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I've often wondered, thought it been stolen. Today the question was answered; Steve Jansen has it in safekeeping. This kind of makes me happy.

My bass collection Jan 2020. A few in and out last year.. most bases coverd now

Hi all. I just acquired this from one of our friends here on the site and it was originally built by @the brig, since modified a few times It is based on a 1954 Precision model with the belly carve. It's not a replica as it has updated elements, but I think it really captures the clean aesthetic of the early P-Bass. You typically see early P basses in sunburst and butterscotch blonde, but I think it looks terrific in white / off white. Warmoth body (ash?) and Mighty Mite neck with a Jazz-type profile where the nut width is 38mm not 42mm medium thick. I think 9.5 radius and medium /or /j frets I think. Full size open backed tuners. Neck has a vintage stain Tru-oil type finish to a light gloss/satin sheen. Body is a light gloss water based poly finish. Seymour Duncan debadged single coil quarter pounder with CTS 250 pots, and a 0.047 cap. Warmoth Bakelite type material scratch plate. High mass through body string bridge that can also top bridge string through. Weight is approx 8.25lbs it's perfectly balanced and feels light. It's got a big thunk and clunk but rolling back the volume and tone it is subtle. I might get a white guard for it too.. or a tort - or both for a look change once in a while. If you have something similar I'd be interested as to whether you have a noise cancelling pickup and what it is. I'm using a Boss NS2 as a gate. I'm a Telecaster fan and have built many so I love this design as it is so complementary and am used to single coils.. Took so photos yesterday so thought I'd share them.

I have true contender. The Beehive Pub near West Bromwich. It’s basically a time machine. An old stove burner, which had old table legs and heaps of pallet timber ready to burn. A back room that hasn’t been used since 1984. Several rusting cars out side. To cap it off, everyone in the place was smoking. Including the kids. There was also a women dressed as pikachu. cant wait to go back.

A friend of mine from waaaay back in the 80`s bought an Overwater brand new, his pride and joy so much so he wouldn`t let anyone else play it, now jump forward about 36 years to last week and I got a message on Facebook asking me if I was who I am off said mate bearing in mind we`ve not seen each other for the 36 years, first question I asked him, do you still have the Overwater......`yes do you want to buy it!` So in less than a week of being reunited I now have the Overwater Original, one owner from new in my sweaty hands. Its in pretty decent shape as well considering he was in a punk band back in the day, a little tweak of the truss rod and it`s good to go, I`ll put some new strings on when I get the ones I won off the SIT facebook page when they eventually turn up but it sounds massive! I`ll get more pics up soon as it`s too bloody long for my phone camera to capture in one go! Anyway without further ado here it is.

USA 60th Anniversary limited Edition Precision and my 1977.

My collection as it stands. I think the Pedulla will probably go on sale soon and make way for a Status, Zon or similar. It's fantastic but of my 3 PJ basses, it gets the least playtime.

you're reacting well to your band leader suggesting you all switch to IEM and not amps... which stage are you at now? denial?

I've just watched this on YouTube and thought I'd share. Really quite interesting and some useful information, but mainly just enjoyable and the sound they got in the end was almost bang on, if being critical it still sounded too clear and modern/hi-fi but maybe that's just unavoidable with today's digital way of recording and consuming music, computers rather than tape/vinyl. 🙂

This was what greeted us after a 5 hour drive through 4 different countries across the flattest landscape I've ever seen. No hills for 5 hours, not a single one...

I won’t tell anyone if you want my black sparkle precision lyte 🤫😂

Tonally the difference is pretty much as you'd expect. Th A.P. has a lot more variety and blending the 2 pickups is producing some lovely results. I usually leave the tone on passive basses full on but just taking the edge off, with minimal tone reduction, again produces some very useable tones. The Vintera has a more traditional Mustang tone, which is again, as you'd expect, like a short scale Precision. Not quite as much thump as a P but nice and round, with a good middle presence. The bag with the A.P. is no better than the Vintera, IMO. Fortunately the shop gave me a great MarkBass gigbag, gratis. And I already had a decent gigbag at home for the Vintera. I would have gone for the JMJ over the Vintera but I hate relicing and TBH I'm very chuffed with the Vintera, although the A.P. is a definite step up in quality. I slightly prefer the A.P's Yosemite Split Single-Coil, over the Vintera's Vintage-Style '60s Split Single-Coil but that's my taste. They both sound great to my ears.

