Bassassin

Thinking about it, the possible rationale for something like this would seem right up 'his' street. As a continuation of 'his' acts of creative charity to the tragically fat-fingered guitar players of the world, simply relocating a bass' tuners to the end of the body will clearly provide similar endless convenience and benefit for the shorter-armed bass player. Was that what Ned S was really thinking, all those years ago?

So, someone looked at a Marleaux Contra & went - "I can make that even more foul!" Winner.

Pretty sure this - or something pointlessly mutilated and mutated in the same way - has been on before. Things that make you go - "why?"

I have the guitar version, always fancied the bass so I had a matching pair. These were sold with various brands (including Jedson & Zenta, as mentioned) but very common unbranded. These were most likely made by Sakai Mokko around 1970/71 (they turn up branded Sakai) but the same German-carved SG body appears on instruments made by Teisco Gen Gakki from the same era, so there may be some element of collaboration, or use of post-factory closure salvage parts, one direction or the other. The vandalised neck on this one shows it has a strip-ply construction, like many MIJ guitars from this era.

I bought a PC specifically to build a recording setup around - I found a useful guide about optimising Windows (I assume you're running 10, not 11) for music: https://www.sweetwater.com/sweetcare/articles/pc-optimization-guide-for-windows-10/ Interesting (if long & a bit dated now) SOS article: https://www.soundonsound.com/reviews/windows-10-musicians As my PC's not for anything other than recording, it's permanently offline unless I need to download or update anything relevant.

That's an Epi ET280, from 1975-ish. These were made by Matsumoku and will be a pretty high-qualty build for what was a low/midrange instrument at the time. If there are intonation issues, that will be a consequence of the positioning of the replacement bridge, rather than any inaccuracy in the fretwork. The other problems sound like basic setup issues, truss adjustment, neck shim, and at the very worst, a fret dress should sort them. These are pretty uncommon in good original condition these days, and unfortunately like any other vintage instrument, 'upgragdes' and 'improvements' will always eviscerate any value it might have had.

Only if you're fond of skulls! A few years back you could find P or J surrounds on AllParts or WD. A bit disappointing how limited the selection of parts is these days.

That's a nice old thing! I think it's a PB-380, and as the 'Gneco' logo suggests, 1973 or earlier. Pickups, scratchplate & controls are non-original, and I'm on the fence about whether or not the body's had a refin - would not be surprised if there were traces of sunburst in the cavities. Anyway, the top row of catalogues here are for the correct era, all showing burst/rosewood PB380s. Fun nerd fact - as with most Japanese home-market instruments, the model number reflects the original retail price in Yen - as prices increase over the years, the model numbers change to match. Here's a Reverb listing for an unmodified PB-380, showing the original scratchplate, knobs & the interesting type of pickup it probably had. https://reverb.com/uk/item/40379321-greco-precision-bass-pb-380n-1973-sunburst-rare-pickup-japan-import

Depends. If you consider Leo's creation to be the first true bass guitar (and realistically it was) then it's very much a hybrid of the two, and clearly takes the larger proportion of its DNA from its 6-string forebear. It is intended to be played in a similar manner to a guitar, it has frets, its tuners, bridge, pickup etc are adaptations of those used on the Broadcaster & Tele, and so on. On the other hand, the first electric bass, Paul Tutmarc's 1936 Electric Bass Fiddle seems more closely derived from the double bass - although fretted & designed to be played horizontally (I have an idea it could also be played upright, mounted on a long pin) Tutmarc didn't consider it a guitar - the clue's in the name. Tutmarc's bass was not a success so I think it's not known whether it was an influence on Fender - quite likely not.

£600 for a pretty banged-up RS824 does make me curious about what I'd get for my near-pristine & fully original 924. Up until the recent BC chatter about these prompted me to dig it out, it had sat in its case untouched since we moved house, back in 2014. If it had stayed there, I might be considering flipping it - but it's been quite eye-opening to remember what a great bass this is. Tried recording it on a new composition where my go-to DiMarzio-equipped J just wasn't working, and remembered exactly why I used this bass to record an album back in 2010. Don't think it's going anywhere now! It does have the best passive P/J tone of any bass I've played, despite having no way of blending the pickups. As a result of a bit of pickup talk about these with @LukeFRC it turns out the J units on these are quite ridiculously hot - on mine the J measures 12.51k, against a measly 9.76k from the P. Probably explains why I've never got a tone I'm happy with from my other old MIJ P/J, a Washburn SB-40.

Someone posted this on p7 of the TB thread. Matches Brother Bubba's description perfectly, even down to the uncontoured slab body. Neck construction & trc shape tell me this is a mid/late 70s Korean cheapo. These 8-pole pickups turn up on some MIK basses, they're either licensed Maxons or copies - most likely licensed, based on the close links between the Japanese & Korean industries at the time. The main difference between these & the MIJ units is that they are very hot, typically 11-12k, as opposed to the 6 or 7 the branded Maxons read. So no, I don't think it's a wind-up, Bubba's just a bit, erm, confused and needy.

