Beedster

Funnily enough I was going to mention my old BW loaded Peavey as well, and like your TE, paired with an SVT the tone was huge and visceral

Yep, love Mesa 15s. Sign of the time however that as soon as ‘best’ is mentioned in terms of amplification the word ‘weight’ soon follows. Most of the lightweight gear I’ve owned has lacked something tonally to my ear and has also been quite fragile by comparison, which means I get more anxious about damage at rehearsal/gigs (I’ve never damaged a Boogie cab despite trying quite hard). And it might just be me, but I’ve not always found light gear a whole lot easier to move around; Mesa Powerhouse 15s certainly weigh a ton, but on wheels are really no great challenge. OK, 1516EV in a road ready flight case is a different issue Talking of 1516s Greg..............?

Damn, there was I thinking I might do some bass playing this weekend and along comes this bloody thread, the watching of which is clearly going to become the BC equivalent of painting the Forth Bridge

I’ve been there a few times

Thanks so much for posting this, I hadn't come across him previously but am now hooked. Rare example of extraordinary groove, creativity and technical skill working so well in and complimenting the track

Odd, I had the opposite problem, tried to remove it, wasn’t easy

Board is quite pale, I’d go light coloured body

Re basswood, I had a lovely light Precision a few years back, very resonant and toneful. Having decided it was a keeper I made the mistake of stripping the body to find it was ply. Wood’s a funny old material, I really wouldn’t worry too much about it

You’ll need two of them Owen

Basswood strikes me as a pretty good choice for a bass?

The top string ran very close to the edge of the fingerboard on mine, and I understand on a few other 5-ers. I had to have a new nut cut to correct this, but it was still a problem. Not the best design, which I suspect is why you see so few of them. The TR-7 of basses

I’ve owned many very expensive basses and the two I’m left with cost me a total of around £800. Part of it is increasingly high levels of skintness, but also a recognition of what I need versus what I want. The latter tends to be where the expense creeps in

Given what you’ve said I’d go MIJ, price:quality ratio is generally good and made better still by the overall consistency of quality by comparison with MIA and MIM (although the latter are catching up by all accounts). The closest instruments to 60s Precisions I’ve played have been 80s/90s MIJ, often better instruments than US Custom Shop (probably some cognitive dissonance in the mix however)

Used to own this..... Fender 40th Anniversary Precision. Built like a tank, made my Wal feel flimsy. Without doubt the most rock solid bass I've ever played, beautifully engineered, the neck was extraordinary (there's nought better than an unmarked ebony neck after all). Seemed a nod to the future at the time, Fender don't seem to have got much further since.....?

And now you brought slap into it as well

Round Here - Counting Crows

So the O/P's question should be 'new, vintage or bitsa'

But yes, if you know what you want in a Precision, then a bitsa self-build is the way to go, and often cheaper than buying a whole bass. The below is my keeper instrument, OK I've come close to selling a couple of times due to COVID cash flow issues, but having survived it remains my go to bass. It's like a Fender Custom Shop Tony Franklin Relic, although slightly more resonant than was my original TF (courtesy largely of a VERY good Warmoth neck with perfect ebony board and shallow depth 44mm nut which has made every bass on which it has been installed resonate for longer), Lollar PJ set, Kiogon harness, vintage Gotoh lollipop tuners (the aesthetics of which for some reason I really like), all for around the cost of a used MIM Precision. As per some of the comments above, basses are a lottery, with bitsas you just keep playing the lottery, albeit with components as opposed to instruments, which is a lot cheaper. It's also far more diagnostic/scientific, because with each switch you're in effect conducting a controlled experiment along the lines "what difference does switching this for this actually make?'. You get there eventually, it's fun but you also, I believe, end up with a bass that you feel closer to as the result.

There'll be another along soon I'm sure folks