jjay69

[quote]Edit: Coming to think of it, I don't believe Fender Precisions have ever had a "Contour body" logo... Maybe a Fender Expert will correct me on that? For reference, this is what a genuine 1978 Fender P headstock looks like, with a seven digit serial number usually starting with "S8" (there may be some S7s as well):[/quote] Well it's becoming a mystery because i've seen this exact type of headstock on basses in some Vintage and rare shop in Denmark St (the one that looks like someones old front room stuffed with classic instruments). I know, because i commented to the guy that my head looked just like this with this "long number" underneath, but no serial number, he said thats the patent number, the serial no will be at the base of the neck or inside the body somewhere. I've always known it was a bit different but thought nothing of it, it plays like a dream. I bought it around 1988-90. It was recently worked on by Martin of Sei basses at the Gallery, i'll give him a call to see what he thought when i get chance. [url="http://www.flickr.com/photos/jjay69/6406515165/sizes/l/in/set-72157628162331605/"]http://www.flickr.co...57628162331605/[/url]

I don't think you can say that, there is no one true decal that dictates a specific time. The serial number that everyone seems so obsessed with is under the scratchplate or somewhere by the electrics on mine, i dated it years back. The number under the logo is the patent number not the serial number

"On a bass that looks like that, you'd expect to find a serial number on the neckplate (metal bit that the screws that attach the neck to the body go through)." I wouldn't neccesarily say that, i have a genuine 78 Fender Precision, it's neck plate is completely blank, just a square block, also Shaller machine heads, but they might have been changed ? I have also noticed that many Fenders built in the mid to late 70's seem to have a certain natural wood "Look" finish to them similar to your pics, hard to describe. Mine also has that bit ot text at the very top of the headstock which seems to fit with others i have seen from the '78 period. Some pics of my Precision and others (after recent upgrades) here [media]http://www.flickr.com/photos/jjay69/sets/72157628162331605/[/media] The headstock [url="http://www.flickr.com/photos/jjay69/6406532079/in/set-72157628162331605"]http://www.flickr.co...157628162331605[/url]

[quote]I think a GK microhead and 1x15 + horn cab is a good compromise, especially as my pal could buy in a spare too. Would that kit turn you off too? I'd be quite chuffed to find something like that... [/quote] Possibly not, a lot of modern gear is a lot better than it used to be, im not a fan of 15's but the newer ones with horns are greatly improved than the old skool ones, so chances are i'd be ok. In other words it's a matter of taste. I think years of playing with a VERY loud drummer who always brings his own kit means a right power struggle so if the gear can't cope it's quite off putting. End of the day if the gear has power and is modern enough and flexible enough, ie not one particular sound type then i think most guys would be happy enough. Though yes with amps getting smaller the majority would still bring their own, so cab choice is important.

Just adding a couple of thoughts from this bassists point of view. 1. Im very dissapointed if i walk into a rehearsal room and find a bass combo, no matter how good it might be. From experience i've found them underpowered, farty and usually been hammered and give the impression of a cut corners approach where the bassist hasn't been considered. 2. Im equally dissapointed to find only 15"speakers available, too boomy and no clarity, 10's or 12's are much more flexible imo. I have gone out of my way to convince the whole band to avoid rehearsal rooms with gear like this and rehearse at a place where i know i can get a half decent sound. Based on this crude bit of research i would say picking the right gear can have a big effect on the success or failure of your venture. Whereas how fancy the studio is makes no difference to me at all. Though one thing i think all rooms should have is a blackboard or whiteboard for jotting notes down or explaining parts to the guys in more complex songs.

