machinehead

I bought one just a few weeks ago. They are excellent basses for very little dosh. I am told that they have the same pickups and preamp as a US Stingray. I've gigged mine a few times and am loving the depth of the bass, and the smoothness if you back of the treble. It's a very powerful sound and by backing off the bass and treble to about halfway and playing close to the bridge you can get a very honky jazz bass tone too. After a setup and fixing a bit of crackling noises it now plays and feels very comfy. The neck profile is wide but not overly deep and I find it very easy to use on longer gigs without tiring. It's slightly heavier than I'd like but not more than 10lbs at a guess. I haven't missed the body contours at all although I'm planning to strip the neck back to bare wood and oil it. The paint on the neck is wearing away and isn't as smooth as I would like. I've done a quick sanding for now which has helped a lot. I'd certainly recommend them. Edit. Spelling correction. Frank.

[quote name='Dingus' timestamp='1392997033' post='2375105'] In this and your other posts on this subject , you have hit the nail on the head, my friend. There is a marked gap between perception and reality, but that is hardly surprising when you consider how subjective the appreciation of fine aesthetic details can be. The greatest irony about the cult of vintage is that, of all bass guitar designs, the Fender is one of the most simple and straightforward , and on the face of it should be easiest to reproduce consistently. I have played and owned a lot of basses , both vintage and new, and the difference in sound between a pre-CBS Fender and even a half-decent new one is not much at all. The characteristic Fender tones are sufficiently dominant in any case , regardless of the age of the bass. It 's far more the difference in appearance and feel that influences peoples impression of the experience of playing these basses. [/quote] I find myself agreeing with the above post. I don't have a [b][i]lot[/i][/b] of experience with pre-CBS Fender basses. I've played a few over the years but I don't remember ever feeling that they were superior to newer instruments. I did however, recently play a 1961 Fender Jazz at a gig. This example had been well cared for and had minimal wear - certainly much, [b][i]much[/i][/b] less than the current road-worn series. Amazing condition really as this bass has been gigged regularly all its life. The owner very kindly offered to let me play his bass that he has owned for 49 years, having bought it used in 1965. I didn't want to pass up a rare opportunity to play such a legendary piece of bass history, so I accepted his very generous offer. After being handed the bass and putting the strap on, the first thing I noticed was the awful neck dive. None of my modern Fenders suffer from this. The bass was wearing flats - I have no idea of the make. Anyway, the bass sounded superb but no better (and perhaps, even not as much to my liking, but that's subjective) as my AVRI '75 jazz, a bass which has had many positive comments on its sound. The way the bass was set up wasn't to my liking at all. Very high action and the strings seemed to be a particularly heavy guage. This instrument had no fret markers on the top of the neck or, if they were there, they had become invisible over time. I was expecting some kind of "spiritual" experience but what I found was that the bass was unpleasant to play and wasn't actually any different sounding to a decent modern Fender. I can tell you that it was a disappointment for me. When I went back to my own AVRI '75, I immediately felt more comfortable and the tone had more growl and bite. My own bass also felt far better to play. Everything felt tighter and just better to the touch. And no neck-dive. I'm not judging every pre CBS Fender by this experience but it does sort of confirm my long-held belief that age and playing time does little or nothing to improve how a bass sounds. How it feels, well yes, but this can be replicated quite easily. So would I like to own this bass? Absolutely yes. Olympic white, beautiful original tort guard, a bird-eye maple neck and a richly coloured rosewood fretboard. Just lovely. However, a post 2008 American standard jazz in similar livery would be, in my opinion, every bit as good as the '61, minus the mojo. If I wanted a '61 jazz I suppose could, after working for 41 years, probably afford to buy one. It's similar price-wise to buying a new car. (Another thing I'll never do again!) The fact is I simply couldn't bring myself to spend that much cash on one except perhaps as an investment. At current prices the investment value is surely doubtful. A long, somewhat rambling post, and one that in no way is intended to take anything away from vintage Fender lovers which, in a strange way, I am too. Frank.

