Bassmingo

Circa 1994/95 I bought my first proper bass after learning on a POS for the previous year. It was a Washburn B-10 and being the age I was, I adorned it with many stickers. Around 1998 I decided that this bass thing wasn't a phase and I needed a better instrument, so I bought a Musicman Stingray, which I still have to this day. Soon after, an ex of mine said that her little sister wanted to learn bass, so I donated the Washburn. I certainly didn't want it now that I had a shiny new Stingray. Fast forward to last week, when that ex messaged me on FB (we're still on speaking terms and we both now live in the same town) to tell me that her sister never really took to bass, and that she still had it somewhere and did I want it back? Of course I did! So I collected it last night, still in the same gig bag and with the same stickers on it! I was instantly transported to my teenage bedroom where I learned many a metal tune on this very bass and composed some of my first pieces of original material. The bass is still playable but there are some problems. The scarf joint seems to be starting to split and I can't get the neck relief straight enough as the truss seems to be causing a crack in the neck if I tighten it too much. other than that nothing a soldering iron can't fix. Anyway, I think I'll leave it as is as a time capsule to mess about at home. Moral of the story, try and stay on good terms with your exes!

I found out about these basses too late. I never see them come up for sale in my neck of the woods. I'll have to settle for finding a neck for my existing P

I'd love a black one to play out my Billy Gould fantasies. At least it would be more affordable than a Zon!

This chap was a pleasure to deal with. Hassle free transaction and prompt communication! Sean.

Funnily enough, I just got my parts jazz electronics overhauled, and maybe it's because I'm properly hearing it for the first time in years, or I've just grown to love my MIM P with a DiMarzio, but I'm finding my jazz pups lacking. I bought them used and they're allegedly 75RI pups, but to me, they sound thin and weak compared to my P. So to hear that the DiMarzio Jazz pickups can be somewhat P-sounding is encouraging, as I now want my Jazz to sound like my P!

I use 45-105 when I tune DGCF as I like the tension. I would recommend starting there.

I experimented with 50-110 roto rounds for DGCF but I didn't like the tension so I went with 45-105. I usually keep a 110 around for Drop C.

I'm in the opposite boat, I'd like some flats that have similar tension to 40-100 rounds tuned standard. Bass is a jazz type. Any recommendations?

For my DGCF basses I use 45/65/80/105, though a lot of people prefer a 110 for a low D.

Re: your negatives. 1. Agree, synths aren't great. I find the pitch shifters OK. 2. True, there's no XLR but as the output is balanced a short TRS to XLR is all that's needed, and your sound guy won't care. 3. Yes 3 switches is limiting depending on your use case. Not for me. I'll go into detail below, but as mentioned you can add two more switches or a midi controller, or falling that get the Stomp XL if you really need the switches. 4. Agree, decent metering would be nice. 5. There are ways to power the Stomp from the likes of a One spot. 6. I think the unit feels sturdy. To the OP: In my opinion, it depends on the type of gig you have if the stomp works for you. So I'll give you a run down. Do you use multiple tones per song, or are you engaging multiple effects per song? Stomp MAYBE good. (some thought and good programming will be required) Do you plan to go ampless, direct to PA and monitor through a wedge/FRFR or IEM? Stomp is PERFECT. Do you plan to control the stomp via MIDI? Stomp is GREAT. Do you want to integrate the Stomp into a pedalboard? Stomp is GREAT. I'll admit for my gig I barely scratch the surface of the Stomp. I go ampless direct to FOH/IEM. I use three tones per gig, and never engage any other effects during a song. We play to tracks, so my Stomp is controlled via midi from our BT player. Song starts, my patch is called up and off I go. I only touch the Stomp to tune. I did buy a cheap dual footswitch for mode/tuner control if I ever feel the need to take up the 3 onboard switches with anything. But right now I don't. For my gig the Stomp is perfect. YMMV Bottom line if the amount of switches are a dealbreaker, look at the Stomp XL or Helix LT. If the DSP restrictions (only 8 blocks per patch) are a dealbreaker then look at the LT.

Define "Classic Stingray" Pre Ernie Ball? Post Ernie Ball 2EQ? 3 EQ with no string mutes?

I've never had to price a job like that, but I'm still gonna say: cos it would cost more than 500 quid total? For that kind of money you may as well marry a 50's spec neck to a squier body, and if I'm spending that much then I may as well buy a vintera... The main point of my post is if there's an off the shelf option for 500 or under, and it's looking like the answer is no. I just thought someone might have come across one that I missed.

Yeah, the Squier doesn't match the criteria, its kinda what has prompted this post. If I wanted a sub 500 quid bass that looked like a late 50's I'd be all over it. But I want one that feels like one. What era SB1 and Sires had the 7.5?

As per the title, the critera is the neck profile MUST be late 50's spec, ie: One piece maple. 1.75"/44mm at the nut. 7.25"/184mm radius Vintage sized frets Vintage C profile 20 frets Used vinteras/roadworns/50's reissuses are impossible to find in my market and if they do pop up the prices would probably be too cheeky. Unless anyone knows someone who makes a Squier/Sire type with the above spec, my only solution seems to be sourcing a neck from the aforementioned basses.

While that might be important to some, it's not to me. Threaded saddle bridge can be cheaply sourced, I don't use a tug bar, don't care about reverse tuners, and even though I love the neck, body end truss adjustment is a pain (but I'd put up with it for the profile) also I sand my necks, not a fan of the lacquer. It's the 2TSB, Gold guard and neck spec that does it for me.

The roasted maple vintera necks are almost the price of this Squier alone, which put it close to the vintera itself. I doubt I'd recoup much from selling the squier neck. You make a fair point, but is a full spec sub 500 quid, late 50's P copy too much to ask?

I'm disappointed that they don't have the late 50's neck specs. That in my opinion is the only reason to buy a late 50's copy. I'd be seriously considering the sunburst otherwise.

I have a Track two in my collection and it's my go-to for standard tuned stuff. The stock pickup is a DiMarzio Model P and I loved it so much I put a model P in my MIM Precision. If you've got bridge problems I recommend replacing the stock one with a Hipshot Supertone. It's a big hunk of metal, but man does it help. I used it recently for this video. The basses you see are the basses that were used to record that portion of the song.

Well that facebook page is a.....wild ride.

Just grabbed my bottle of hand sanitizer (70% isopropyl alcohol) and it did the trick! Thanks!

A previous owner of my 2005 Mexican standard P seemed to be embarrassed about the basses country of origin and attempted to cover the "made in Mexico" on the front of the headstock with marker. It's never really bothered me until recently and I'd like to remove it without removing anything else, if possible Has anyone any recommendations?

I used 400 grit, followed by 0000 steel wool. Just removed a light layer as I didn't have anything to finish the neck with. But I'm considering going the whole hog now. I just have to get some gunstock wax.

Based on me trying it out. Sure I loved how it played, the fact that it was roadworn didn't really matter to me, apart from the feeling in the back of the neck. It's not a 1400 quid bass in my opinion, it's a 1k bass, tops. I could buy a vintera and go at it with some steel wool and save myself 500 quid.

Because I've seven basses, can't afford another, don't have the room and there's nothing I own I want to part with right now to pay for it.