Again, I'd chalk it up to construction- Long scale, neck through mahogany, solid body, pickup placement all add up to a closer fit to the sound than a hollow body with the pickup mounted closer to the neck- which is what I assume is a lot of Wyman's earlier sound. If you've seen my "Muting" thread, you'll see I'm having a difficult time getting any of my basses to get a similar sound to Bill Wyman's sound- While my EB-0, in it's stock form would probably do a better job, the Thunderbird is still too "ringy" and the Jazz and the G&L don't work at all for it. The Univox Badazz guitar (U1820) and bass (U1820B) were copies of the Guild S-100. I'd actually love to try an H-22- especially now that I'm doing a Rolling Stones type thing. I'm not implying that the EB-2 and the H-22 sound the same, but they're closer for comparison than an H-22 to any solid body Fender style bass. I owned a 1968 Gibson EB-2 for several years, and it never gave me anything remotely close to a usable bass sound for what I was looking for. It was actually a great playing bass, rather similar to the Precision in feel and sound, but was probably just too expensive compared to an actual Fender and consequently sold poorly. It was the Vox equivalent to the Fender Precision bass, and was one of the most expensive Vox guitars produced. A hollow or semi-hollow bass with a set neck and the pickup located close to the neck is going to sound distinctively different than an ash or alder solidbody bass with the pickups located closer to the bridge and a bolted on maple neck. The Symphonic bass was built in the UK, by Vox parent company JMI. Just going by the H-22's basic construction- it's not going to sound anything like a Fender style bass. What I meant was I think we're both looking for different things when it comes to good tone.
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