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Or just buy a Squier and get on with playing.

I'm sure this has been posted before, but I hadn't seen it until today. I watch a fair bit of stuff on YouTube and it can get a bit full on, it's pretty rare I can sit and listen to someone talking for that long. Just seemed very genuine.

Here are the links to the latest transcriptions on Bilbo's Bass Bites Lunar Sea - Camel - https://bilbosbassbites.co.uk/lunar-sea-camel/ Aubade (melody) - Soft Machine - https://bilbosbassbites.co.uk/aubade-soft-machine/ The Flattery Stakes - Greenslade - https://bilbosbassbites.co.uk/the-flattery-stakes-greenslade/ Waltz For A Fallen Idol - Greenslade - https://bilbosbassbites.co.uk/waltz-for-a-fallen-idol-greenslade/ Catalan - Greenslade - https://bilbosbassbites.co.uk/catalan-greenslade/ In These Shoes - Kirsty Macoll - https://bilbosbassbites.co.uk/in-these-show-kirsty-maccoll/ Dark Eyed Tango - Al Dimeola - https://bilbosbassbites.co.uk/dark-eye-tango-al-dimeola/ Chasin 'The Voodoo - Al Dimeola - https://bilbosbassbites.co.uk/chasin-the-voodoo-al-dimeola/

Someone mentioned above that 1960 was the first year of the Jazz, which is correct, so that definitely puts a premium on the instrument. But there's a special point about 1960-61 Jazz Basses that makes them very desirable for collectors. In those first years, the Jazz was produced with 2 sets of stack knobs - ie. a volume and tone stacked into a single unit. If you look at the bass mentioned in the OP, you can see that it looks like there's only 2 knobs on the control plate, but on closer inspection, it's actually four controls - one stack (V/T) for each pickup. Starting 1962, the Jazz then changes to the 3 control setup that has been standard until today (ie. V/V/T). I can't remember the specific reason for the change, but vaguely, it was something to do with some sort of "bleeding" effect when you used each tone, so that it had an impact on the other pickup - maybe someone else can clarify that. So .... when you see these basses advertised, they'll often make a specific point of mentioning that it's a "Stack knob" Jazz. Year wise, they started in 1960, and ended late 1961. The thing with Fender that you have to remember, though, is that they always used every part that had been made, so you can often get a crossover of features that are associated with one year, but appear on a later year. For example - you might have a bass that has a neck stamped for 1965, and set of pickups for 1966, pots with 1965 stamps, and a serial number from 1966. If that was what was in front of the guy putting it together on that day, then that was what was used. From a collectable point of view, you then have the question - what year is that bass? The way it was explained to me, by a well-known vintage bass dealer that most people on here would know of, is that the part with the latest date on it designates the year. When you think about it, it makes sense - if a bass (or guitar) has a part on it that says 1966, then clearly the instrument wasn't completed before that date. But I'm sure that's a subject that would probably get debated extensively. There are other desirable features associated with those early Jazz basses, though. The serial number would be a "pre-L" - so preceding the L-Series. L-Series Fenders are very desirable because they preceded the CBS takeover, so "pre-L" numbers get people even more excited. I think L-Series starts around 1962, something like that. Also, the rosewood on the neck is a slab board. In 1962, Fender decides to start making a curved rosewood board, as opposed to a piece that was a flat bottom and a curved face. I've heard various reasons for this - one is that it was a cost-cutting method, another is that the slab board didn't stick to the maple neck very well. For whatever reason, this happened, and again, it's a desirable point for collectors. Rosewood boards on any Fenders only appeared around 1959 (I'm pretty sure that applies to guitars as well, but please correct me if I'm wrong), so these slab boards have a fairly short window of about 4 years, from 1959-1962. Most of this information is available on the internet, if you know where to look. However, there's a brilliant book by Black and Molinaro called "The Fender Bass - An Illustrated History" that I'd recommend reading. As for what I've written, this is all off the top of my head, so if there's any mistakes, please correct me.

It's all changed. . . . . . . . for the better. The average cabs are OK, but the good cabs are light years better. Today you can buy a 112 that is louder, has more punch, tone and projection than any 412 from back in the day and there are 212's that can take on 810's. It's a whole new world from when I started in the 60's. I'm just glad I'm still gigging and able to use modern bass gear. IMO I sound better now that at any other time. Buy 2 112's then you can decide how many cabs will fit the gig.

