Skin Lewis

Absolutely this. Also, mix engineers would try to give these guys what they needed in order to get the best out of it, if they knew who was cutting it.

Porky was a legend, I sat in with him at Olympic back in 1980 as he was cutting a 12" for our band on his amazing Neumann lathe. Nobody else could get the bass end as big and the top end so clear and airy. Porky prime cuts!

It's a personal thing Ander, I'm not suggesting a Nash would be an upgrade over a Limelight, just that it was better for me, and as I said before, if the Limelight had a full fat Precision neck instead of the Jazz neck, I probably would have kept it. Hang on to them!

As I say, it was my personal impression of that particular bass. I'm not dissing Limelights, I just didn't get on with that particular one. Glad you're happy with yours .

Well, in essence I suppose they're all 'parts' basses to a degree, but to me, the Limelight actually felt like a collection of parts, whereas the Nash and the Fender feel like complete instruments in their own right, if that makes any sense. Being able to compare the Nash directly to the CS, I'm even more impressed with how good the Nash is, and how well it replicates the vintage Precision vibe.

My Nash PB63 and Custom Shop 61 Sean Hurley. Both very similar to play, same weight, Nash has 10" radius fingerboard, CS has 7.5" Finish on the CS is much better, but the aged and dinged Nash is more appropriate for Dog and Duck type gigs. Very little between them regarding sound, playability and comfort.

When I was running my recording studio a few years ago, despite having things like a U67 and several Rode valve condensers in the mic cupboard, for upright bass I got the best results from a cheap £85 chinese ribbon from Thomann, along with an EV RE20 and a Little Labs IBP analogue phase aligner.

I know what you mean - mine unsettles me whenever I spot it on the wall . It's in "pink burst " too....... Close up, it looks like someone's Grandad made it in the shed out of what was lying around, but they're great to play, and can sound huge.

I've had a Longhorn for years, and toured with it a few times. They're a lot more sturdy than they might at first appear, mine is a late 90's Korean one, and remains unmarked and in top condition. Very light, cheap, and sounds great. Well worth a try if you can find one.

You could look at the current American Performer Mustang, it's got a Mustang pickup and Jazz pickup, different tones to a regular PJ configuration, can sound quite Jazz like. Just over a grand, if you can find one in stock. I think there's one for sale on here.

I have one, it's handy, plenty loud, well built, good range of tone, and works as well on a small tight stage as it does on a big outdoor stage. I would recommend, it's all the amp I need.

Back in 1981, when I was doing backline for a new wave band, we were in a small cinema gig in Verona, Italy. Us four crew had done the set up, all ready for the band to arrive for soundcheck. At this point, two things happened: Firstly, the band, who had been arguing for weeks, finally descended into all out violence and started a serious fight in the hotel foyer. Blood was spilled, police were involved, arrests were made. Simultaneously, 2 miles away a fire started behind the stage at the venue, which very rapidly spread, and the four of us crew just got out of the building before it was engulfed in flames and burnt to the ground, including PA, backline, lights, the lot. The next day I shovelled the charred remains of the gear into the ten tonner and headed home. At Dover, UK customs wanted to check the gear against the carnet, which was interesting to say the least.

Sounds just the job, mucking about with a piece of sponge between numbers is a pain. Might go for this on the Nash.

Very nice work @Ander87, the new pick guard looks much better too. How did the mute fitting go?

I can only speak of my own experience. I have found that some are very good, many not so. Others experiences will be different I'm sure.

If you particularly want an American Fender, I guess you have 3 options: new, vintage, or Custom Shop. The new pro II ones are jolly good, at least the 3 I tried were. Pretty consistent too. Custom Shop: you have to try one first, and be prepared to pay, and to travel. And be prepared to keep it for a long time if you buy new, as soon as you open the box, it will lose a grand at least. As for 70s ones, as a touring tech and player, I saw very few good ones. Some were dogs. My own '78 weighed 10lbs and had a neck that gave me a serious RSI. An AVRI would be a much better bet. Whatever, taste and try before you buy. I'll be looking for my perfect Precision til the end of my days, meanwhile I've settled on a Nash 63.

Good call on Beak. Billy Fuller on bass. As a Bristolian, I can assure you it's Bristol, not Brizzle (unless you're very drunk.....)

I'd add Startled Insects, Glaxo Babies, Maximum Joy, Smith and Mighty, Nellee Hooper, Stackridge, and Russ Conway...

Same here, I went to BD to try a few Precisions, and walked out with a Nash PB63, although I didn't really need to be talked into it. I subsequently bought a Limelight too, but didn't keep it for long, the Nash is so much better for me. Probably the best bass I've owned.

The slow stock update thing happens with the big online sellers too - I bought a JMJ Mustang from PMT ("in stock, next day delivery"), paid for it, and had an email 2 days later saying it was out of stock, and would I be interested in a Precision or Jazz instead

https://www.guitarguitar.co.uk/product/201218365108025--fender-custom-shop-limited-edition-precision-jazz-bass-journeym