Guys thanks for the input and masses of information, Lozz [quote]get a good thick punchy sound on the D & G from the amp, whilst using the EBS to eliminate excess boom on the E & A. It does this, so I`m happy. I`m sure it can do a lot more, but for what I want out of it, it`s great - I get a nice evenness across the strings, plenty of presence, and without surplus boom[/quote] This is pretty much exactly what i am trying to achieve, lose the boom keep the punch so you've reassured me there. [quote]I see you are in London, if you are anywhere near me you are welcome to borrow a a compressor for a couple of days to see if it's for you or not[/quote] Rumple i nearly took you up on this one thanks, but the trip on the motorbikes to south London never happened on the weekend. Though i did get to Denmark street (only a bus ride away) and had a go on an RC3 Loop station ! what fun, a serious contendor 1! And as for this [quote]You Without compressor > < You With Compressor [/quote] Sheer Genii, who said bass players were unimaginitive !! So do i bite the bullet ? lets see what the London Bass Show brings

Well all i can say is the Behringers at our place have always been reliable and when plugged into the Marshall 4x12 there they sound great to me. If i forget to take my MB LMK along im not bothered as long as the BX is there, in fact i usually choose it over the big ol Marshall valve amp thats there too. Maybe it's me but i think it works really well for the rock sound and i prefer it to valve sounds anyway.

As far a great value heads go for rehearsal, our studio uses these amongst other things, i love 'em, i suggest adding them to your options [url="http://www.behringer.com/EN/Products/BX4500H.aspx"]http://www.behringer.com/EN/Products/BX4500H.aspx[/url]

Phew, i just had my lunch so my guts are sorted, but my brain is now on full gorge mode, maybe it needs compressing too.. No thanks, again v useful, lm almost sold but keep em coming ..

Now That.. was a useful link, ta.

Im not a big fan of effects, i think they make you (probably me) a lazy player, for years i've just plugged a lead into the amp for some true tone. Playing with effects imo seems mainly to cover up your true ability and allows you to get away with a lot more. Each time i try a pedal all that happens is the sound i like and can hear dissapears and is replaced by something else, usually lost in the mix, when i switch it back off it feels a bit like losing an arm, so i'd rather do without and try to do my very best using touch and tone directly from my fingers, concentrating on each note.. Saying all that im considering getting a compressor, but if im honest im not 100% sure what it will do for me, hopefully it will balance the sound from my Active Jazz so that when i "dance" off the octaves the D + G strings will sound equally as punchy as the E + A, if this makes sense. So go on, somebody explain exactly what a compressor will do for me and should i invest. Sell me a compressor with your wordsmithmanship !!! [color=#696969](am looking at an EBS multicomp btw)[/color] [color=#000000]Oh i should add i have a DOD envelope filter at home, it was a great novelty, but went the way of the others and sat on the shelf for about 3 years now, might put it up for sale.[/color][color=#696969].[/color]

Hmm yes i have seen that... perhaps that is why i wanted to try one closer as a quick trip to Notts is not an option !

[quote]Tried a number when GuitarGuitar started stocking these, but though all were somewhat cheap and nasty - raw woods, thin finishes, and nasal/characterless pickups/electrics - for a maker pitching its product at an intermediate to pro level[/quote] Well thats the first time i see Sandbergs getting tough love [quote] It's worth trying a TM with the MM humbucker at the bridge. It won't sound like a Stingray because of the positioning, but it will make complete sense when you try it! It sounds like a J bridge pickup, but just a bit more gutsy and muscular. There is a mini toggle to split it to single coil too if you want. Risingson is dead right, it's a two band eq, with push/pull active/passive volume control, and the treble pot acts as passive tone control[/quote] Now your speaking my lingo, i really love that humbucker sound, position, the way you can lock your thumb in between the screw threads, flexibility of the toggle switch aand its a jazz shape, neck pick up option ability to split the two pups for tone, damn its got it all. I have similar features on my G&L and love the MM pup, so for me this looks like a pearler ! check it. [url="http://www.sandberg-guitars.de/basscat-overview/calt-series/caltm"]http://www.sandberg-...lt-series/caltm[/url] I mean look at some of the wood finishes on these, there must be some quality workmanship in there for them to even bother offering options like this ? [url="http://www.sandberg-guitars.de/basscat-overview/calt-series/caltm"]http://www.sandberg-...lt-series/caltm[/url]