I thought it was a bit rude, personally

Try again - have set to “public” Guide Track https://drive.google.com/file/d/10_1QmHdobRZoWy4Svwt_1uU4rHiVCSH-/view?usp=drivesdk Maurizio’s take https://drive.google.com/file/d/1119a1s1P0r25zkLrTvjGczRk90TXz_Ci/view?usp=drivesdk

picture cos why not?

This little beauty arrived today!

....and my "NS5CRFM -TX" Tonepump Pre & single coil / humbucker option on each pickup.....

It's not just about investment, it's also about emotion and sentiment, of getting back in touch with (and possessing) part of your childhood and the dreams you had then. Why do you think YOB (even MOB) basses are such a thing! As a 12 year old a Fender was an impossible dream, hell a Satellite was a dream then (I dread to think what brand my first bass was). I'd sit and look at the ads in various magazine and those images and those dreams got into my DNA. There's no financial or even musical logic here - 90% of the vintage basses I've played are easily outclassed by modern instruments costing 80% less - just the curious logic of emotion.

Dubby Thursday with King Tubby.

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So update time (for @Richard R if no one else) So you might have noticed the "might sell this and get a Precision" vibe in the previous posts, to be honest that was what was on my mind for a while. I had got more or less used to the 5th string, was starting to change my playing style to suit it and was quite enjoying it. The bass though I was struggling with. It was like it had a eq on it with finger style where the low mids got massively boosted, and the high mids and some of the top end disappeared. I know these pickups are supposed to be 'dark', but theres something in that which should suit my playing style, not loose the definition. Interestingly pick and slap (neither of which I'm great at) sounded great. Very odd. I started looking at precision basses. While I did that the Lakland was sat beside me as I worked. Every so often I've been picking it up to play, and it plays amazingly. It just feels perfect. Unplugged I was liking the bass more and more. Experimenting I also found that if I cut the top end I liked the sound passive too (though it is low output). So the problem seemed to be the preamp... Way's to fix it #1: Turn the gain up inside... this meant that the high mids came back. Seems almost obvious! So this meant I could get it sounding good. BUT generally the treble control was fine, the bass control cut was fine, the boost made it flabby. And I was having problems with the mid control... any cut was fine but seemed to cut too much of it's musical tone, and any boost seemed to be what was needed but to my ears at least seemed to be adding loads of harmonic overtones and made the sound really "wide" Way's to fix it #2: I just stuck a East Uni Pre in it. I need to fiddle a bit more - but it sounds awesome. Why every preamp doesn't have a passive tone control as well I don't know!

My kids are the same age as yours (3 and 18 months) and I experienced the same. As well as music I work as a writer (which I enjoy), run, ride bikes and enjoy gardening. My wife an I co-parent, which essentially means we try and share childcare as much as is possible as she works too. I just had a realisation at some point that I can’t do everything I used to, but I can do something - so I make time every day to do one thing. That might be an hour long run, half an hour practice on DB or reading some short stories. My wife is learning Norwegian which is her escape. When you have kids there’s a tendency to give everything over to that endeavour, but it’s worth trying to keep as much of you intact because they’ll soon be doing their own thing.

I'm not going to agree or disagree with this, but if you look at where the collectable markets started with both Gibson and Fender, there's an argument that the original reason, which in both cases was a practical solution to a developing problem, no longer applies. With Fender, it was mentioned above that in the late 60s, players felt that the CBS instruments didn't match up to the instruments that had been produced while Leo Fender was still at the company, so some players started looking for older instruments. Ironically, the man we most associate with the Stratocaster, Jimi Hendrix, is mostly photographed using CBS era Fenders, so make of that what you will. Anyway, moving forward, the general opinion was that quality continued to drop during the 70s, so the earlier instruments became more and more desirable. With Gibson, it's similar, although not quite the same. Late 60s, various big name guitar players were attracted to the Les Pauls that had been discontinued in 1960, and especially so the sunburst models from 1958-1960. The guitars from that period had features such as the PAF pickups that became more and more desirable, and so a market arose from that. Moving into the 70s, it's a similar story to Fender, where the public felt that quality dropped, and players went after the earlier instruments. I do think that, these days, we're very fortunate in that it is possible to get very good instruments for very little money, which is why I don't think the original reason for the rise of a vintage market still applies. But the vintage market no longer represents a practical solution to a problem, as it did in the 60s and 70s. It's now become a collectable market, pure and simple, therefore things like playability are not a deciding factor on value.

