noelk27

Always thought Fender let themselves down with the one-size-fits-all approach with the short-scale B30 and long-scale B40 - the scratchplate on the B40 just looked wrong, as it didn't follow the contours of the body. Given that these were only produced under the Fender brand for a year or so, between 82 and 83, and that they failed to sell, there aren't many of them about - this is the first long-scale US version I've seen in over 15 years.

Well, it all depends when the Musicmaster was made. If it's one of the very early ones - separate control plate - it will have a Mustang body, properly routed for the Mustang pickup. So, you'd have the option to convert it with vintage or reissue Mustang parts. The Musicmaster bridge and pickup are the big issues - the bridge saddles are in two sections, so you sacrifice harmonic adjustment - and the pickup is much more prone to interference from external electrical sources. Something else to note, but the Musicmaster only ever came with a rosewood touchboard. That's currently the case with the reissue Mustang, I think, but if you hunt about you can get vintage Mustang examples with maple boards for not a lot of money - if maple is your preference. Having owned original versions of both, I'd go with the Mustang - you can get a very passable P'bass sound from that miniature pickup.

Got to offer a word or two to defend the Hondo II name. My first acoustic was a Hondo II jumbo - which I still own - built in Taiwan, and with a very bass heavy sound, but pretty easy to play. It was a Christmas present in 77. About 6 months later I purchased a Strat copy Hondo II - natural body/maple neck - which was also built in Taiwan. When I was buying it my friend said that he'd set it up for me - and as I'd only ever played an acoustic all the things he talked about sounded a bit like the black arts to me. But he got the action low and balanced the pickup outputs - and it sounded great. Every bit as good as the Tokai Strat copies of the day, which were considerably more expensive.

It's one of the many techniques Sting uses. For my part, I find it easier to coordinate complicated bass passages and singing when I pick/strum with my thumb.

[quote name='wateroftyne' post='367482' date='Dec 31 2008, 11:18 PM']That's the second version. I had one - a '73. Played like a dream.. sounded awful. It had a tone only earthworms could love. Or even hear. The output was insane, too. There's a mod you can do which involves unscrewing a couple of polepieces from the back which calms it down and tightens the tone up a bit. It made a difference, but it was still unusuable.[/quote] Shouldn't post when I'm tired and distracted - that's what I meant - original version (51 P'Bass clone) or revised version (Gibson-like humbucker model). Mine was the revised version - although not sure of the year it must have been pre-77, as it was a string-through version. Found the humbucker on the Coronado II a much more useable proposition - but loved the boom you could get from the Telecaster - the only bass to play Gimme Some Lovin'.

Guitar ...

First version, with the Gibson-like humbucker? Awesome sound. Used to alternate between one of those and a G&L El Toro - if there are two more different sounding CLF "inspired" designs I can't bring them to mind.

I've owned many basses, and thought, "I'm never going to sell this one" - then promptly gone and sold them, including a BB2000 (I was never that attached to the BB5000A though). But the original Broad Bass, neck through design, is a classic, so I can understand you enjoying both older and newer variations on the BB theme. As for the one I can never put down, Atlansia Stealth - it's just so wrong it's right.

Spent years using EPS180 sets - 35/55/75/95 - but have worked my way on to EPS170 sets - 45/65/80/100 - these days. Undoubtedly, as D'Addario describe these, super bright - but that level of cut-through suits the music I play. Also use D'Addario Chromes for my fretless basses, and D'Addario Phosphor Bronze for my acoustics. Consistently good strings. If the issue of feel is gauge/tension, then there are plenty of options in the ProSteels range. If it's texture/player noise, then Half Rounds provide an interesting alternative to textured Nickel or ProSteels. The only brighter string I've played was an SIT set, that came fitted to a new G&L L2000 - although not sure if these were Rock Brights or Power Steel. I was able to make a direct comparison as I had another L2000 strung with fresh ProSteels.

[quote name='nig' post='341981' date='Dec 1 2008, 03:38 PM']note the dodgy scratch plate has now gone[/quote] Never seen an 82-87 model with a pickguard - particularly not a pickguard that would look more at home on an Interceptor model. That can't be original, right?

