Bassassin

AKA Mark King Music, because he seemed to be on the cover most months! Pretty sure I've still got a stack of them somewhere...

The information here's not correct. Fujigen Gakki only ever made 'Made In Japan' labelled instruments. When manufacture moved from Fujigen to Dyna Gakki & Tokai Gakki, 'Crafted In Japan' was introduced to differentiate them. Seemingly Fujigen retain exclusivity over the MIJ label and it has appeared on occasional post-'97 Fujigen-made production runs. The 'O' prefix & CIJ indicates it's post-'97 and from either Dyna or Tokai, but I don't think there's any way of distiguishing which of those factories built it. There's no quality differentiation between any of the factories used by Fender Japan.

I'm inclined to think this thing's the result of an infinite number of monkeys being given woodworking tools.

The bridges would need to be where the pickup presently is, if that was ever going to intonate.

Ftfy.

Never seen a build before where someone's clearly installed the bridge before attaching the neck. But rules are there to be broken, right? ...Right?

Cool - didn't know that!

You'd need to do something like providing a picture of the tuners in question, before anyone's going to be able to do more than guess at an answer. My guess is probably not. Many MIJ Fenders use Gotoh GB1 or GB10 tuners and I don't think there's a lollipop key version.

Since 2014 the various online MIJ communities have unearthed a bit more about the origins of many of these instruments. We now know MIJ Columbus to have largely been a product of Chushin Gakki - most of them are identical to a vast array of midrange copy-era guitars that appear worldwide with hundreds of different brands - including common UK names like Avon, CMI, Grant, Sumbro etc. It's possible that some of the later MIJ Columbuses were Kiso Suzuki builds, but that's as yet unconfirmed. Copies can be understandably hard to ID. FCN's Kimbara range seems to have been a combination of high-end Chushin builds and Matsumoku - I'd expect @W1tchseason's Jazz to be a Matsumoku bass - if it has a 'Steel Adjustable Neck' stamped neckplate, that would confirm it.

I thought the same, but is 'Closet Classic' maybe meant to suggest it's intentionally aged? Like a relic, but without looking like it's been kicked down 6 flights of stairs & flung under a bus. I kind of like it, apart from the falling-off finish & price tag.

Just had a look - it's a bit tatty but if it wasn't collection in person from London I'd be sorely tempted. There aren't too many unmolested through-neck, early Yamaki-era Washburns around, and when they turn up they don't tend to be Vultures. Even in that condition it's a bit of a bargain.

Looks like a bitsa assembled around a 70s neck & a cheap modern body. As ever, the big oversprays on the contours indicate it's almost certainly ply, butcher-block if you're lucky, but absolutely not solid timber. Faintly amusing it's wearing a June 1980 Fujigen Gakki neckplate which I am entirely confident is not related to any other part of the bass! Mildly curious to see what it goes for, & how much someone's willing to pay for unclear provenance and a lot of problems...

I think that's the Japanese calendar, in which the year derives from the reign of the emperor at the time. In the Showa calendar, which ran from 1926 - 1989, for the duration of the reign of Emperor Hirohito, 58 corresponds to 1983. And that's a stunning JV. If you didn't give the chap at least a grand for it, you robbed him!

This is very strongly influenced by 60s Italian oddities Wandre.

Some epic prog metal from Opeth's last album, which is available in both Swedish & English versions. I don't speak Swedish but it works so, so much better in their native tongue.

That's a Force BBR. Don't remember the model number off the top of my head, there were several variants with that colour scheme. One of my biggest regrets is being unable to afford a Force 42 BBR (the headless/neck-through version of this) when I was offered one here on BC a year or ten ago.

That's nice, but I'd think for £350 you could probably pick up an actual Blazer. The stock pickup's not the same as the Ibanez 'Super P4' unit, & if you look close you can see it doesn't have the hex poles an Ibby unit would have. This does look very clean (oddly, apart from the headstock face) & everything original, apart from the bridge & possibly the knobs. Neckplate strongly suggests it's a June 1984 Fujigen build, and having done a bit of digging (so the Gallery didn't have to!) I've found this 1983 brochure, confirming it's a model 2210, the original bridge was a BBOT type with brass saddles & the specs tell us it has a 'laminated mahogany' (ie plywood) body. http://www.hoshinogakki.co.jp/pdf/ibanez/catalog/1983Cimar_Leaflet.pdf

Don't remember ever seeing a factory fretless.

Chancer, clueless, cynical or all three. It's a basic Indonesian Squier with a couple of dodgy bat stickers & a simplified circuit. As a midrange sig model for a guy out of a band who were moderately successful a decade or so ago, it's wildly improbable that anyone would pay £1800 for one of these, and the fact there's a dozen sold Reverb listings at around £250-£300 would appear to support that hypothesis.

Great to see a neglected classic brought back to life! Looks awesome. Looks like you could knock up a little surround for the neck pickup, to cover the exposed wiring.

They're OK, but pretty generic 80s Korean-made low/midrange stuff. 70s Hohners were made in Japan by Moridaira Gakki, & were very good (see Prince's MadCat Tele) but in the early 80s manufacture went to Korea, divided into the top quality Cort-made Professional range & below that Arbor & Rockwood. Quality of these can be a bit of a lottery and I think it'll feel a bit cheap compared with an SR800. On balance I'd say €160 is a bit over the odds. If this was half that price or less it might be worth a punt, but for that money you could pick up a new Harley Benton or J&D, which for budget instruments have a great reputation for build & quality.

The only reason I can even remember that they existed is that they were invariably referred to as Condom King.

I had two early 90s Fujigen SR800s, fretted & fretless, like an idiot I sold both of them. Later filled the SR-shaped hole in my life with an SR500, but always had massive GAS for a through-neck one though.

I would expect they'll be volume, pickup pan, treble boost/cut & bass boost/cut. Never had a TW or Cort but had an Ibanez SR with a similar 4-control active layout. You should be able to work out what does what by fiddling around with them.