Every player is different, different ears, different expectations, different experience(s).
But I'd say what I always say: These things aren't for everyone. They can be demanding and unforgiving, and frankly, the whole world is full of lowest common demominator choices which are usually the 'default' setting for most people. And most players are not savvy technically, so it's no wonder on complex stages, serious FOH and monitor facilities, and the pressure of touring, lots of players and the tour sound contractors are more prone to say 'grab the Fender', give the bass player his usual 10-second stab at sound check: It's what they're familiar with.
Unreliable (too many knobs !) and too delicate (where's that funny cable?) I think are just bogus. 'Too different' for the player, the guitar tech, and the sound crew, when there's no incentive to rock the boat is how I'd see it.
And it's pecking order as well: Modern tours are packed with complex digital and computer-controlled devices, none of which are called unreliable and too delicate. They have to work, regardless. But by the time the sweat factor is exhausted by all the various problem children, nobody is going to spend much time on any problems the sidemen are having, who basically better NOT have any problems, including the bassist . . .
J o e y