AliExpress tat. Nothing like as nicely done as the HB.

A lot of early 70s Precision & Jazz copies used these 8-pole Maxons - at the time they started being used (71-ish) there were no accurate P or J copy pickups being made, and they would have been hidden under chrome ashtray cover anyway. I've never seen a 70s P copy with a Tele headstock, and conversely I don't think I can remember any of the Tele bass types using the Maxon 8-pole unit, these tended to have little chrome Telecaster pickups. That said, the UK market during the 70s copy era was a bit more conservative than the States - US brands such as Univox, Sigma & Ampeg produced some fairly bizarre hybrid takes on popular designs in the early 70s. I'm inclined to think the OP's bass was something like that, but since pics seem to be a problem, I guess we may never know... I should think so too! 😎

Some very pleasing designs, and I think that's rather the point with these. With the torpedo design, it's a pity the protruding ball-ends are visible - IMO they spoil the aesthetic. You'd think it would be simple enough to have them sit inside a recess at the end of the unit to conceal them.

I've had a whole bunch of Sunn Mustang Strats but not managed to pick up a bass yet. Interesting yours doesn't have the 'FMIC' under the logo, but these were Fender products - apparently the Sunn Mustang brand was UK/EU specific, & they were sold elsewhere badged as 'Squier II'. My Strats were all very decent & played well beyond the car-boot price points I paid - let down a bit by hardware/electronics, but bodies, necks & fretwork were excellent. These do appear to be the same as the early India-made Encores, however there are later Sunns which lack the correct Fender headstock & Sunn Amps logo. Not been hands-on with one but apparently not as good.

That's what a P should look like. Needs cream pickup covers though. 😎

Keep the 'Ray & the MIJ Jazz, and sell the Limelight & the '73. If your kids do grow up sufficiently wrong to want to be bass players, the last thing you'd want to do is let them loose on an original, good-condition 1973 Fender that is worth a stack of cash. Sell that to someone who will appreciate it for what it is and look after it, & if they do go mad, buy your kids a £100 Harley Benton that will play & sound about 97% as good as the Fender.

The Kubicki bridge always struck me as enormously over-complex & over-engineered compared to other headless bridge/tuner designs. Not sure anyone actually improved on the simplicity & elegance of Steinberger's original - which is, I suppose, why most other headless bridge designs imitate it.

The issue is that you are making very specific & pretty bold claims about the qualities of your design. If you want these qualities to be genuine reasons why musicians would purchase your premium-priced product, then you will have to produce some evidence to substantiate these claims. Otherwise you're expecting people just to take your word for it. As it happens, I quite like the aesthetic of the design and the method of adjusting string height is novel. I'm wondering how something similar could be implemented in a design that did not involve threading the string through the saddle. I'm someone else who appreciates a bridge design which allows quick string removal. As a matter of interest, the concept of strings passing through a saddle in order to (apparently) improve sustain & resonance is not a new one. DiMarzio, Kahler & Mighty Mite produced bridges like this in the late 70s/early 80s, although otherwise the designs were not too different to the typical Fender BBOT type.

A BC thread experiencing topic-drift? Shirley not! Afraid I can't help - my speculation above is the best reason I can come up with!

A 60s Japanese gold foil pickup, highly sought-after by proponents of lo-fi music who consider its inherent tendency for shrill, tinny audio, plus buzzing and microphonic squealing to be 'authentic' and somehow desirable qualities in a musical instrument: 70s Korean pickups based on a similar design and possessing similar 'musical' properties, presumably hailing from a culture where it was easier to source infill material from contemporary vehicle upholstery than from discarded fag packets. I hope this helps. Seriously, I do.

When I had mine I did briefly toy with the idea of buying a pack of 20 Benson & nicking the foil to replace the fake leather - obviously the fags would go straight in the bin. Hardly worth twice what I'd paid for the guitar though!

Sites like Fetishguitars & Cheesyguitars (which deals with mostly Eastern European stuff) are rabbit holes where you can lose any semblance of sanity, should you choose to enter. Or maybe 'wormholes' would be more apt, as it's a whole different dimension down there...

Dug around a bit & while I can't find a good pic, it seems some versions of this have a single saddle (basically a bit of bent plate) with overall intonation adjusted by a pair of screws which moves the whole thing - I'd guess that's what this has. Other versions, which I'd assume are later, have Tele bass type 2-saddle bridges with a different cover. String spacing's clearly an issue - could you use a vintage type BBOT with threaded saddles, that might allow a bit of control over spacing. Also I keep seeing these things on Ebay - obviously intended for hipster cigar-box junk, but if the spacing's really tight, it might work. https://www.ebay.co.uk/itm/224839471203