[quote name='Lozz196' timestamp='1391887069' post='2362360'] Three-bolt neckplate was introduced on Jazzes in 74 .Serial number above the F in between the two top screws, this stayed until 76 when it moved to the headstock. Blocks & binding would be right. Tuners should have the Fender logo on, with the R for registered trademark above the last r. On the bridge, all of the screws should be the same length, and the saddles adjusted by two screws in the top. Oh, and being a 70s Fender, it should be heavy, so the rumours go [/quote] What a great and helpful post. Basschat at its best. Frank.

[quote name='Paul S' timestamp='1390404515' post='2345043'] Another vote for a Midget. I have a Compact + Midget and the pairing is marvellous. Also gives flexibility for rehearsals, too - I usually just take the Midget along. OOmph-wise I've never found the pair lacking - I use a TC Classic 450 or GB Streamliner 600.. [/quote] This is what use and would highly recommend it. (This will be no surprise) You have 3 rigs in 2 cabs. It's a very flexible setup - the Midget for rehearsals and smaller gigs (It's still very loud) Compact for bigger gigs and both, for say, gigs in hotel function rooms and outdoor gigs. I like the Compact very much even on its own though. Frank.

I can take the relic look or leave the relic look but I do wonder how the f**£ some genuinely worn basses get into the state they're in. Do the owners take them to gigs tied to a tow rope behind their car? I own several guitars that I bought in the 70s, one is from the 60s. They were extensively gigged over the years and still look 9/10 condition today. It makes me wonder what the fake worn basses are based on? Maybe it's ones that were accidently dropped off a ferry and were recovered in a trawlers net 30 years later? Frank.

[quote name='machinehead' timestamp='1387408859' post='2311775'] Here's the truth about BareFaced cabs: The company is owned by a guy who knows little to nothing about designing bass cabs. He uses components based on low cost rather than best performance. He offers what traditionally sells, at the expense of what offers an improved performance. He snares the foolish into buying his products by making them look pretty, even though they are average (often below average) performers. He doesn't publish his technical specifications, making it difficult to understand the product he is offering for sale. Worse still, he even exaggerates and publishes barefaced lies about his cabs performance data, all to fool the gullible into buying his products based on looks and image. If you ask for advice on buying one of his cabs, he lies to you to get a sale. The most important part of his business model is to develop a brand image so that he can position his products as a premium cost item and take advantage of the veblen effect, whilst offering products that demonstrate inferior technical performance compared to other (sometimes even more expensive) bass cabinets on the market. He simply continues to manufacture that which is selling and doesn't develop and improve his products. He markets bass loudspeaker cabinets designed to give the buyers what they traditionally expect and never attempts to push to boundaries of design and engineering. He plays it safe every time. Once you buy his product, you're on yer own mate - no returning the cab and getting your money back with [i]this[/i] company, should you not want to keep it for any reason whatsoever. You can expect absolutely no after-sales service. Frank. [/quote] [quote name='The Dark Lord' timestamp='1387448100' post='2311975'] I don't agree with this. I think the cabs are very good. Sound very good (which is the main thing). I have questioned the price and (relative) quality - but I generally think they are good. I think this post is very harsh and don't agree with it. But I'm out. Like a lot of people, I'm now bored with the topic. As I no longer own or intend to own one, I won't look at, respond to, or read anything about Barefaced from now on. [/quote] I didn't think anyone would actually miss the irony in my post. I've been a Barefaced owner since 2008/9. I think that might tell you something about what I [i][b]really[/b][/i] think about Barefaced products. Frank.

