If at any time this Tobias bass malfunctions as a result of faults materials or workmanship, Tobias will repair the defect(s) or replace the instrument, as it deems appropriate at its sole discretion. Not that I have to sell it, mind you.The new Tobias bass is guaranteed against defects in parts or workmanship for the life of the original retail purchaser, subject to the limitations contained in this warranty. I am open to sell this bass if someone comes around with a serious offer. This bass has sealed my respect for Michael Tobias' work. In fact, for finger style I just love it and it's one of those rare instruments which allows the player to access frets from 20th to 24th really comfortably, including on the B string. If instead the preferred slapping style is with the neck at an angle, then this bass is spectacular in its balance and ergonomics. For slapping I prefer a 21 or 22 frets board with a body layout that pushes the neck slightly forward. To be fair, this is an inherent problem I have when slapping with any 24 frets basses except a Steinberger. I don't, to me it produces unwanted harmonics. Many bass players actually like to hammer on the fingerboard. At this angle the 24th fret gets in the way. I tend to slap with my thumb perpendicular to the strings and the neck positioned horizontally. I cannot find fault with this bass except perhaps that, it isn't the best bass for my slapping style. Yet, this attention to details just shows how much love and expertise had been put into it. Lets not forget, this was 1992 and this bass' price wasn't exactly at Alembic level. Even just visually this is a far cry from the chunky squarish heels of most basses of the time - and today's. The neck joint is shaped in an almost heel-less fashion. The scarfed headstock joint at the back is more pronounced than those on most basses and is so beautifully sculpted that your thumb can gradually tell you when it's approaching the headstock. Īgain, one cannot help but notice how all these details converge into a bass that makes inspired simplicity its style statement. This is a high end craftsmanship solution. The angle naturally holds the strings down without any need for the usual metal bar just above the nut. The head stock is set between a thin neck and a fairly thick fingerboard for a very strong joint.
The MOP inlay of the intricate logo and the stark contrast with the black glossy headstock cover is a very tasteful touch. A toggle activates/deactivates the EQ.Ī few details are really a joy to look at. A little EQ goes a long way without changing the voice of the instrument. Bartolini PU and EQ are exemplary in their simplicity and effectiveness - V/B/bass/mid/treble. Dialing in a bit more of the bridge PU produces a sound that is beautifully nasal, perfect for soloing. I particularly like the way mids cut through.
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