Guy's back with a broken computer and the bass part to The Ballad of Jenny Ledge by Toy Matinee. A shorter video this time, due to his computer screwing up, so not as much chat as normal. Still great though...

Not got round to the neck yet, but I've sorted the control cover magnets and sorted the layout of the controls. This bass only has a small cavity so it can take a bit of organising!! The controls are going to be volume, tone, coil split and LEDs on/off. I've tried these in a dummy piece to see how they are, re-jigged it and ended up with this. With a bit of luck we'll have some decent weather this weekend and I'll get a couple of coats of lacquer on the body whilst get on with the neck.

He's doing better than me, and the vast majority of people denigrating his choice, if he has £22k to spare for a bass. Good luck to him/her.

@SkinnymanI've just had those Nord big singles off the classifieds, so I might end up going back to the cort for a while!

Thanks dmccombe7 I've never been a stand in the back by the drummer player. Blue

Interesting. The drums and bass kind of 'made more sense' when he was playing. I thinks that means he's a good fit!

Yeah he has a car and a Stratocaster without skulls 😂

This is Maurizio who contacted us via our website...I really like what he did with it, very “Mother’s Milk” - and he replied with his recording within 3 hours. https://drive.google.com/file/d/1119a1s1P0r25zkLrTvjGczRk90TXz_Ci/view?usp=drivesdk

Thanks very much!

Rehearsing increasing the risk of transmission, regardless of whether you're a professional or not - but it also allows the working musician to do what they need to do to earn a living, with all the benefits which come with that, both to the individual (does not starve/get evicted) and to society (tax revenue etc). So it's a balancing act between the increased risk vs increased benefit. In the case of the non-professional group, you have the same increased risk, but with no corresponding increase in benefit. (BTW I'm not judging anyone who does or doesn't choose to rehearse; like the OP I'm just trying to make sense of the guidelines as written.)

I play bass guitar in a concert band (brass/woodwind) and they are following this constantly with obvious interest. Although everyone wants to be safe, I think they are in consternation about the separation of "professionals" - as if someone being paid would be any less or more likely to transmit the disease? I'm not into the committee rubbish so am only on the fringes of it, so don't fully understand it all anyway. As a covid/ventilator survivor, I'm not in too much of a rush to get back to the dingy rehearsal hall anyway...

Saw on Facebook that Beverley Knight's outdoor "Drive in" gig has been cancelled. I hate to say it but I don't think gigs in earnest are gonna happen until Level 1 / Vaccine / C-19 magically disappears. That won't be until maybe middle of 2021 going on the way the UK is working through the threat levels (in my estimation). I had a WhatsApp discussion with the singer in one of my bands, and we agreed that C-19 is forcing people to think more creatively... By that, I mean people recording remotely and putting cover videos out, or maybe even going back to writing their own original material and putting that out into the world. It might be a leveller for all age groups to do this, and we may even get back to a stage where some really great and new material comes to the fore.

Touchy subject, huh?

Surely that's a cravat?

List of infractions Ms Dorsey incurred. - Serves the song? Pah! - Plays the model of bass the BL wants and doesn’t jack the gig in? - Needs lines on a fretless? - Learns the songs and Writes out charts in several keys “just in case”? - Works at getting as close a tone as the original bass recording? - Isn’t quite sure how active basses work? - Plays the clarinet? - Doesn’t really do slap???!!! Seryasslee who’d hire someone like that? Should’ve been me, I’d’ve shown Bowie/Kravitz my chops on whatever bass I want, so there nerr! Isn't she just fab 😠😤😡 yours, bitter of Bath.

Vintage Fenders are overpriced full stop. The only reason you buy one is to say you have a 'pre CBS' Fender. Wow... ladies dropping their knickers has we speak. They'll talk about the pickups being much more organic, the body wood being richer and denser, the neck being super playable... all stuff you can find on a modern P or J for under £2k, sometimes much less. 😴

I have a 1966 P as well, and I agree, it's a sensational bass. When I play it, it sounds exactly how I think a P should sound, and playing it brings out the Jamerson in me (albeit a very poor version of that! )

No these are rubbish, no clipping whatsoever.

We've been back rehearsing at our drummers studio now for a few weeks. Sanctioned by Dominic Cummings. 😂 Frank.

I hope you mean a first series 1982 large fender logo jv Squier

That's just showing off!

All 4 from the look of it.