I acquired this instrument over the weekend and ive had a good play. Ive wanted one of these for quite a while and it doesn't disappoint. A small review... The bass has a swamp ash body with a fancy cherry burst quilt top with an insane birdseye maple fretboard. Early Bartolini pickups. There are some really nice details like sunken Hipshot tuners. The control cavity screws have brass ferrules to screw them in too. The fit of the neck and pickup routing is just beautifully done.. Everything is in order when it comes to fit and finish. These basses are well known for there necks, I will say its a little different from 55-02/01. A little slimmer profile wise... Its a quarter sawn neck (I have no idea what this means tbh) so feels a little different to any other Lakland 5 string neck ive played. Its an unfinished neck with a little oil maybe.? Graphite rods for stability. Im not sure how they have shaped this neck but seriously its THE best neck of any 5 string ive ever played. All the hype about Lakland USA necks are very true . You just don't notice your playing a 35" scale 5 string bass. Its just so easy to play. They have even angled the string retainer as to accommodate the break angle of the B string. Lakland back then didn't use Plek technology. All the fret work was done by hand and it feels hand made, not a sharp edge anywhere. When playing it every note sings. The sound is great, with a pretty straight forward preamp. Ive always loved the MM Jazz pickup combo, it has real bite to it. When you dig in it has that nasty jazz bass growl. Its a really versatile bass. Amazing B string. It has been said before, blah blah this bass is amazing blah blah. But hands down this is the best bass I've ever played. Its difficult to explain what makes a bass great.But it just all round feels and sounds amazing. There is a reason why these early or current USA 55's are held in such high regard imo. Its a very well made/designed focussed instrument. Anyway enough of me talking stinky poo. Here is some porno.

Can't await to have the BB435 her. Looking to old Photos, I've found my BB's of the Past...

The Funk Brothers put in thousands of hours playing together, in the studio and on gigs. They supported Jamerson with his complex "issues" and when his confidence and ego reached a tipping point he burst out with his world shattering bass lines. Bob Babbitt was very good, Midnight Train To Georgia has a great bass tone, but take Babbitt away and you still have Motown, take Jamerson away and you just have another, albeit very good, recording label. Without Jamerson we'd just be taking about the songs and the singers, not the label. Babbitt, David Hood, Tommy Cogbill, Mike Leech, Duck Dunn, Carol Kaye are the cream of studio bass players but none of them changed bass playing. James Jamerson did, and made it look easy.

Rage

Thanks @Dood, that’s very kind 😊. Well, the whole of Jocee’s first album is my ‘71 P with La Bella 760FL’s: Then ‘Not Wrong’ & ‘Dancing In The Kitchen’ are my passive Lakland 44-94 P/J with the P solo’d and La Bella Gold Flats: Then ‘Illusive Love’ and ‘Counting’ were my Lakland 44-64 (60’s P) with a set of Labella 760FS: ‘Twenties’ from that EP is a Japanese Mustang bass with La Bella flats, so a similar vibe too. All recorded directly to a Focusrite interface into logic, the mixer then applied minimal compression and EQ’ing to suit each tracks mix, nothing that changed the character of the tone really. Cheers 🙂 Si

Have to disagree with you on ‘For Once In My Life’ - to me it drives the whole song, and what he played is just flawless. A real masterpiece of bass playing!

When Jamerson played busy bass lines they were so musical that the song was always enhanced, no matter how far he pushed the limit. He invented busy bass playing, but only used it where appropriate. He had perfect timing and a full knowledge of musical theory, and used it well. That's why the whole Motown organisation was queueing up to use him on everything. A lot of players who came after thought that busy playing was just throwing in a lot of notes. They were wrong. I don't know how you define underplaying. Less is always more in my book. Baby Love, Dancing in the Street and My Girl are still perfect examples of restrained bass playing that just makes those songs.

A Pointer sisters track from the 70's, featuring a fantastic bass part from James Jamerson. I guess this is from his LA period. This is nothing like his Motown tone, but sounds equally good IMO. Impeccable playing a fat punchy tone. I can't see why those producers didn't like him. Enjoy.