Originally - 82 to 87 - it was J/J, with a Strat style pickup selector switch and volume and tone pots. 87 onwards it became the P/J configuration, with two volume pots and no tone. I've just given my 88 a thrash - solo the P pickup and I'd describe it as a hot 70s P'bass sound - solo the J pickup and the sound is very thin, although rolling in a little of the P you can get a nice sound. Both pickups on full is the best combination to my ear - a whole mid-range opens up that isn't there on either pickup alone, and the sound is surprisingly full for a P/J. My 88 is a nice lump of ash though, with a maple touchboard. Not sure what the Tribute is - alder or basswood? - but I know it only comes with a rosewood board.

83 and 88 US G&L versions. You're right, the 88 has the no 8 neck as standard - 12 radius, 1 1/2 at the nut. The standard neck on the L2000 is the no 7 - 12 radius, 1 3/4 at the nut. I've not tried a Tribute version, but if it's anything like the Tribute L2000, then it'll be as good as a late 90s-to date US version. It's passive though, and doesn't have a tone control - the pots are both volume, one for each pickup.

Online research, etc, is useful, but just remember that all opinions are subjective. That, and manufacturers’ websites are designed to sell you on their brands, so take what you’re reading there with a pinch of salt. My advice, first things first - set you budget. Decide how much you can afford to spend, based on the money you have in your pocket. Second, go out and play as many different basses as you can - that’s how you’ll come up with your shortlist. Third, ignore the maker's name on the headstock - the name isn't always a guide to quality, reliability, or value for money. Fourth, when you've narrowed down your shortlist, or settled on your option, try as many different versions of that bass as you have to find the one that feels right to you. Fifth, whether you go new or used, negotiate hard - get the best price you can. Last, but not least, a bargain is only a bargain if it's what you wanted in the first place - don't be seduced by sales or offers, because those are more often than not designed to hook you, and reel you in - if there's "free" stuff on offer, make sure it's the stuff you want. And enjoy shopping! Take your time deciding, and you'll make a good decision.

[quote name='EssentialTension' post='341351' date='Nov 30 2008, 08:03 PM']I'd say at £436 that was very possibly a very good buy. Guy I know has an early 80s Squier Precision that is much better than his 70s Fender Precision. But you might think that's not saying much.[/quote] I had an old Hondo II P'bass that was better than some 70s Precision.

Tie Your Mother Down and Keep Yourself Alive are great for a rock band - no keys. But maybe something like I Want It All or Under Pressure (okay, handclaps aside) are a little more recognisable for some audiences. Edit: Recognisable than Hammer To Fall, I mean.

Own a Fender by Squire Strat - bought new, was my first "proper" guitar. Honestly, never played a Strat - US or Japanese - that's better.

About five or six years ago he had a bog-standard 90s Fender, fitted with an original, all maple, 81/82 G&L neck - from an L1000. The P'bass was in terrible nick, but he was asking £900. I emailed him to see if he would sell the neck only, and he quoted me £800. Maybe he still has the hollowbody Rickenbacker bass, totally wrecked - and by that I mean in pieces - no hardware, but asking well over a grand - £1,600 rings a bell.

The Gibson Les Paul is mass-produced, but seriously overpriced, and I just can’t understand the pricing. Around 95 I was looking to get a Les Paul. Tried loads of Gibson branded ones, and couldn't find a good player. Lost the snobbery and tried some Epiphone ones, and was much more impressed. It was the third Epiphone I tried that I bought. Quarter the price of the equivalent Gibson model. Stuck with the standard pickups for a while, but eventually replaced those with a set of Bare Knuckles. It kicks ass now. But not as much ass as my 80s Aria PE.

I'd also take a look at the Rode S1.

Seconded.

[quote name='BassManKev' post='339944' date='Nov 28 2008, 06:01 PM']Simple advice to keep sellers safe? if its an expensive bass, get in the car or on a train and collect it, you should never buy a £1000+ bass wthout trying wherever possible anyways IMO[/quote] Or if using PayPal, or equivalent electronic means of transfer, fund the payment with a credit card and not cash/balance funds - the card provider then acts as a backup if the likes of PayPal prove useless in a dispute.

[quote name='Shockwave' post='339906' date='Nov 28 2008, 05:25 PM']For the record, I am straight edge, have the pints yourself![/quote] Elderflower cordial it is then!