Here's the truth about BareFaced cabs: The company is owned by a guy who knows little to nothing about designing bass cabs. He uses components based on low cost rather than best performance. He offers what traditionally sells, at the expense of what offers an improved performance. He snares the foolish into buying his products by making them look pretty, even though they are average (often below average) performers. He doesn't publish his technical specifications, making it difficult to understand the product he is offering for sale. Worse still, he even exaggerates and publishes barefaced lies about his cabs performance data, all to fool the gullible into buying his products based on looks and image. If you ask for advice on buying one of his cabs, he lies to you to get a sale. The most important part of his business model is to develop a brand image so that he can position his products as a premium cost item and take advantage of the veblen effect, whilst offering products that demonstrate inferior technical performance compared to other (sometimes even more expensive) bass cabinets on the market. He simply continues to manufacture that which is selling and doesn't develop and improve his products. He markets bass loudspeaker cabinets designed to give the buyers what they traditionally expect and never attempts to push to boundaries of design and engineering. He plays it safe every time. Once you buy his product, you're on yer own mate - no returning the cab and getting your money back with [i]this[/i] company, should you not want to keep it for any reason whatsoever. You can expect absolutely no after-sales service. Frank.

I know nothing about the 64RI but I have an American Vintage 75 reissue with ash body and rosewood fretboard, plus 70s position bridge pickup. It also has the 3 bolt neck, which is a nice feature and works perfectly. The neck is maybe the best neck I've played - slim with a beautiful profile. The pearl block markers and bound neck are lovely to look at and are flawless. The sound is bright but meaty, honky on the bridge pickup and deep on the neck pickup. Backing off the tone gives an even chunkier sound. Easily my favourite jazz bass. Frank.

I have a 2008 US Precision. These are really great basses. There is no need to change anything at all, the pickups are excellent and all the hardware is top notch and the case is as good as it gets. I'd just go for a post 2008 US Precision and be done. No changing pickups, bridge or anything else, and no having to buy a case. Frank.

[quote name='wateroftyne' timestamp='1384606796' post='2278617'] I float all the time - I never rest on the pickup. [/quote] Me too. I think it's better if you never rest on the pickup. That way you can change your right hand position easily without being "tied" to the position of the pickup. Frank.

I did a medical a few months back for working offshore. The cost was £150 and the company paid it. I passed. Frank.

Very tasty playing and that voice........fantastic! Frank.

[quote name='molan' timestamp='1383778388' post='2269156'] The thing I always, without fail, find odd about discussions over expensive objects is that people so often deride others just because they've lashed out on something that may not have an intrinsically greater value than a far cheaper item. If it makes them happier then where's the harm? [/quote] I agree 100% with this. Each to his own. Frank.

[quote name='Beedster' timestamp='1383776221' post='2269113'] 64's are for antique collectors and traders. There's nothing they can do sonically that a new instrument can't. That doesn't change their value as rare, collectible or antique instruments one iota of course, and I'd never question that. It does however mean that folk like me five years back who think they'll find something magical in a 50 year old bass will be either deluded or disillusioned when they buy one. [/quote] I recently played a '61 Fender jazz but the expected magic wasn't really there for me. And this was at a gig, not in a shop. Yes, it was a lovely bass and felt good to play but no better, perhaps even not as good as my '75 AVRI. It sounded good too but no better than a modern jazz to my ears. I would certainly like to own it for it's history and investment value but, in all honesty, it confirms my lifelong preference for newer instruments. I'm not knocking this bass at all or those who prefer older instruments but the attraction just isn't there for me and I don't find that they sound any better than good modern Fenders. Frank.

Brilliantly explained flyfisher and 100% correct. Frank

[quote name='dmccombe7' timestamp='1383471242' post='2264677'] From my own understanding a surge protector is normally to reduce the odd spike but wont trip your circuit and protect you the end user if a fault occurs. An RCD is a residual current detector and will pick up on any excessive current pull and trip the mains off whether that is overload or to earth. RCD is normally used to protect you where a surge protector will only protect the kit from occasional spike. RCD is normally used with garden tools or electric mowers etc. Hope that helps Dave [/quote] It's actually a residual current [i]device [/i](there are several types including ones to disconnect if an overload occurs) and will disconnect the power when the current flow reaches a predetermined imbalance, usually 30mA for power circuits. It's probably a good idea to use one although I don't always heed my own advice. I did see a guitarist receive an electric shock once . I checked his amp and found the earth wire in the plug disconnected and touching the live wire. That was about 1980 and I've never seen it happen since so it's not that common - but it only has to happen once........... When I was an electrical commissioning engineer in the late 70s/ early 80s I used to get shocks a few times a year, always a frightening experience and quite painful. Frank.

