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Showing content with the highest reputation on 09/06/22 in all areas

  1. Short version: Lovely Ibanez Roadster RS940 that's been fretted. Pickups are now Dimarzios. 4.4kg £400 now £350 ONO plus postage Longer Explaination after a few pics.... Long version, probably worth a read if you are interested: I have a real love of quality Japanese basses, not one that's matched with my having owned loads of them, but geeking out in early 80's catalogues... yeah that's me. And previously owned a Fujigen JV precision that I had really enjoyed... had a bit of GAS for a Blazer for a bit and then ended up buying this, and then trying to fix it... I'm going to tell you what it is, what I've done to it and then also point out the negatives... So what is it. It's a piece of magic from Japan from 1981 if I can read the serial number correctly. It weighs 4.4kg according to my kitchen scales. It has an ash or sen body, and a stiff 3 piece maple neck with maple fretboard. It's brown, but in a nice way. It's got all the original parts except the pickups, the knobs, the jack socket, a plastic ring that would have gone around the the pickup selector switch, battery snap, strap buttons, the screw on the battery cavity and one on the jack plate. The tuners are for some reason excellent and probably the best tuners I've tried on a bass, I have no idea why, but they are stable and easy to use and work really well. The neck is really stiff, much more than a Fender style, and doesn't have any dead spots I've noticed. Original preamp works lovely and does what it says it will and all the electronics work as they should. Typical super well built over designed early 80's Ibanez. It plays nice with a decent medium low action, it can go lower but my fingers hit the strings too hard for that to be a good idea. (1981 catalog image) So what's the story? It was on eBay, I bid more than I meant, I went and got it, previous owner passed away and his sister was selling. She said He had played it lots around London. So first thing to note - this has been played. When I got it it was filthy, with added stickers and EMG pickups. I tired to tell myself I should try EMG pickups and quickly realised again I hated EMG pickups... it had also been wired up by an idiot which meant It all worked until you switched the preamp off, and then any rolling off the volume would give a nice electrical buzz through your amp.... 😱 So out came the pickups and a new set of Dimarzio PJ was bought. The bridge is split coil so no buzz when soloed (unlike the original), a fairly pricy new DPDT jack was sourced that matched the original in a wiring diagram I found and I fixed the wiring back to the original wiring diagram. As I said the whole thing is over engineered, with the pots having their own silicone sleeves. Cleaning the crap off I noticed the bass had originally been fretless, and the old markers had been filled and new ones, and frets added. This has been done to a professional standard with only the old markers and what looks like a shim of card under the nut giving it away. The bass also had seemingly had every single screw loose. The neck, bridge and pickup adjustment screws were all removed, the holes plugged with the cocktail sticks and woodglue trick and rescrewed - they are now all tight and secure (and the bass sounds better because of it). The strap buttons had also been moved but I I left them. Knobs are not original. The big ones are the Ibanez knobs Thomann sell, the small ones are the closest I could find to the original, they look right but are a fraction too small. It currently wears some old sadowsky blue label strings, truss works, is easy to set up and play and plays well. The bad points? It's been played. The frets are good, they seem to have been levelled recently, which means they play pretty good, but are slightly lower at the nut end - If I were being picky they could have done with a better crowning. Feel free to tell me how low you have your action and I can check if I can match your setup but if you are one of those who has super super low action at 0.3mm a 41 year old bass may not be for you! Theres a fair bit of dinks and knocks to the body, and some on the headstock. The back of the neck is good but there is a gouge under the G string on the 12th fret. It's small enough that it doesn't effect anything but better to mention it. The worst scratch is the one between neck and upper bout at rear- I've no idea how you'll do that, it's not pretty, it goes through the finish but no further. The wood underneath is fine. So I'll have missed something so ask questions.... Price and getting it to you... Sale price is £400 ONO plus delivery. Trade value £450-500 I can package it up in a bass shaped box I have and post at cost, (or if you would prefer I've a brand new Gator GPE-Bass-TSA case that could be sold) A nice thing about selling on Basschat is sometimes you get offered interesting basses in exchange. I'm not really looking for anything but feel free to offer but don't be offended if I'm not interested. I can do trade and ££ either way but, and while your Fodera is nice I will get castrated If I added more than a few hundred to any trade! Lets have some more pictures.... Note the small bit of card under nut. Note the hole where the strap button has been moved, Also can you see where the marker was originally a dot either side of the 12th fret . EQ knobs are a bit small. Controls are Vol, Tone, Preamp on/off, 3 way pickup switch , Active Bass +- Active treble +- And look a nice solid bridge and brand new lovely Dimazio pickups!! PS there's no shim in the neck, it fits really nicely to give a good setup really easily. For me I found it really odd how much more space there is between the body and the strings than a fender. but it's how it was designed! \ the odd scratch, not structural Well worn battery cover Another strap button moved, and a screw missing on the jack plate. Body end of the neck - you can see the filled in marker on the 24th fret. Actually its' how you can tell it's not a factory fret job as the RS924 have two dots at 24fret 12th fret with the little gouge under the G string. Not noticeable to touch when playing. How on earth do you do that though? Fret condition at this end of the neck. Lower than the other but good.