Love this one: https://www.ebay.co.uk/itm/Fender-bass-guitar-made-in-Japan-Jazz-Precision/362856357170?_trkparms=aid%3D111001%26algo%3DREC.SEED%26ao%3D1%26asc%3D20160908105057%26meid%3D51b100f29c4d4c10b3e35f2a08856732%26pid%3D100675%26rk%3D1%26rkt%3D15%26sd%3D362856357170%26itm%3D362856357170%26pmt%3D0%26noa%3D1%26pg%3D2380057&_trksid=p2380057.c100675.m4236&_trkparms=pageci%3A24f0672a-2ff1-11ea-9f9d-74dbd180ae39|parentrq%3A772b741d16f0a4e922668956ff94a0ee|iid%3A1 I have emailed the seller to inform that the bass is most likely an Ibanez Blazer or Roadster. Response: Would update the add to take on board new info.

Without doubt the most useful feature for me on my HX effects is the pitch shift, I’ve made separate pedal boards in standard E, Eb, D and C to cover the songs we do. It has saved me getting a 5 string and/or bringing multiple basses. It does a pretty good job and nobody in the band has complained about the sound, however on longer more sustained notes there is a slight warble sometimes - not really noticeable, but it does bug me a bit and there is a particular slower song where it is more obvious. There is only a low D a couple of times so I had the idea to set the pitch shift to momentary action rather than the default latch mode so I just press the footswitch when I need low D and most of the time I’m playing with it off. Just tried it and it worked well, so thought I’d share the tip!

Just looked this place up and now want a gig there!

I’ve just been offered a Sandberg for £750. I wasn’t even looking for one, but it’s sooo pretty. Argh.

GSH was a great songwriter, lyricist and singer.

In the same situation myself... it’s impossible 😐 Between hacking coughs this weekend I’ve purchased a baby sumo and Fishman platinum pro to accompany it... 🤦‍♂️ ...In a pitiful attempt at justification my setup is now a single carry though, with a One10 in each hand and my amp bits in the gigbag (utilising the mono tick). Hopefully I’m better next week as I cant even spuriously justify anything else 😕

Measure it so there’s about 7 or 8 centimetres past the tuner, make a bend in the string, then cut about a centimetre past that. The bent bit goes into the tuner. You only really need a couple or three wraps around the tuner.

I always cut strings to measure, no matter what type they are. Low Bs and Es are almost always too thick/long for their tuning pegs otherwise.

I tried discussing this on a different thread but I didn't express myself very well. I entirely agree that any music has merit and we can appreciate and learn from any musician. However, as music lovers, and people for whom music can provoke a powerful, passionate response, I firmly believe it is much more difficult to truly appreciate the work of a bass player if the music he is a part of is so far from what you enjoy. If I can't stand a song I will necessarily struggle to enjoy any part of it. Maybe in isolation the bass part may be wonderful, but bass is a complimentary instrument, it doesn't work on its own. So to listen to it in context while grinding my teeth and with clenched fists, it would be so much harder to appreciate.

I’m on a wobble already.

Anything is if you have the right ingredients. They could all properly play.

I remember that bs. He's the guy who made me realise I don't need a compressor on stage. And I've never looked back, or sounded better since.

Exhibits in Tokyo's Museum of Modern Art. Designed by Kio Ohkawa,built by Wishnevsky. A few of them appeared on Japanese TV.

1954 Precision tribute build by the brig with later mods

It looks like I may be out, trades on a couple of bits in the pipeline . Im not actually spending cash but rules are rules. I will confirm once the dirty deed is done. Oh and Sandbergs are lovely basses 🤘

Your version of Kiss seems pretty exciting.

Can’t get enough of this lot...

I did a couple of gigs backing PJ Proby some years ago. An utter and irredeemable cockwomble of the highest order.

‘Think’? Don”t let me down buddy... the fact that you’re not selling it, and that I’m currently happy with just my Ray has absolutely nothing to do with it 🤣

We were asked to play at an outdoor charity event a couple of summers back. The organiser was genuinely surprised that we would need electricity. 🤦🏻‍♂️

It's not the digital aspect at all, that's a huge myth.

Just a suggestion, but maybe if you work on fingering the G string you'll be allowed to plug yourself in.

A couple of my toys - a 5 string spitfire and 4 rumour with full led light display - can’t praise these masterpieces from Bernie enough- just need a fretless and will be a very happy boy !