LeftyJ

Don't worry, I wasn't offended. My "confused" reaction was aimed at the Jackson. I wasn't aware of that model, let alone how close of a copy it is!

Since this thread is now resurrected anyway, might as well join in Washburn allegedly took notes (and measurements!) at the Jerzy Drozd stand at NAMM when they "designed" these.

This came out in 1996! There is a shorter single version, but I love the build-up in this longer version. I was 13 when this came out, and this song will always have a special place in my heart. The man sadly passed away in 2017 at only 47 years old.

Not my cup of tea in terms of design, but I love the craftsmanship and that blue finish looks beautiful! I usually prefer a "hidden" neck through, where the neck wood isn't visible at the front, but I really enjoy the contrast with the solid finish!

After the first half of that sentence I was totally expecting a Randy Rhoads reference. I would never have thought of the MSP

I've mostly been in bands where I really liked the music. If I don't connect with the music, it's not for me. The exception was a pop cover band I've been a part of for a couple of years. They mostly played covers of 80s and 90s hits and a few more recent songs. I didn't really connect, but I learned a lot from that experience and from playing with a phenomenal drummer and keyboardist (and a very poor guitarist) and they were great guys and gals. I don't really have a band of my own anymore, since our lead singer had 4 kids (5 now) and little time outside of her family life at the time, and our lead guitarist went abroad to Oxford to do a postdoc at Oxford University for 3 years. Having finished that, he's now in Barcelona with his Spanish girlfriend with plans to come back and work as a chemistry professor but no job yet. That said, two and a half years ago I was asked, with the other remaining guitarist and drummer of said band, to be part of the live band of a one-man doom metal project of a friend of ours (and the drummer's brother). I wasn't really familiar with the genre, and still don't know many other bands, but I feel right at home in their slow, melancholic, incredibly heavy and low (5-string tuned down to A) music. I've become a fan! I was just listening to the latest EP in my car on my way to work to familiarize myself with the new songs, and I'm completely in love with it.

They're always too far away from the strings to my taste, and never in the spot where I want to pluck. I really should get more acquainted with the floating thumb technique.

I love them on my Status basses. There's just one thing I don't like about it: the claw that holds the ball end slides freely over the finish of your bass body. The saddles lay on a brass base plate, but below the claws. I wasn't aware of this until I had to remove one because the spring between the claw and the tuning wheel had an annoying resonance I wanted to get rid of.

Nice! I don't think those are the stock pots (my E-series Strat surely didn't come with CTS pots) but that's a very nice and useful upgrade. The electronics were most definitely the weak spot of my Strat. Otherwise build quality, hardware and finish are excellent.

I've had many kinds of tuners, and to be honest I've never felt the need to replace any and just rolled with what was on the instrument. With one exception: on my Fender Japan JB75-US I replaced the stock tuners with matching Hipshots when I mounted a D-tuner, because the patina of the stock tuners really didn't match the shiny new chrome plating of the D-tuner. Based on my experience with various tuners, I would just get what my luthier recommends or what matches best with the overall appearance and the other hardware on the bass. On a bass with vintage looks I would want nothing other than clover leaves, but I don't mind what they look like on the back of the headstock (i.e. vintage tuners or ultralights).

It is not. The interval between the frets is exactly the same as on an instrument with parallel frets. The sole benefit of multiscale basses is the evenness of tone and string tension across the neck. The Buzz Feiten system addresses intonation by placing the nut closer to the 1st fret, and putting the open strings slightly out of tune so that intonation is more accurate higher up the fingerboard. Some electronic tuners have a special setting for "Buzz Feiten tuning" for this. On a Dingwall, all the intervals and the tuning are exactly the same as on any parallel fret bass with regular tuning.

Fender Japan has a finish called "Old Lake Placid Blue" (OLP) that also has the greenish hue you're describing - but I don't know if that finish was around already in the 80s! It could just be naturally aged Lake Placid Blue. It has been known to turn quite green with age and exposure to UV light. For example, this 1969 Mustang Bass was once Lake Placid Blue, but now more closely resembles Ocean Turquoise Metallic:

That orange one is stunning! I love it.

Almost the same, but with an added patch bay where all our other signals went through to split them between our own IEM sets and the FOH. We used to play with a stereo backing track with synths and backing vocals and a click track. I think we used Ableton Live on a Windows laptop.

Awesome, enjoy the experience! Amsterdam is a beautiful city, and tourism isn't back at pre-covid peak levels yet so you can actually see all the pretty stuff behind the crowds What venue are you playing?

https://www.ebay.co.uk/itm/154958669307?hash=item241441a5fb:g:R-4AAOSwb~FiYUUQ Pretty cool.

Me too! Great find. If it's anything as good as the E-series Squier Strat I own, you're going to love it.

It's difficult to tell from these pictures if it's the entire fingerboard, or if it's just the binding that's coming loose. It does look like the neck has a bit of a bow whereas the fingerboard has not. These basses have a very rigid "resinator" fingerboard (50/50 wood fibres and resin) that may make the neck harder to adjust. Could be an easy fix. I've always find these basses intriguing, I like the pickup switching options on these.

Korean Tobias 4-string neck-through on Gumtree: https://www.gumtree.com/p/guitar-instrument/gibson-tobias-left-handed-bass-guitar/1425615922

I tried to take a selfie asbestos I could:

It has a matching headstock though, I think the general consensus here is that's a no-go? I quite like it on this one though! Oh, but it's sold 😉

Aye, that would be a Dargie Delight limited edition 😎 I quite like this look: The Reverb seller I took this pic from claims it's the "Aqua Purple" finish, but I think this is Sky Blue and I think it looks lush!

Cool model, but the burst doesn't suit it. Would look great in a solid finish or one of EBMM's incredible metallic or sparkle finishes.

I've heard similar stories, where the truss rod snapped because it had LOADS of wood glue residue in the thread and wouldn't move. There was a photo gallery on the website of Unicorn Basses from Sweden where they documented a neck recovery to replace the truss rod, add carbon rods and replace the fingerboard of a very expensive Frog 5 with a snapped truss rod. It looked terrible underneath. The gallery has recently been taken down, I wonder if Adrian contacted them.

I've owned a 1978 SB-1000 batwing headstock, and have had three MC924's. I can't comment on the tones of the SB-1000, the electronics in mine were shot. Someone had added two more pickups (original model) and had removed the original varitone and active circuitry and the middle (stock) pickup was barely working so the bass sounded nothing like it should have. I can comment on playability, feel and weight though: it was heavy, big and chunky and the near parallel strings won't be for everyone, as pointed out by various people above. I liked it a lot though, but I eventually sold it because I would rather want one that's still stock. I still have two of my three Musicians, and they're quite different from the SB despite the similar construction and looks. I have a 1981 MC924 (single coil soapbar pickups, mahogany body wings with ash facings, rounded body edges, HUGE neck) and a 1983 MC924 (PJ pickups, ash body wings, bevelled body edges, narrower and thinner neck). The one with the soapbars has a voice all of its own and sounds great, but the PJ is my favourite for versatility, ergonomics, playing comfort and range of tones (in part thanks to a pan pot as opposed to the 3-way switch of the older model). The 1981 is about to be shipped to Boston, but the 1983 is not going anywhere anytime soon! It's exactly one month younger than me, and very dear to me.