    10 points
  2. I have six Fender basses, four of which were made in Mexico. Last week I played two gigs on successive days with the same band, for the first one I took a US Precision, and for the second a MiM Precision. Both sounded the same, no one noticed the difference, including me. I briefly played with a guitarist who at the time had over 70 guitars, all Fenders and Gibsons but he was a dreadful player. I actually had to take his guitar and tune it for him, he was that clueless. I have also played with an excellent guitarist who used a Woolworths Audition, and another I have played with for several years who often uses an unbranded Strat copy he found in a skip! Doesn't matter what the decal on the headstock says, it's all down to the head & hands of the person playing the instrument.
    10 points
  3. Cuts both ways, dunnit? I once turned up at a jam with an Alleva Coppolo KBP5 and someone asked if I couldn't afford a real Fender ...
    10 points
  4. I have several hobbies (cycling, playing music, camping and walking) and the one thing that unifies snobs in everything is that they’re joyless. People who genuinely love what they do will be happy you’re enjoying it too.
    9 points
  5. People are the same in all walks of life, because people are people. Some people have a large amount of their self image tied to brands or objects. And I guess at some level, it isn't a binary, we are probably all guilty of it to some extent, but in some it really is excessive. The further up the chain you go, the more excessive it gets. I mean if everyone is playing squiers, who cares if you come in with a squier. Unless of course you come in with a Kay - screw that guy
    9 points
  6. Hello Folks I've decided to sell my Fender Japan Jazz after finally getting a Bravewood that I've coveted for some time. From what I can gather, this was 1 of 15 basses made by Fender Japan for sale in Europe & North Africa and only 3 came to the UK (if anyone knows any more PM me). The build quality is the best I have seen from Fender &, coupled with the spec & original RRP of £1795, they clearly went for it with this model. Body: 2 piece selected ash, centre joined. Neck: Maple with rosewood fingerboard, blocks & binding. Truss rod adjustment: Headstock access. Pickups: Fender Custom Shop 60s Jazz. Bridge: Fender USA High Mass with top-loading or thru-body stringing. Tuners: Fender USA lightweight with tapered shafts. Finish: Nitrocellulose. Case: Fender ATA moulded hard case Weight 8lbs !!!!!!!!!!!!!!! The jazz is super light & resonant and sounds fantastic. Condition wise it is excellent, just a couple of pin head sized impressions near the bass side of the bridge. Currently strung with Ernie Ball Cobalt flats (amazing strings, if you like the feel of flats but the sound of bedded in rounds, these are perfect). Sale includes all the case candy, including the little book with the specs in it. I have a suitable box for shipping but please can you arrange your own courier. Local try out / pick up is always welcome - I'm 6 miles south of Middlesbrough in a very picturesque village famed for its superb ice cream & pork pies! Not looking for any trades, I have the Bravewood now. Somewhat reluctant sale, I will consider an offer but it'll need to be very close to the asking price of £1200. No better Fender Jazz out there at this price.
    8 points
  7. I only play Alembics and look down on the rest of you mere mortals. Does that count as snobbery?
    7 points
  8. It happens but it is rare. I went down to just two Squiers a few years ago and used them at some pro gigs and one an album. We played a show in Windsor and the support bass player came up to compliment me on my tone and bass - he then clocked the logo and began backpedalling massively. This stands out in isolation. I am now back to mainly expensive basses simply because at that time I could afford them and it's nice to have nice things BUT I think most people judge a player on their playing, not their kit. I'd rather see a good band with rubbish kit then a rubbish band with all the gear.