Thanks for the input so far guys, seems there's a few around but it will mean a bit of a trip wherever i go, probably guitarguitar south of the river then. Dosent matter if they're a bit pricey at this stage, it's mainly for me to do a comparison against my USA Jazz Deluxe and see where i am with it. Incidently what would be the closest equivalent Sandberg to the Fender Deluxe (ie active/passive 3 band eq etc ?? )

Aye sorry didnt have time to read all the pages

Im hearing a lot of Sandberg chat and want to give one a try, but where is the easiest place to try one, im based in North W London, don't think the Gallery have any ?

Yeah i can second the Gallery, it's a little gem. Im lucky enough to live close enough to walk there and just had my Precision worked on there too, it's worth it, make sure you go downstairs and take a peek where the most beautiful Sei basses are made and go cat spotting ! Other than that yes if you've never been, the 100yds of Denmark st will keep you busy for some time, I cant remember the name now, but make sure to go into the vintage shop up the "north" end near the Intrepid Fox and wind your way up the stairs to the top floor, where you will find some of the wackies looking vintage guitars ever, Jack Daniels shape and the like..

Back in Novenmber, yes 2011, our guitarist had to do a month in the States, day after he returned in late Dec the drummer went to Argentina with his wife for 6 weeks ! when he returned in late Jan the same guitarist had to do another fortnight in the States, closely followed by the singer taking a week off. We have our first rehearsal in months tomorrow night, so far ..... In the meantime i got fed up, tried to learn jazz and join a trio !

Well first i should say i still just have my little toe dipped into the jazz world, i've had one rehearsal and another one booked. It's amazing after so many years of playing you can still feel like a complete amateur at something. I liked the idea of playing fusion, jazz funk kinda stuff, but quickly realised that i'd need a better grounding in more traditional jazz to do this. Barely a week or so into some new scales and modes when i spotted an add for a guitarist from a rock background looking to attempt some "raw" jazz standards ! perfect me-thinks, i'll give it a go. Anyway it turns out he was quite advanced and the standards he chose sounded boring as hell to me, still i gave it a go. I found trying to learn by ear like i always used to with other cover songs simply didn't work, a whole new approach was required, this threw me into a bit of a panic, but once i got my head round it, things were improving. He booked us a reahersal with drummer a week later, i was expecting a disaster, but bugger me if it wasnt fun ! First rehearsal ever in my life where I... A. sat down through the whole thing and B. spent most of it staring at my A4 printouts following the pattern. Sound boring ? far from it, talk about rewarding and satisfying. Course my rock mates are taking the piss which is fine, they're just jealous, i never imagined me doing this either. i think i was quite lucky with the guys, we're on a similar wavelength, no rush, all trying a new style so lets enjoy it. No way would i step into a gig like this so this way is the perfect introduction for me. Turns out those same boring standards are actually great fun to play and having to think while playing is just the thing to fuel my enthusiasm again. Give it a go i say

Linus im just reading you post for the first time, brilliant, I could have written that myself. 43 this year, played in loads of original and cover rock / blues style bands to next to no punters and am in dire need of a change / new challenge. I too have taken my first steps down the route of "the Jazz" ! So far it's working for me, as in giving me the challange i was after and a complete change of style. Practicing at home has taken on a whole new meaning, new scales, modes and arpeggios to learn, suddenly everything about playing bass has become more interesting again.

[quote]Biggest plus is the weight - coming from a former Trace Elliot owner.....it was a complete revelation![/quote] Agreed, as an ex Trace owner i used to dream of the day when i could sling an amp over my shoulder and stroll off to the gig, for 2+ years now i've been doing that with my LMK, it's a great amp. Though all i seem to be reading on here these days is something about Genz ? Are Genz the new Mark ?