noelk27

Take a look at the G&L SB1. Or, if you're happy with a P/J configuration, the SB2 - which can be got as a Tribute version. Standard neck is slimmer than a Fender Precision. In addition, the US made SB1 can be ordered with a narrow neck. Edit: Just remembered the now defunct G&L LB100 - although can't recall which neck this was fitted with.

[quote name='Lew-Bass' post='493289' date='May 20 2009, 01:17 PM']... I'll look into them further, aslong as they do a LH version?[/quote] Can't recall if Yamaha did a lefty version of the BB1500, although it usually does make lefty versions of its catalogue. G&L certainly do make a lefty version of the JB2.

Relic pros and cons of aside, but what the f**k would the point of those four off-centre holes, between bridge and pickup, have been? Even if a genuine period piece, those drill points would have been useless. The result of giving an idiot a paintstripper and electric drill, I suppose.

[quote name='Lew-Bass' post='492783' date='May 19 2009, 09:33 PM']... I'm after a J/J config, with a really slim neck and a smooth, low and pronounced tone, willing to go second hand with a budget of £400/500 ... Any suggestions for me?[/quote] Yamaha BB1500 - used ones crop up here from time to time. Or G&L JB2 - you might be lucky and find a used one at the top end of your budget.

[quote name='Old Horse Murphy' post='485015' date='May 11 2009, 11:58 AM']Hmm it's strange... I love P basses with maple boards but have always thought Jazzes look much better with rosewood boards.[/quote] Perhaps relating, subconsciously, to the versions of these iconic designs as they first appeared - '51 and '57 Precisions, both with maple touchboard; and '60 Jazz, with rosewood touchboard.

The Fender Jazz Bass Standard, introduced in '83, had a maple touchboard with dot position markets as standard. And the '81 Gold Jazz Bass I owned came with a maple touchboard, again with dot position markers. As for non Fender, Sadowsky seems to have favoured maple for touchboards over the years; certainly the case in the early '90s.

[quote name='rodl2005' post='476808' date='May 1 2009, 09:56 AM']Anyone with any links or info on these'd be appreciated also! I mean I know it was built in '78 in the Matsomuko(??) Factory-Japan... Fender Bought that co. right??? Became Fender Japan??? That right too??[/quote] Greco is a brand name owned by Kanda Shokai. Starting in the 60s, Kanda Shokai contracted various factories, including Matsumoku, to produce instruments under the Greco brand. Fender licensed Kanda Shokai and Yamano Gakki in the 80s. Kanda and Yamano contracted FujiGen Gakki to manufacture the initial run of Fender Japan instruments. As part of its Fender licensing agreement Kanda Shokai had to stop production of Greco-branded, Fender-style instruments. Although some parts intended for Greco instruments were utilised in the early production of Fender Japan branded instruments. Singer Corporation owned Matsumoku Industrial. Matsumoku was contracted by Aria to manufacture instruments. Through its contract with Gibson to produce Epiphone instruments, Aria sub-contracted Matsumoku. When Gibson moved production out of Japan, Matsumoku Industrial went bust. In short, Fender had no connection with Matsumoku Industrial, and Matsumoku never manufactured any instruments for Fender. As for Greco (although pages in Japanese), check here: [url="http://homepage3.nifty.com/greco/"]http://homepage3.nifty.com/greco/[/url] [url="http://psyco.jp/greco/siryo.html"]http://psyco.jp/greco/siryo.html[/url]

Sounds so familiar to me, Chris. Would have to sit down with pen and paper to work out how many Fender basses have passed through my hands over the years. My outlook changed when I tried a G&L - an original L1000, so passive. Something inside told me to expect the same character as the MM Sabre, set for the neck pickup, but couldn't have been more wrong in that assumption. G&L pickups might look like MM pickups, but they're a totally different beast. If you haven't already given one a try, I'd recommend tracking one down. The other Precision I'd also recommend looking out for, an early 80s Schecter. I know, Schecter has come to represent something else these days, but the example I picked up in '84 was the catalyst for me selling a Precision Special, an '83 Elite II, and an '83 Standard. The Schecter was doing its very best to come across as a '57, but for built quality and tonality, also being passive, it left the Fenders in the dirt. And totally agree you on the 40th anniversary model.

'71 ...

