HowieBass

Ooops, you did it again?

[quote name='dannybuoy' timestamp='1482509617' post='3201208'] This thread has some options: [url="http://basschat.co.uk/topic/191799-precision-in-natural/"]http://basschat.co.u...ion-in-natural/[/url] The amber Squier VM is actually pretty close to natural! [/quote] Yeah, the Squier VM is a nice bass for the money - I like mine a lot.

I liked the first one best; I've no way of guessing which bass it was!

I prefer Marta Altesa's bass playing

I like the look of this a lot - the maple board is gorgeous!

Another vote for an active instrument is that the signal is buffered so longer cables won't affect tone as they might with passive instruments. Some active basses use pickup selector switches and one volume. There are quite a few basses with active/passive options, some that just apply no tone EQ when in passive mode, others offer a master tone control (treble cut) in passive mode. A number of active basses have 3 band EQ and offer a choice of frequencies for the mids using mini-toggle switches. Time to go audition a few basses!

No point in brand loyalty if the brand doesn't deserve it - I've read on here that Fender quality control was much better these days but obviously not from what you're saying. The crazy thing is that the cheaper Squiers seem to be very consistent with the Classic Vibe series and also the Vintage Modified too mostly. Get a decent Precision pickup in the right place and what's on the headstock doesn't matter so much as long as it's well put together and has been properly set up.

Is it time to name and shame yet just to make sure no others on here are scammed by this individual?

As far as I can tell the OP's comment about the difference in bridge position between the two Squiers he possesses have only been made within Basschat and not to Thomann. His comment here was "I have compared my "not faulty" squier with another squier and the bridge is placed around 5mm closer to the bass body edge." which seems pretty clear to me (in that the faulty bass has the bridge too near the edge of the body). I sincerely hope he manages to get this matter sorted out because I certainly wouldn't be happy with an instrument with this problem.

I think you should apply for a grant from the Arts Council and become the official UK museum of Peavey basses!

I really like Trentemoller - Fixion but if I could nominate an EP it's Massive Attack - Ritual Spirit

Looking at where the saddles are with it in tune there's more than enough travel with the intonation screws to cope with it being used as a fretted/fretless instrument with the bridge positioned using the 'first' set of holes (those nearest the pickup) in my opinion. It looks like a botched job to me.

Whenever I see volutes being carved I always wonder how a luthier decides on the shape and size, particularly how large does it have to be to offer enough strength to the neck head transition and where must the 'peak' sit under (the nut?).

Great seeing how creative some of you clever BCers are!

If bought from new and it's got problems I think you're better off taking the bass back and see if you can swap it for something that's decent or get a refund.

You need to have a ground wire in contact with the underside of the bridge.

Have you tried any contact cleaner on the pots and the output jack socket yet?

[quote name='RhysP' timestamp='1481558395' post='3193272'] That's him, the pube headed bass player. [/quote] (Nigel Harrison) from Stockport. The man he replaced (Gary Valentine/Lachman) crossed the pond to come live in London from '96 onwards.

The Kills

If everything else regarding fit and finish is good and it plays well and sounds good then I say keep it. In any case isn't your right hand/arm going to be hiding that part of the bass when you're playing it - I mean, when will you actually be looking at that part of the bass when it's being played?

I'll not miss Robert Mugabe one little bit when he goes if this helps balance things out?

I don't know which I dislike more - Hatsune Miku or Babymetal... Now, when I was a kid, I'd have looked at something like this and said "Now THAT'S music of the future!" http://youtu.be/XziuEdpVUe0 Jerobeam Fenderson's oscilloscope music really fascinates me!

If the G# you're talking about is either G#1 or G#2 then I'd suspect either unrectified or rectified mains hum; well actually you'd be hearing a note between G and G# if it's mains hum: G1 = 49.0 G#1 = 51.9 G2 = 98.0 G#2 = 103.8 where G1 is the lowest G on the E string.

These old Japanese basses turn up on here from time to time and the usual answer is it'll be a retailer badged Silvertone/Teisco bass in the style of the British Burns company instruments. As for value, it's whatever somebody is prepared to pay for that instrument; it looks in good condition - does everything work (including truss rod) and does it play well? EDIT: Beaten to it! LOL

[quote name='Funky Dunky' timestamp='1480162048' post='3182098'] Yeah, what is meant by 'witness points', and what purpose do they serve? I've never heard that expression before either but if they provide any advantage, I want to start using them. [/quote] A witness point in a string is a slight kink where it passes over the saddle or nut, this is supposed to help define the speaking length of the string. I only do it where the strings break over the saddle and it's usually necessary with the thicker strings (the low B on my Curbow 5 really needs it). I believe there's an argument against creating a witness point at the nut because if you down tune then the witness point can create intonation problems.