, they message to say they don't want it anymore. Not sure if they're ust chancing it or the reasons they give for canceling are genuine and they just got ahead of themselves. Still, the advert doesn't get changed to 'sold'until the cash is in. On the whole though, BC marketplace is a good place to buy/sell, everyone seems genuine and i only go ebay etc if I have to.

For the indie/metal bass you could always just cover it in stickers which would be way cheaper than a respray.

TC Electronic Spectradrive. Aux in, headphone, xlr, toneprint compressor and overdrive, and not a bad price s/h.

I've been listening to Miles Davis, Charlie Parker, John Coltrane etc for years and never encountered this problem.

So you could have had an Epiphone AND a Squier. It gets worse!

CALLOW... good word! & pup. Hmm, in terms of bass players I should of been aware of at the time... well, without being obscure, it's Eberhard Weber. Once I caught up with his playing it took me on a path where at least 50% of my playing is now EUB.

Well, no contest, Squier classic vibe 70's precision plus a set of strings it is!

Get cheaper glass and spend the difference on a bass!