rhythm quickly enough to feel sure-footed when playing with the drums, and I would feel completely comfortable playing the bass in any conceivable jazz setting, for this reason. Any pitch deviation on the bass track comes entirely from my own limitations in conception and technique, and the fact that I recorded the bass before the piano, rather than after it (where I could have used it as a reference). The attack and sustain envelopes of the bass are absolutely optimal for any type of playing I can conceive of, but are especially suited to the more modern lyrical/ articulate type of playing that I personally aspire to. For the rest, the sound clip should speak for itself. https://soundcloud.com/user-766402821/ nnick-lloyd-bass-review-trio/s-T3d5m Summary This is easily one of the best-playing, sounding, and best-constructed instruments I have ever laid hands on. Given my circumstances, I cannot afford an instrument in this price range, but if that were not the case, this instrument would easily put Lloyd in my “top three” instrument makers to approach when looking to have a new instrument built. The removable neck option and the way it is integrated into the design clearly and quickly at the attack. In short, in my experience, a jazz bass must be punchy and articulate for me to have a chance to play in tune. For this cut, I recorded the bass along with a drum loop live (not with headphones), then later overdubbed the piano part over the bass/drum track. In regard to the front end of the note, the bass responded like a true sports car corners – instantly and almost unnervingly responsive. I had absolutely no trouble both hearing and feeling the pitch and bass 43 gear are an incredibly compelling addition to an already top-shelf instrument. If you are looking at basses in this range of the market, don’t pass over Lloyd’s basses, or you may regret it when you later encounter one owned by someone else.