I see a lot of hate out there for single cutaway basses, like the Les Paul, but I've never understood why so many bassists seem to think that double cutaway is what "should be." If the bass is comfortable and allows easy access to the last fret on the G string (or C is you're a six-string player) -- and if you ever play that high -- what the problem? Any opinions?

The booteek SC's tend to avoid
the "Les Paul Problem", due to
their extended upper body along
the neck.

But if you compare a LP-type SC
to a Fender-type DC, the longer
top horn of the Fender puts the
strap button much closer to the
headstock, for better balance.
Not only does it balance better
but its 'strap hang' gets shifted
a bit to the the player's right,
which reduces left arm stretch,
especially for those of us who
still play mostly in the "money
zone" of the neck.

Prevailing logic is that the upper horn strap button should come in around the 12th fret for ultimate balance. Of course that can't happen on a bass where the neck joins the body at fret 17. I tried a Les Paul recording bass once and just didn't care for it. Some of the Fodera basses take singlecut to the extreme, with a body that has no upper horn but still joins the neck at fret 12, but has 27 frets with a deep cutaway on the bottom. I can't envision how your left thumb works with that setup above fret 12. Maybe someday I'll find one to try.

I actually don't think it NEEDS to be either way on this, but after playing (Pittsburgh native) Paul Thompson's Fodera, I have a strong opinion toward the giant single cut. I think they're absolutely great, and I had no trouble with my thumb in the upper register or with balance or stretching in the lower registers. And the giant top bout is a great place for your right thumb when tapping, for those of you who do. Personally, I don't see any problems with it. I'm also partial to neck-through basses.

But the Fodera just LOOKS wrong! (he said, adopting his old codger voice.)

Does that make me a liberal bassist? Ew.

A liberal bassist is someone who takes the notes in the song and applies them liberally. I like to think of myself as a conservative bassist.

Guess I'm downright reactionary ....

and stingy.

Hmm...I suppose I'll just have to be a Jedi Knight, then. That okay with everyone? I mean, being able to sense a modulation before it happens? That would make jazz SO much easier.

Edit: It would also, after some thought, make bassists and pianists (who LOVE their substitutions and key changes), a heck of a lot more amicable on a gig.

Pianist left hand+bassist=hate.