    7 points
  9. Selling this beautiful bass as a recent hand problem has lead me to playing bass less and seems a waste having this not being played much. Purchased earlier this year, light home use only and in excellent condition as is the G&G hard case. All case candy (bridge cover and pickup cover never fitted) all included. Price includes U.K. postage Series: American Original Body Material: Alder Body Finish: Gloss Nitrocellulose Lacquer Neck: Maple, “1963 C” Neck Finish: Gloss Nitrocellulose Lacquer Fingerboard: Round-Laminated Rosewood, 9.5” (241 mm) Frets: 20, Vintage Tall Position Inlays: Vintage Clay Dot Nut (Material/Width): Bone, 1.73” (44 mm) Tuning Machines: Pure Vintage Reverse Open-gear Scale Length: 34” (864 mm) Bridge: 4-Saddle Vintage Style with Threaded Steel Saddles Pickguard: 4-Ply Brown Shell Pickups: Pure Vintage ‘63 Split Single-Coil Precision Bass Controls: Master Volume, Master Tone Control Knobs: Knurled Flat-Top Hardware Finish: Nickel/Chrome Strings: Fender® USA Bass 7250M, NPS (.045-.105 Gauges) Case/Gig Bag: Black Hardshell
    6 points
  10. Gear is just stuff. I listen to the player. If he's a good I don't care what he's playing.
    6 points
  11. Not a problem, as gig pay historically always tracks inflation anyway. Oh, wait...
    6 points
  12. Been wondering about these for a little while. There's a beauty on sale here in a natural finish, but I've always hankered after a green one tricked out with ashtrays. One came up suspiciously cheap on the 'bay so I nabbed it. It's actually very nice. I swapped the plate because a white plate just looks like a place holder while they wait for the tort to come back into stock! An old Harley Benton one I had lying around fitted after a little judicious shaving with a Stanley knife. Not too heavy, plays well, lovely neck...but...an annoying audible vibration noise which took me a while to diagnose. In the end it was a machine head very slightly loose. Sorted that and reassembled it. Beautiful now, sounds like a dream. It's easily as good as folks say. Even the headstock which I know puts some of you off (it did me) looks so much nicer in the flesh - although you'll have to take my word for that!
    5 points
  13. bass_dinger, you’ve made my day. It’s now out the attic and I’m going to display this one and learn to play his other one. Thanks everyone for your help and encouragement. 🥰
    5 points
  14. I have seen enough of this to know… - never judge another person’s instrument before you hear/play it. - never get too proud of your good bass..most musicians don’t recognise my Pedulla, and that’s fine with me. - play what you want, but always keep an open mind.
    5 points
  15. The band I'm with is opening for Pallbearer at a cool venue in August I'm looking forward to it a LOT! https://patronaat.nl/event/pallbearer-11-08-22/
    5 points
  16. I've lost out on a gig with a Feelgoods style r&b band as I turned up with a Cort. They wanted a Fender. Worked with Buddy Whittington (last Bluesbreakers guitarist) who always tells slightly coy owners of Mexican Fenders not to worry as Mexicans have been making the American ones for years.
    5 points
  17. Shhhh! - it's to our great advantage to keep quiet about this. While ever the market thinks that the more expensive basses are better, then the prices of the GREAT affordable basses (Squier; Epiphone; Yamaha to name but three) stay affordable In the guitar world, there is a fair bit of life-wisdom around that boils down to: 'If you want a Gibson Les Paul, then buy a Gibson. If you want a quality Les Paul, then buy an Epiphone' Oh - and I personally would always buy a Squier over a Fender for basses and guitars (much as I like Fenders including, actually, their build quality).
    5 points
  18. There's a fine line between raising prices enough to maintain a profit margin and raising them just enough to stay in business. Small entities like BB are more able to walk that line, not having either shareholders to placate nor a top heavy management to feed. As for profit, here also small entities tend to not have any. If times are good whatever may be left over after covering salaries and costs don't go to shareholder dividends or executive bonuses, they get reinvested into the business.
    5 points
  19. It's everywhere online, less prevalent in person (where it actually takes some bravery/bravado to be mean to someone). Do I do it? No. Let the playing to do the talking. I know fantastic players who play Squiers. I would also say that the quality gap between the bottom and the top has been shrinking for some time now. I would happily gig a Squier - if I found one that tickled my fancy. F'n hate whisky snobs too. "How dare you put ice in that Glenwhatsitsface!" - p!$$ off.
    5 points
  20. It seems to be common running through this thread that the snobbery is against anything other than Fenders. In that case I'm more than happy to be looked down on. I'd rather plan an elastic band than a Fender.
    5 points
  21. I exhibit that type of snobbery, but only in regards to myself, I just don’t feel like a “proper” bassist unless I’m using my US Fenders. Which is ridiculous as I’ve seen many pro bassists & guitarists using Mex Fenders, Squiers, Epiphones. It’s just something I can’t seem to get past, however my one justification I can use is that my US ones are better - for me. I enjoy playing the ones I have more than any others, including different ranges of US ones.
