Soledad

agree, return. My 212 is fine rock solid etc (so far). A right hassle though - I dumped the box for mine as it's massive so getting one back to dealer would be a pain. Maybe speak to retailer, send pics etc and ask them to do a drop/pick-up - new to you, old back to to them. May require pressure but none of this is your fault. Also consider speaking with TC direct - they should apply pressure to retailer as well. Just my thoughts, it's probably the way I would try to go.

@Lesfunk - is that a Badass on there? Nice P ! Recently got a Highway 1 Jazz which has the BadAss II on it as standard - it's a good lump (but I needed a 0.05" allen key to adjust the saddles and they're a bit less than standard!)

Fine, I appreciate the string's ability to flex is important, but tension is a really simple bit of info and it is useful to many. If I could know gauge and tension it will tell me a lot more than I'm usually allowed to know. I'd say the way the string is fitted is something of a fixed for any given bass - through body, angle onto nut, nut material... we can get down to a load of variables but I think tension is such a basic and easy to provide by the makers.

Interesting, frustrating that very few makers publish string tensions. D'Addario do, DR don't seem to, don't think LaBella do, Rotosound don't but I was told the other day they soon will do (on their web). I reckon tension is absolutely as important and useful as gauge, in fact gauge alone doesn't tell you much as it's the core that gives the tension. Come on string makers, give us the basic info we need. It's quite easy to blow 200 quid on 5 sets of bass strings, just looking for the perfect set.

Thanks for the advice re the metallics. Steve at MGT made it sound fairly easy... !! I get the idea of the dry coats, and recall Rubis saying about warm body, warm paint for good flow. Maybe that applies more to the laquer - if I get that far. If the blue fails, I mean if I fail it, there are a couple of fall-backs: Dakota red or another straight gloss.... there's always black

Possibly, was on FB for some time, Flavio selling it was away most of that time and really slow at responding to messages. Finally went to see it and bought. He'd hardly used it so dead straight not messed with. He was more interested in showing me his MIJ Marcus Miller Jazz... not my thing at all. I too think the Highway Ones are a good shot - not so much info in the UK but over on TB there is quite a fan base. I suspect the pups are pretty basic and that is the one thing I may change. Don't think these basses are worth spending loads on as you very soon get into premium US used prices so I won't be going top-end Aguilar say. Back soon with more action on the decorating front

Started when I picked up a 2010 Hi-1 Jazz through FB recently. I'd done a bit of research and was interested by the graphite neck in particular (more of why later), the BadAss II bridge, the dot markers because I prefer them to the blocks, and the supposedly thin nitro finish. The one I got was satin black so there's an immediate problem. My '97 Precision is black and it needs to stay that way. So I messaged @rubis about the paint process on his year of birth P. He gave me some useful tips and referred me to Manchester Guitar Tech so I spoke to Steve there just to check what I was in for. I've ordered the stuff I need to do a Lake Placid Blue, with a tiny hint of aging (just 9 years worth, hardly anything but not 'straight out of the paint shop' look). I've taken the bass apart with care. I even used new screwdrivers although I suspect the screws are actually Phillips head. Anyway, all that went fine. Noticed the final couple of winds on front pup were hanging a bit loose - worrying as they are like human hair thickness so considerable care required now and later. I do like seeing all the stamps and other marks in the neck cavity and on the heel - I'll get pics done but the neck and head are both dated late-ish 2010. I know this is the first time the bass has been touched, it still had the clear plastic film on the scratchplate when I got it (and some rounds of a fair vintage !). I plan to get down to the wood on the body (not hard at all as the paint is really thin, as advertised). Once I get to see the wood* I am considering an investment in new pups - maybe Fender vintage Custom Shop, ADVICE and opinions welcome please. I want pure JB sound but gooder Was fairly knocked out with this Hi-1 by the way. The neck is excellent and I'm sure the graphite makes a difference - that common resonance around Bflat - D on the G is gone. It plays and sounds great so probably a keeper. Back soon with progress

and btw, that looks rediculous to me. Someone's spent years hardly using the low E or A until the 15th fret and up, which is where they have spent most of the guitar's life. Really??

That's interesting @spencer.b. It totally fits with my hunch that the outer layer seems to lose its pigment and appears somewhat translucent over time. I suspect the early ones weren't bright white from new but plastics back then were a bit untamed, unpredictable over time. I wonder how all these pseudo-aged plates will age?? There's no substitute for years and regular playing - as someone said above, lots of relic attention goes into bodies, but the neck, fingerboard and head are often a dead giveaway.

sorted, my mate Alexa: https://www.amazon.co.uk/Imperial-Inches-Including-Wrenches-Engineer/dp/B002F9MNKE Handy as it has the 1/16th which I believe is correct for the std Fender saddles.

