Hellzero

If you make a total copper shielding with each parts interconnected and the whole to the ground, you'll be amazed by the silence of the original single coils pickups and the loss of the typical Fender buzzing when not touching the strings. People buying my basses are always amazed by their silence, but it's really simple to achieve.

Calling @Bassassin !

You must be... 😉

This brass (or sometimes copper on the reissues) strip must be soldered to the brass (never copper) plate of the bridge pickup as it's the grounding of the bridge. Check if there's a grounding wire under the bridge if you want to remove it as it might be purely aesthetic. That said, it wasn't centered on the original pre 1962 Jazz Basses as it needed to run between the screws of the damping system, so I guess this one is an add-on to look like the original. It was abandoned when Fender started putting 3 separate knobs (volume, volume, tone) instead of the 2 stacked knobs (volume, tone for each pickup) of the early Jazz Basses.

@BELA, here's a good way to check if your pickups are too close to the strings and therefore attracting them so much they will generate false harmonics as the issue you describe. Simply press your string at the last fret on the treble side and check the gap (distance) between the bottom of the string and the top of the pole piece and then repeat on the bass side. For such a pickup, I would recommend 2.5 mm on the treble side and 3 mm on the bass side for the bridge pickup. For the neck pickup, start with 3 mm on the treble side and 3.5 mm on the bass side, so both pickups will have balanced outputs. If the neck pickup is really close to the ... neck, go for 3.5 to 4 mm. Use Allen keys (as they come in these exact dimensions) to check the gap, it's fast, easy and accurate.

If you open an original Trace Elliot, you'll find a sticker with the date on it. As easy as this.

When music sucks, you've got to find a way to attract the fools...

Vendu means sold. 😉

Maybe a Steinberger-like headless bass could be of some help as thanks to the design the lower notes are more easily reachable. That's a problem a luthier who is interested in challenges might want to give a (successful) try, but those able to achieve that peculiar goal are quite rare.

There's a Vigier Passion II for sale at a very decent price (some may say cheap) in Germany : https://www.bassic.de/kleinanzeigen/vigier-passion-2-4-saiter.23562/

Don't try unlined fretless guys... 😉

Maybe it's a mistake too. 🤪

That's why my wife offered me the Le Fay as I've always wanted a sixer fretless with a metal fingerboard. Lucky man I am, I know. 😉

The first generation Delta Metal fretless basses were "lined". 😉

Wow wow wow, an original Delta Metal fretless, that's quite rare. I've owned a few Vigier with this Delta Metal fingerboard and they sound really great. That said I'm delighted by my Le Fay Remington Steele 6 RHT CC CAP Big Block (what a name 🤣 ) that is a 6 strings fretless with a stainless steel fingerboard.

That said, they are not Wood & Tronics anymore, but Pasini, even if they are the same. Don't know why he changed his brand name to his own name.

I'll be back.

There are some round wound 0.018 or 0.020 F strings made by Pyramid, Newtone and Dean Markley, for instance. 😉

Indeed, some awful plastic badly glued...

It's not new...

Theoretically a power amp should not have any volume or gain control... So put it full on when there is one and use your preamp master volume.

Here is the full explanation : It was well documented that the first versions of the Streamer were near exact copies of the NS-Bass. The Spector NS-Bass was designed by Ned Steinberger for Stuart Spector in 1977, five years before Warwick was formed. In the May 2012 article titled "Meet Your Maker: Hans Peter Wilfer of Warwick", an interview with Warwick founder and CEO in Bass Player, the following history is given explaining Wilfer's decision to make copies of the highly sought-after Spector NS-Bass: "'We didn’t see any reason to build Fender copycats, which players could get easily and cheaply from Asia, so we decided to focus only on high-end, innovative instruments.' In the mid ’80s, the Spector NS was tracking well in the U.S., but these basses proved hard to come by in Europe. H.P. saw that problem as a potential solution for the direction of his company and took up the task of designing his own version of this popular, ergonomically friendly instrument. That venture resulted in Warwick’s first widely successful instrument: the Streamer Stage I."[2] At the annual Musikmesse Show (Frankfurt, Germany) in 1985, Stuart Spector became aware that a new German-based company was producing exact copies of his now famous NS-Bass. Spector, along with Ned Steinberger, confronted Hans Wilfer and he agreed to pay a licensing fee to both Spector Guitars and Ned Steinberger in return for being able to continue to produce the Streamer without legal action.[3] Shortly after this agreement was reached, Spector was sold to Kramer Guitars. The new owners had no interest in pursuing Warwick to enforce the licensing agreement and Warwick continued to make the Streamer without any consequence. In 1990, Kramer became insolvent and filed for bankruptcy. In the wake of their financial failure, Stuart Spector formed Stuart Spector Design, LTD. in 1992. In 1997 after a lengthy court battle, Stuart Spector was awarded the trademark and copyrights to Spector and threatened to sue Warwick to enforce the 1985 license agreement.[3] The pending litigation was eventually dropped because Warwick had changed the Streamer design and it was no longer an exact copy of the NS-Bass. In time, Warwick has evolved the design of the Streamer while Spector has sought to preserve the classic elements of the NS-Bass. Since 1984 very little has changed regarding the design, electronics and hardware of the Spector NS-Bass, whereas the Warwick Streamer has evolved into its own unique guitar and can no longer be considered a "copy" of the Spector,[according to whom?] although it still has some of the general shape of the original. This was from PJ Rubal's email, National Product Manager and Artist Relations for Spector. "The truth is that Ned designed the NS curved body shape for Spector in March 1977. This was Ned’s first musical instrument design, and an instant hit. Warwick came on to the scene in 1984 with their Streamer bass, a different version of the now very popular Spector NS. When approached by Spector, Warwick did agree to and did pay royalties (for a while) to Spector for their error. Stuart sold Spector to Kramer after that. Warwick stopped paying, Kramer chose not to pursue them."[4] 2. Taylor, Rod (9 May 2012). "Meet Your Maker: Hans-Peter Wilfer of Warwick". Bass Player. Retrieved 29 May 2018. 3. Spector, Stuart (June 1997). "Body Snatchers". Bass Player (June 1997): Letters to the Editor Pg. 2. 4. "Spector NS body shape and Warwick - What´s the bottom line?". 2004. Retrieved 29 May 2018.

The Wilkinson pickups are absolutely not original like the Zippo lighter-thumb rest or whatever it is.