Jonesy

Peach guitars can do it for you..... https://www.peachguitars.com/plek-your-guitar.htm It's an extra £200 when you buy something from them, no idea if that rate changes if you're just bringing your own bass in.

Just to throw another bass in the hat.........the Revelation RPB65 is about 200 new and less than half that 2nd hand as their resale value isn't so great

What's your budget for the budget P? A Squier will be easier to pick up, the Vintage Modified range is pretty decent and a step up from the Affinity series, but not as spenny as the Classic Vibes. How about a G&L SB2 Tribute? You could probably get one for 250-300 used, but they're not so common. The MFD pups are pretty hot, you get a chunky bridge, they're light as a feather and they balance really well too. The LB100 is a bit more of a trad P bass and can be had for the same sort of money too. Or, if you're looking chirpy cheap then Harley Benton is worth a go.

I've seen enough pics of you're Spandex clad heyday to put me off. Plus I'm not sure there's enough Spandex in the world to fit around my gut, despite its stretchy nature 😂

I shouldn't like this ESP, but I really do.....

Is there a straight Precision in the performer range, or are they all PJ's? If you're looking new at about the £1.2k mark then the Nate Mendel falls into that bracket, as does the LB100 and SB1 from G&L.

Yeah, but does it beat Cher playing every part?

Hope you used a proper bit of tone cardboard for the mute. You definitely need one with competition stripes to help you play faster too.

Really lovely, both of those look great and the wear to the 66 makes it look even better! Sounds like a pretty successful week in the ped household. I'm always tempted by those Squier Mustangs. My 10 month old daughter needs a year of birth bass.....

The Amber - originals, rockier britpop. Fell into this band as my bro was the bassist but was going travelling for the year, so I filled the gap. No idea Elijah Grew - originals, kind of like Bob Dylan if he was backed by The Coral. I think we liked the idea of a band having one person's name and that name having nothing to do with the people in the band. The Bullitts - Originals. Essentially The Amber, but with another guitarist and less keys. *flip Slurry - originals. Noisy punky grunge. We liked the word slurry but didn't know what else to put in there. Agreed on flip as a place holder, it stuck around. The Bearers of Bad Blues - blues covers band. We just liked the pun. *Silly forum swear filter. Starts with f, rhymes with duck

A bit over budget, but maybe a Peavey T40. You'd probably want to put some money aside for corrective shoulder surgery in the long run too. What was it about the MM you didn't gel with? How about something G&L flavoured? L2000 is supposed to be pretty versatile and can also run passive or the SB2 Tribute is like a PBass on steroids.

I guess you guys aren't ready for that yet........but your kids are gonna love it! There's only a few solo's I enjoy listening to and they're mostly played by John Entwistle. I just don't see the point of them and even I turn off when at a gig and the bass player starts to solo, so gawd knows what the average punter who doesn't love that bass thinks. Them and drum solo's are completely pointless, they're the quickest way to stop the audience dancing and enjoying the gig (unless you're playing to a prog crowd - in which case a good half hour drum solo is probably one of the high points in a 2 song, 5hr set). I always think if bassists/drummists want to show how good they are then they can do it throughout the set and just embellish their lines during guitar solo's (like Jack Bruce in Crossroads) or just play really really interesting, non repetitive lines (like JPJ in lemon song or Macca in I want you).

This ∆∆ I get on with Jazz's, but do find they can be lacking in depth and can sound a bit thin. I had Mr Ki0gon sort that out for me with a series/parallel push pull on the neck volume (and also a tone bypass on the tone) and I love it now. Thoroughly recommend!

There's no way it's intentional, it's just 2 poorly matched bits of wood that should have been a solid colour. Fingers crossed for the next one being ok though!!

Here's mine......I've left space for one more....

You must've had steel walls to support that T40!!!

It seems a lot of the Squier stuff isn't matched that we'll, even the models chosen for the Fender site don't look great. I kinda think most basses on the cheaper end where they're saving money on QC should just be solid colours.

Annoyingly, for me, yes. I've told myself I'm being stupid to even be bothered by a 2mm difference, especially when it only irks me on a handful of songs (lost woman by the yardbirds and rags and bones by nomeansno being 2 examples), but seeing as there's so many options out there nowadays then I may as well try and find an ideal neck 😊

Does anyone know of a P neck that doesn't widen out too much by the 12th fret? Seems a bit of an odd ask, but I don't seem to mind the nut width of most basses I play as long as it's fairly shallow front to back. However, I really notice the width as you start to get up the dusty end (serves me right for venturing up there, I guess). I think these measurements are about right (from memory) but anything 58mm or over at the 12th is a bit of a stretch, but 56mm is just fine. I had a MIJ PB70US, which was one of the nicest necks I've ever played (40mm at the nut), but widened to 58mm at the 12th and got really tricky. I now have a MIJ P with a J neck and that's lovely (38mm at the nut, 56mm at the 12th), but if there was a 40mm-42mm neck that didn't widen out then I reckon I'd be in heaven!

I think the 70s US reissue has an Ash body, so it could just be a mix up?

That's a cracking bass, really cool colour. I think the PB62 US models have an alder body? Just had a look at their site and they have some great looking basses. I love the Japanese reissues, every one I've ever played has been fantastic.

There isn't much difference in quality as far as I can tell. I'm sure someone who knows about Japanese guitars can tell us why the different terms are used. Some people say it's down to what factory the bass was built in, others that it's just down to different time periods. Either way, Made in Japan, Crafted in Japan and MADE IN JAPAN reissues are all really nice. There's a shop near me that sell loads of Japanese Fenders and I spent a while in there playing what they had in stock at the time. They were all really great basses imo and I couldn't see much (if any) difference.

I can't comment on that exact model, but I've had a couple of MIJ reissues and they're great basses. If you know you like a J then (personally) I'd be happy making that trip knowing that I was going to turn up and play a really nice bass. Do you know if it's a US model?

I think they were always supposed to have Rexbuckers? A mate was in Peach Music the other day and they said they always sell out of signature releases straight away. Collectors just gobble them up I guess. I think they also said they have one left in stock to sell, but only because they were in the process of fixing one of the pots so they could sell it. Crazy that Gibson let those leave the factory. I have a 2010 SG and had a 2019 LP DC, the fit and finish in those are great.

The challenge is the point of trying unlined! I don't generally look at what my left hand is doing, apart from a quick glance when moving over a lot of frets, but going unlined just seems like it'll take me out of my comfort zone. Despite it being lined and burst I'd love to give it a go. Can't find anywhere in the UK that has it in stock though and to order it would mean putting down a 20% non refundable/transferable deposit 😔 That Revelation looks great and I think is the front runner so far. The Gallery should have them in stock in the next few weeks so I'll pop in and give one a go. It looks more of an off/aged white than a bright Olympic white - is that just the light, or is it creamy in real life too?