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14 hours ago, Maude said:

Hmm, ended at £420 but reserve not met. I don't know what the seller was hoping for but I didn't realise these were so highly valued (or not, given the bids) but they seem to go up for sale edging towards a grand. 

 

I paid £50.00 for mine s/h from a shop I think, but that was in the late 80's/early 90's, they were so untrendy at the time they were cheap, but they weren't really an expensive new bass anyway. Nice to see them carrying some value now I guess.

I had one of these many years ago, It was the neck diviest bass I have every played.  You had to hold the neck up the whole time and there was little to be done about it.

Played and sounded nice though.

17 hours ago, hiram.k.hackenbacker said:

The 12 string that is now a 6 string is excellent 🙄

mmmmm Chocolate buttons....

This is definitely a "Chineberger".

I have this headpiece and bridge in my parts drawer. They are Chinese copies, skillfully crafted out of cheddar.

edit: Not sure Ned integrated sightly wonky pickups in his designs either.....

You'd have to hang a bass next to it in case your mates got the impression you actually like beer that smells like gorilla farts.

I can testify it's a, lovely bass, have a bump!

3 minutes ago, yorks5stringer said:

Caveat Emptor

Bit difficult when you only have some dodgy photos and a suspect description. I must admit I have bought some junk from ebay in the past. The Lexicon effect processor "in perfect working order" where the selection knob didn't work and it had a loud hum was the best. Best stick to BC and be safe

17 hours ago, Hellzero said:

For those still living in the Middle ages :

4.250 kilos is 9.370 lbs.

4.505 kilos is 9.932 lbs.

4.690 kilos is 10.340 lbs.

Welcome to modern days, where since 1999 the royal measures are supposed to be part of the past...

Yek yek. 😁

1lb is 7000 grains of wheat, which is why our 'murican friends weigh their gunpowder in grains.

I'm lucky in that my stingray only weighs 0.15 bushels and is 0.0000651073 Wales units in size.
 

4 hours ago, woolf said:

Hmm - I wonder if the seller used an alternative account to bid on the item creating an unofficial reserve.

I like the look of this bass but something just doesn’t feel right. 
 

Also - does anyone think the nut width looks like more of a jazz ?

 

I agree, and I wonder if it's a bitza, but the 1 1/2" "A" nut width may actually add creedence to it's authenticity, as it seems that these were offered as an option in the '70's.

Are those cheap Wilkinson pickups any good? Surprised anyone would put them on a vintage P-bass. The lack of original vintage pickups seems like a big problem to me tone wise.

Just sold a bass to Pat, comes over as a really nice guy, great comms and instant payment. Deal with confidence!

Now sold.

This is an original run G&L L2500 Tribute from their first year of manufacture, 2003, so it has the large Tribute logo.

These basses were manufactured in Korea rather then the more recent Indonesian ones, and many think that these have superior build quality to the newer ones. Not sure about the modern variety, but these also have the same pickups as the USA version.

The fit, finish and playbility are excellent and the bass is constructed from very lightweight ash. It's amazingly lightweight for a fiver, and definately lighter than my Stingray 4.

String spacing is 18mm.

The bass has been upgraded with a John East Uni-pre which has a 3 band EQ with pickup blend, mid sweep and pull slap switch, so everything from thunderous rock to a modern tone is easily achievable.

Currently set up with a nice low action and D'Adderio EXL 165 Nickels.

The neck profile is a modern flat oval. Some people think these are chunky, but it's not thick, just wide shouldered. I find it very comfortable to play and cramp-free. A great bass to get into five string playing, and eminently giggable with a range of tones and playability that exceeds some much more expensive instruments.

Condition

As you can see from the photos, it is in good condition for its age and the cherryburst really shines when polished. It has a couple of minor scuffs as you'd expect.

It has a shallow ding in the back of the neck lacquer that has not gone through. This would easily sand out (I usually have oiled necks) but I have left it lacquered for originality.