[quote name='theplumber' timestamp='1382995112' post='2259003'] That white SUB with the red scratchplate....that was mine! I bought it off e bay,had it for about 2 years and sold it to a guy from Northern Ireland,about 2 years ago. It was ''reliced'' by the previous owner,hence the worn paint. There is no way anyone would wear the paint off these with normal use!! I loved the guitar,but was really broke at the time and had to sell it! Oh,I also sold the rest! [/quote] Haha. It's a small world on 'tinternet. This is an excellent bass. I've had two rehearsals with it so far and I'm loving how it sounds and feels. It does feel indestructible and very well built. I did a quick setup, tweeked the trussrod, adjusted action and intonation and it feels perfect. Sorted out a few noisy pots and a worn jack socket and it's now an excellent instrument. Friday night will see its first gig. I'm looking forward to it. Frank.

[quote name='xgsjx' timestamp='1382880960' post='2257472'] I'd get a 2nd Markbass 2x10 & stack em vertically. Though I'm not convinced that you'd need more than 1 2x10 for pubs & clubs unless your amp is a bit lacking. [/quote] Yes! I had this rig and stacked them vertically and it was excellent. Frank.

I didn't listen to your link but........... I'm 56 years of age and I dislike DJs as much now as I did when I was 17. I've always hated nightclubs (with DJs),hated discos and pubs with piped music and always loved a live band. Frank.

[quote name='skychaserhigh' timestamp='1382567361' post='2253905'] The way you play a precision makes all the difference in tone. The way you attack the strings and different right hand positions can get you all the tones you need. [/quote] I agree with this 100%. Also, how you use your left hand - damping, vibrato etc. Frank.

[quote name='mcnach' timestamp='1382478688' post='2252788'] No, no, he has it just right! That's the sweet spot I like too I may boost bass a "tiny" bit more than that, but that's all, certainly less than 50% of the pot's travel. That way it seems to have a stronger midrange. [/quote] This is my first stingray - I have no experience gigging a stingray and I haven't read about the tone settings folks use. Hearing a 2EQ stingray at a gig a few months ago was almost like the moment I realised I loved the precision sound. At rehearsal I did think that using both tones at full on gave a scooped sound and I preferred keeping the bass and treble rolled off a bit. Time and experience might change my thinking though. We'll see... Frank.

My 08 US P has a decent range on the tone knob but I find it more noticeable when playing with a band. I sometimes roll the tone back say 50% to a spot which just gives a lovely balance of thump and fizz. So I'm suggesting you might hear the difference more when playing live? Just a thought. Frank.

I used my Musicman Sub (US version) tonight in rehearsal. It was its first outing (with me anyway) and I quite enjoyed the sound. I kept both the bass and treble rolled back about 30% and treble right off for a reggae number. I'll have to spend a little more time and a few gigs with this bass to get to know it better but so far, I like what I hear. Frank.

[quote name='Dazed' timestamp='1382279686' post='2249981'] Hey Frank Was that the one on gumtree for 250 with the red scratch plate ? If you decide to sell it on can I get 1st in line? It looked good with worn paint [/quote] The very same one although it's cheap for a few reasons and I reckon on a set up and new strings plus some work on the preamp. You can of course be first in line if I don't keep it. Are you in N Ireland? Frank.

[quote name='Bigwan' timestamp='1382343481' post='2250726'] I've just put a deposit down on a BB2 Frank. Once it arrives we should have ourselves an NI mini bash! [/quote] Great idea. I think there's a fair number of basschat members from N Ireland. We'll talk it over in a few weeks time. Frank.