Thanks for that - i should have done a search! Good grief - imperial's bad enough with all the 1/32nds, 1/64ths etc, but now we've gone imperiometric with 0.05 inches So 1mm is no good (40 thou-ish, I need 50). I'll go on the hunt.... again.

Does anyone know the hex key size for saddles on the BadAss II bridge (Highway One Jazz, 2010). Tried the metrics but then assumed imperial, bought a set, tried the 1/16th.Stuck now!

That's a bold thing to undertake - respect! I wonder if one day I may have a go. I did once make a tea-chest bass with a broom handle, so I have previous experience This is all personal taste of course but I wonder if the Tele shape is forcing some compromises - upper neck access being one? Tempting to move the bridge back, but only if you then deal with treble cutaway, then the body shape starts to get lost. I would personally move the hum pup back somewhat as you'll get loads of bottom end anyway, but somewhat back will help the high bass / mids a lot I think. Think MM, Warwick, even Jazz. Andy's point re balance is also important. I once owned a Gibson EB3 (as a kind of punishment) - big hum pup at neck made a wall of toneless air, and the neck dive was horrendous. So basically, look at the EB3 and do the opposite. Will follow with interest. Enjoy.

This was dicussed recently on Rubis' day of birth Precision thread: I've always referred to these things as the scratchplate, but never new the material changed in '65 @spencer.b I have seen post '65s age and discolour also, but maybe not to the same degree (not actually looked closely enough). Having owned a number of early '60s Fender basses I became familiar with the colour change and distortion that occurs - I'm certain a large part of it is exposure to UV. If you remove the pot knobs and the retaining nut, you'll see the whiter shade underneath. I've heard about tobacco smoke and pollutants - don't buy any of it, maybe pollutants to a 5% degree. If I was trying to do this I would definitely test UV exposure - a cheap uv bulb, cardboard 'light box' and a few days (maybe weeks) soak. The important thing is the colour change is not on the surface but permeates the white upper layer giving the effect of depth. So I don't think tea or any other surface stain will ever really do it.

tastee . Quite up my street. Can see where the P and Lakland would slot right in there. Bet Frogs is brill to play !

Lots of excellent ones on FB Marketplace, Gumtree, even eBay. Small combos are good used as most never see a hard life. I have one eye open for an SWR Workingmans 10 (or maybe 12) - the 10 is supposed to sound better but both really good. Seen them go around £100. But really worth a look on FB, a lot to choose from £50 upwards.

I know that back in the early 80s she drove a Mercedes 280SL 1970 pagoda roof type. I know because I became the next owner. It was a real cracker but I had to remove the pot pourri from the ashtray and found a number of scalpel blades concealed under That car was bought new by Engelbert for his wife, then went to Mike Chapman (Blondie, Suzi Q etc producer), then SQ. I reckon she's a right good type, and I liked her talking about going back to a Precision, 'like going home'. Top lady.

I get that - it's always the way it worked, get to know other players and connect with the like-minded. Checked open mics round here - bloody loads of 'em !! I'll try one or two just as a silent observer (initially at least). Probably give JMB a go too, why not ??!

Thanks to the entire thread for a lot of good and candid advice. I'll admit I'm confused or a bit unsure now - mixed views here. @Frank Blank and another BC member have offered me plays of theirs (Godin, Carvin) so I need to try and organise that. I'm also considering grabbing a cheapo, accepting the sound compromises that come with that but getting a feel for the idea of these things. Basically if I were to buy a Fender/G&L/ Lakland etc I know what I'll do with it, but this adventure could end up on a wall. The only way forward now is to play some. More news if and when it breaks. Thanks again.

Thanks @SpondonBassed and @Jakester. - JMB and bandmix are both worth a go for me, maybe try gumtree too. It's probably about getting in the local mix, just getting to know some players and see what develops from that.

I've been out of the live / band scene a very good time now, but I had a quick blast with a drummer and guitar the other day. Brilliant - I need to find some reasonable players of other instruments in my area. Tried a post on the local dad's network (FB) - waste of time. Any ideas at all how I do this?

Can't decide whether to frame this, or get a tattoo done. If I go for the tattoo I may edit it a bit so it fits. I play with thumb firmly anchored on pup / E / A depending where I am, but I do seem to float the thumb occasionally, mainly if moving up nearer neck for the snap n ring sound I like (notice sometimes where John Entwhistle played). So mostly the former, very occasionally a bit floaty. I reckon controlling the E is tricky if you don't drop the thumb down to A when playing D or G. I find the E has most energy in it and is hard to control with left hand alone.