A battery LED has been installed in place of the centre switch when the new preamp was installed. I have disconnected this to save battery life, but the wire is still there and it could easily been reconnected. During installation of the LED, a small crack has appeared in the lacquer (not the wood) next to the LED. This is in line with the wood grain so not really noticeable.

Sorry no trades.

Please feel free to check out my feedback.

It's a Squier Classic Vibe by the looks. Probably Indonesian. You can see where the decal has been rubbed off the back of the headstock, and it has the same tuners and skunk stripe.

Serial would suggest 1989-90, but I thought 80's MIJ Fenders had the serial number on the heel, not the neckplate and a vintage style trussrod adjuster. Also, usually have FENDER in caps on the neckplate.

A bit of info on this TB thread:

https://www.talkbass.com/threads/profile-brand-bass-guitars-any-info.614302/

Oops just saw you are on that thread, sorry 😁

Neck looks like pine, at least it's self-kindling.

Not sure if this counts but... Was doing a pub gig years ago and where we were told to set up meant that people had to walk in front of the band on their way to the bogs. 

I used to share LV duties and had set up my mic stand with one of the legs angled directly away from me. While  I was playing my bass and singing, some punter stood on this leg on his way to the bog and my mic stand drastically tilted away from me.

It then returned like a medieval seige weapon and the mic smacked me squarly in the gob in front of the whole pub (with a loud mic-smacking-you-in-the gob noise through the PA). The band played on, so I had to continue singing, but (rather unprofessionaly) with Mutley like grumbling and swearing between each line, until the pain abated.

That unusual grain patterning looks like macassar ebony (I had a Warmoth fretless neck made with the same), so ideal for a fretless.

2 hours ago, stoo said:

The bridge on that is sometimes referred to as a 'trans' bridge, so maybe that's where the confusion comes from - but yeah it'd point to early 90's

http://www.musicmanbass.global/bridges-pre-eb-eb/

Perhaps partly, but he's trying to pass it off as an 80's bass, so.......

Just been introduced to Betty Davis, a vintage funk artist and I can't understand why she's not a legend. Really powerful and musical stuff with great fat bass chops, and you can clearly hear the pioneering transition between 60's rock and funk in her work.

Just upsets the cat really. He trots into the room all perky and cheerful, but if he clocks I'm holding a bass he flies back out again at a rate of knots with fighter plane ears and an outstretched tail.

The 6-bolt neck with the "M" logo on the neckplate dates this from 1990-1998, so not an 80's bass and certainly not a "TRANSITIONAL" bass as in the title.

Not a £1,500.00 bass IMO.

20 minutes ago, Twigman said:

I know what you're saying - only last night I was struggling to record a line which required me to go from the 7th fret on the A string to the 3rd on the E when perhaps the 8th on the B would've been easier - but I don't often find myself needing to avoid a stretch enough to fork out for a 5er. - i was up at the 7th on the A because of what went before - don't tell me I should've been at 2nd on the D

Tastes and requirements change too. My career went Metal>party duo>original blues rock>complex classic rock>pro tribute act>party function band. The function band means I'm doing a lot of pop, funk and synthbass so a 5 was inevitable. If I ever go back to rock and bues I might revert to my 4s.

1 hour ago, Defo said:

You are one of the lucky ones

I have also been playing 35 years and switched last year with no problems at all. Now I feel restricted on a 4 string. I remember trying to swtich to a 5 many years ago though and really struggling with it, so I wonder if it's got something to do with how individual bassists perceive the fretboard and strings? 

If you consider that people use both visual references and memory of hand and finger position, I wonder if different players use more of one type of perception than the other and this makes a difference to switching to different scales and ranges? 

I'm very visual and I can switch between short, long and extended range basses (and 6-string guitars) with no problem. I can play well enough, but I'm one of those people who is always looking at the fretboard unfortunately.