Steve Browning

The B profile is between a Jazz and the 'regular' Precision. I don't find them to be chunky (front to back) at all. The main reason I have these is to use them rather than the older basses (which are between 66 and 75). They are pretty much identical in terms of the neck size. I am surprised the maple board was wide. I have a Classic 50s which is a wide neck but that is what I would expect.

[attachment=251152:DSCN0188.JPG] The two reissues (with tort plates added) are the one on the far left and the 4th one along.

I don't think so. I have two (now) which are similar to B profile necks but I recently had an orange one that had a more 60s profile. My two are sunburst with a rosewood board. One (2006) is alder and the other (2010) is ash. Both are excellent basses.

I seem to remember seeing a video of Van Halen where Michael Anthony had a wall of Ampeg 8x10's which would have found favour with Donald Trump.

[quote name='smaz' timestamp='1502222856' post='3350123'] It's currently free, so it's in the calendar - can't promise nothing will come up before then, but if it doesn't I'll see you then! [/quote] Armed with that JV I trust?

The simple answer is buy the one you prefer (playing wise). If it's a toss up, get the 72 and enjoy spending the change. The pre-CBS era is the hallowed time, supposedly, but my 66 is far better (for me) than any of the earlier basses I have owned. The period 66 to 73/74 is, as far as I am concerned, the period to look at. Every bit as good as pre-CBS (body weight etc) but at far less cost.

[quote name='SICbass' timestamp='1501561802' post='3345492'] I've never understood the appeal of Rick's. I'd love to see this guy in a 15 round 'discussion' with John Hall. [/quote] Fixed.

[quote name='Thunderbird' timestamp='1501490921' post='3344921'] Peel it off its only a sticker [/quote] Is it? It always looked as though it was engraved into it. Rats, you've just cost me some money!!

[quote name='jacko' timestamp='1501489806' post='3344909'] To me, the big problem with the BBOT is the lack of a sideways locking method for the saddles. I used to dig in quite hard and I'd find the saddles would move side to side a fair bit. Surely not a good thing. Grooves to 'trap' the grub screws would have been a simple addition and would solve the problem. [/quote] That's always been the issue for me and why I use the Gotoh 203. I would prefer the 201 because it has more mass but I can't stand the fact the name is on it.

Kent Armstrong Vintage P - wonderful pickups and not as expensive as those you mention.

I have a set up for practicing/pc sound which is old but perfectly fine. USB from pc into M-Audio Fast Track (I said it was old) Output of Fast Track into stereo channel of small mixer Bass into channel of small mixer Output to (old) Yamaha hi-fi amp Speakers are ancient Audio Electronic Studio 10 monitors Job done and very inexpensive. Does the job perfectly and the mixer has a headphone output so I can use those if preferred. Not sure how 'modern' you need the various interfaces to be. No need for a dedicated bass amp that I can see.

I guess there a few here who wouldn't have wanted to stand next to Peter Green and play Albatross.

Let's hope Ted Nugent spends the royalties wisely.

There's something almost disturbing about that.

[quote name='casapete' timestamp='1500877308' post='3340681'] In the 90's I had a residency in a working men's club in Hull, 3 nights a week in a good band. Used my Ampeg SVT rig with 810 cab which was placed at the back of the stage, and gave a great sound. After about 3 years, I joined a pro function band, and so went to the club to take the rig down. On moving the amp from the cab, I saw that the rear panel (which was perforated metal to protect the valves) was almost entirely blocked/covered in a yellowy orange substance. This was pre smoking ban days of course, so the amp's fan had sucked in nicotine heavy air for 3 years, and still never missed a beat. Dread to think that my lungs had been doing the same too.... [/quote] Indeed. You only have to think of Roy Castle to have that illustrated pretty clearly.

Exactly what they said about Freddie Green in the Count Basie band. I would suspect they mean they don't to impose on the song. IMHO that is what made John Deacon's work in Queen so good. Not sure Victor Wooten would have held down that gig for long!

Loz bought a Precision from me. Plenty of communication and immediate payment when the deal was done. Had a very pleasant chat on the phone too. Excellent guy to deal with and have fun with that orange bass! Steve

I have the 3@1 SGoS. It's a brilliant little switcher that has trim pots on 2 of the 3 inputs.

I use a Lehle switcher which is a great bit of kit. I could route 3 basses through it and switch outputs between the amp and a tuner. It also has trim pots so I can match the outputs.

I used to be in a band with a bank account. It worked rather well. I even negotiated a loan to record an LP and produced the band diary to show our future income. We had a lease van and paid ourselves a minimum from each gig but also paid ourselves the same when we rehearsed. Every month I produced an income/expenditure account and we split the months profit (after expenses).

Just had the pleasure of meeting Graeme and relieving him of a gorgeous CAR Precision. Great guy to deal with. Dead straight and very helpful. Deal with confidence for sure.

By all accounts only 4 were made. This one was (I'm told) made for Cass Lewis (Skunk Anansie). I gave it to a mate of mine in a reggae band. Seemed it's natural home.