Why not take a look at the Precision Elite II ('83 to '85)? Basically that's what two of the options are simulating - and I'm assuming Fender worked out the best placement when devising that model.

Where are you based? I've got a few (fretted and fretless) - might be possible to arrange something. You could also check out the sound samples on the G&L US website - www.glguitars.com

In addition to the BB615, take a look at the Yamaha TRB 5-string. Also worth taking a look at the G&L L2500 - although the neck might be distinctly flatter and wider feeling than what else you've tried. Both might be over your budget new, but you'd get used for the money you have available.

Purchased Adam's Yamaha BB1500A. Bass delivered well packaged, and exactly as described. All round good communication, for a fast, efficient, hassle-free transaction. Will happily deal again.

Never mind getting Stuart's signature on a certificate of authenticity, I'd be looking for the signature of two bass-playing doctors on a section, to give whoever pays £3K for this a short stay at a state mental institution. Seriously, Guitar Guitar sold a very similar example through their Glasgow store for £1,350 (ticket price) a few months back. A good price, maybe.

Am I not right in thinking that, although a version of the Black Beauty was available pre-Fender, the one pictured is an updated version, only available since Fender took over. My amps/cabs of choice are SWR, although these days don't have need of anything more substantial than my Redhead (and only the original 240 watt incarnation at that).

[quote name='Rich' post='433260' date='Mar 13 2009, 09:02 AM']He's worried that the BB, quote, "would be looked down upon by real bass players". Anybody got good or bad experiences of this bass or other BBs?[/quote] Whoever wrote that hasn't got a f**kin' clue what they're talking about. The original BB1200 set an exceptionally high standard, when it was launched. BB series models have been played by top musicians for years. To be honest I haven't played a BB615, or for that matter a BB415, my first BB series 5-string was a BB5000A, which was an exceptionally good recording bass. But I have owned four BB series models, and every one was solid and reliable, as well as being fantastic to play - which, is the only thing that matters. So, f**k the author of that quote, I'd take substance over style every time. By the way, what is a "real bass player" anyway? I've been playing for nearly 40 years - been signed, been dropped, been round the block - but does any of that make me any more or less a real bass player than the next guy, learner or professional?

You're right, that it might be an issue related to depth and/or width of the neck and wrist angle, but there may be other reason. One major source of problems can be position - it's important to maintain the same playing position whether standing or seated, to avoid your wrist having to make micro adjustments. Another major source can be string tension - it's important to recognise the point of positive resistance, as the fretting hand never makes contact with the touchboard. For me, after I started suffering pains in my wrist and fingers I found that switching from a long-scale (34") to a medium-scale (32") neck relieved the problems.

As used for the recording of Whitesnake's 1987 and Slip Of The Tongue albums. Hell on Earth to play though.

[quote name='Lew-Bass' post='428561' date='Mar 8 2009, 01:28 PM']I plan on customising it anyway (mainly aesthetics; gold bridge, tuners and nobs but possibly pickups if the stocks aren't upto much).[/quote] Aria have worked closely with DiMarzio and Seymour Duncan over the years, and these partnerships mean that Aria pickups tend to be of an acceptable quality. [quote name='Lew-Bass' post='429511' date='Mar 9 2009, 04:25 PM']I intend to gradually kinda turn all the metal work into gold, like gold machine heads, bridge, strap pins even the control knobs and p'ups, I reckon it'd be good.[/quote] So good that Aria regularly issued Black and Gold versions of its instruments, as limited editions. Take a look at [url="http://myweb.tiscali.co.uk/fyfeholt/aria.htm"]http://myweb.tiscali.co.uk/fyfeholt/aria.htm[/url] and you'll find some examples.

[quote name='thisnameistaken' post='429532' date='Mar 9 2009, 04:50 PM']I should mention it's a pau ferro board, I've never had any issues with rosewood boards before but this is the first pau ferro one I've had.[/quote] Pau ferro is a rosewood, so that won't be the problem.

Copy or clone? Gary Levinson Blade - highly underrated. Pity Levinson only do J models these days.

[quote name='dub_junkie' post='420559' date='Feb 27 2009, 01:18 AM']Bill's a top guy. I've known him for years.[/quote] Yes, top block. Kilmarnock, you say. Remember as far back as when RGM was based out in Hurlford? That shop was a treasure trove in those days.