    5 points
  22. Amazing bass is excellent condition. Comes with hard case - Happy to ship insured. Body & Bridge Top: AAA Flamed Maple Body: Laminated Maple Body Shape: Curved Bridge: Warwick 2-Piece Construction: Set-In Finish: Daphne Blue Neck & Fingerboard Neck: Maple Fingerboard: Rosewood Fingerboard Radius: 26" Width at Nut: 45mm Width at 12th Fret: 61mm Depth at 1th Fret: 19.5mm Depth at 12th Fret: 24mm Frets: Extra High Jumbo Nickelsilver Number of Frets: 21 Fret Width: 2.9mm Fret Height: 1.3mm Scale Length: 34" (Long Scale) Electronics & Hardware Pickups: Passive Vintage MEC Single Coil Electronics: Passive Rockbass Controls: 2 x Volume (Push/Pull), 2 x Tone Strap Locks: Warwick Security Locks Nut: Just-A-Nut III Hardware: Chrome
    4 points
  23. Short version: Lindy Fralin Standard P pups, with white covers. All working well. Come with screws but not original ones. Spec https://www.fralinpickups.com/product/p-bass/ It sounds lovely £80 including postage* Longer version: After listening for years to Walshy chatting about how these are his favourite pickups Oldslapper put some up for sale in this sale post and I thought I would try them. Put them in my Bravewood Precision for a few weeks... then switched back as in that particular bass I preferred the stock.... so looking to move these on at the same price and same condition... They are very very nice sounding things. Comes in a nice little box. Any questions just ask! £80 including UK postage. Happy to send outside UK as long as you realise there's going to be all sort of fun import duty for you to pay.
    4 points
  24. Google 'sarcasm'. In France it's Macron's fault, in Germany it's Scholz's fault, in Australia it's Albanese's fault. They don't blame Putin in Russia, on penalty of death or being conscripted (the same thing, actually), but the reality is that it is his fault everywhere. 😉
    4 points
  25. I've had the opposite too... People assuming my knackered and heavily modded Mexican Jazz was some kind of vintage masterpiece. Then they heard me play it and realised it was mostly Wilko wood filler and matchsticks.
    4 points
  26. Not that anyone asked for it... but a bit of follow-up. It's coupled with my trusted Ellefson sig strap, and the balance is really great. The fact that it hangs "from the inside" and not the horns allows for no neck dive despite the shape. Lightweight tuners help, also. Still struggling with the fanned frets in the upper register where it's really weird. But I'm getting there. I found that the pickup selector is my favourite feature on the bass. Better than the tone pot that I barely use once I set it. BUt the diversity you can have with the selector is great. I'm having a great time playing all styles (yes, I admit it might seem weird to play I Want You Back on this bass, but it works.) It was kind of a leap of faith to purchase a Fanned Fret with no prior experience, especially with this shape, but I'm glad I made it. Dingwall is clearly way up in the quality department, even with this "budget" line.
    4 points
  27. Alive and well even on Basschat. I read a comment from a regular poster here just the other day which made me think ‘seriously, you’re making that point again about your special bass’. I just yawned and scrolled on. That person is by no means alone.
    4 points
  28. I just took delivery of the new short scale headless from Bootlegger guitars it’s a fun little bass to play and sounds good! here’s a link to a review I posted at talk bass. https://www.talkbass.com/reviews/bootlegger-ace-short-scale-headless-bass.541/
    4 points
  29. Just a quick update on this build.
    4 points
  30. It's all Biden's fault. 😫 Oh, right, you're in the UK. It's all Johnson's fault. 🙄
    4 points
  31. I am selling a wonderful Precision Bass built by Jimmy Coppolo. The Bass was built for the NAMM 2010 (see pictures). The Bass is with 3730g very light. The Sonic Blue Nitro Laqueur aged very well, you can see it under the Neckplate. It was played and has some marks of use (as documented) but overall is nice looking. Shipped in a non original Case, comes with Chromes and TI Flats. Great Bass for great price. Thats the Price I payed (traded for) and I want to be fair. It is a great Precision Bass but I also got a Pino Signature, wich owns my Heart. Any questions welcome!
    3 points
  32. This is a gorgeous example of Spector’s legend series 6 string bass, with walnut burl finish. I bought this recently from this forum and despite multiple attempts, I’m sadly not cut out for needing or enjoying 6 strings so reluctantly I have to let it go. It is in immaculate condition, and sounds and plays sweet. I can pack it up and post it in UK.
    3 points
  33. Is the right outcome. Enjoy.
    3 points
  34. So, I have had my Acononyx for a bit over a week now and have been able to give it a reasonable try out, although not with either of the bands I play in. It really has got a good range of useful tones available from those buttons. That bridge pickup is really usable on its own too. At the moment I think I am going to keep the round wounds on it. I feel it would be too dark with tapes or flats and I like that bit of growl they are giving. All in all, I am very pleased with it so far.
    3 points
  35. Ive taken my pointys to blues jams
    3 points
  36. Panda are offering deal for anyone who wants to buy a second FI: “From now on we decided to give a very reasonable discount for users who already have a Future Impact I. or v3 unit to buy a second one.” http://pandamidi.com/store/your-second-future-impact
    3 points
  37. We're not really talking about the sorts of bands who would headline Download. More the ones who'd end up on the smaller stages, at smaller festivals like Stonedead, and those who do pub or small venue gigs. The big bands have money, management, and most of them are long established. Paying for some visas that they didn't have to pay for before is a drop in the bucket compared to what they're already paying to move their stage show around the world. We're talking about smaller, newer unsigned bands, who don't have major financial backing or professional management, who've had the ability to expand their audience overseas severely restricted, in both directions. This is why the rubbish that the likes of Bruce Dickinson and Roger Daltrey have been spouting about Brexit winds me up so much - they say that bands from the UK used to tour in Europe before the EU, but conveniently forget that the music business was massively different back then. You never got to play gigs on the European mainland unless you were signed and managed, and this was back when labels and managers would pay to "develop" acts. The managers would pay for visas and arrange the logistics. Those days are long gone, the labels don't have the money for that sort of thing anymore, and smaller bands have to do all that sort of thing themselves now, on a shoestring budget. Plus, it reeks of them pulling up the drawbridge behind them.
    3 points
  38. The Shoes of the Fisherman's Wife Are Some Jiveass Slippers - Mingus
    3 points
  39. Nights in White Saturn ~ The Moody Blues
    3 points
  40. Mars, He's Making Eyes At Me - Lena Zavaroni
    3 points
  41. Interesting anecdote. I played the first bass Ian Waller built. It was a Salmon Pink P Bass copy, weighed a ton and you could drive a bus under the strings. We went to the same school, although he was about 3-4 years ahead of me. In the early 60's he played in a local band, sorry "group" as they were called in those days, called The Wailers with Derek Leckenby and Barry Whitham and I was in the same class as Lek's brother Colin. As a teenager it was customary in those days to play guitar and Colin brought Wal's bass round to mine on a couple of occasions. Ian was very well known in Manchester and earned the handle "Big Wal" as he was rather chunky so when Derek Leckenby and Barry Whitham were asked to join the newly formed Herman's Hermits, who had just secured a recording contract, Big Wal was left out in the cold as he wasn't considered easy on the eye and svelte enough for HH. He went on to join Remo Sands and the Spinning Tops and I was in a band the borrowed their roadie and van quite a lot. He was a stonking bass player and he built various pedals for Spinning Tops, electronics being his love.
    3 points
  42. One memory that sticks out is turning up to an audition for a rock band and I bought along my Spector Euro. The lead guitarist asked me what bass I was using and I told him Spector. The lead player turns to the rhythm guitarist and says "Are they any good?". 💀
    3 points
  43. I would say the mediocre player with the £3k super bass. The vast majority of what we play as bassists in 'popular music' can be adequately played by a mediocre player, so I'd quite like to see the super bass
    3 points
  44. I certainly used to suffer from gear snobbery when I was younger, but as I've got older and more experienced I'll often gig with my cheapest instruments as they play better or suit what I'm playing better. I've been known to gig everything from £120 up to several thousands of pounds: if it's right it's right. If anyone comments on my gear choice (which I've had on occasion) I generally just shrug, smile sweetly and tell them it's what I choose to play right now.
    3 points
  45. Why have a clunky bolt on joint when you can have something like this?!
    3 points
  46. Having just acquired a new BB3 (just before the price rise), It's so far beyond any other cab I've used, in every conceivable way, and yet, there are plenty of cabs, from other brands, that are more expensive (new), that are half as effective. Even with a price rise, it's a bargain for the performance on offer.
    3 points
  47. Pay??? What is this gig pay madness of which you speak??
    3 points
  48. I've had my bolt on Ibby since 1990. It's a 24 fret bolt on neck & I'm regularly up the dusty end (a couple of songs even use that high G) & never had any access issues due to the neck being bolted on. But the fact that the bass has a bolt on neck played no part whatsoever in my choosing it over the other basses. It was the sound & playability that made it mine & it could have had a through neck for all I care. Other basses have came & went. This one remains (alongside a recent StingRay5 Sub, which weighs a ton). My advice is get the bass that feels best in your hands, not what the paper specs say. Then upgrade the pickups if you want.
    3 points
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