Max Normal

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.

You think Stingrays are over rated but ride a Harley. Hmmmn 😀

Srsly though, I play mine through an Ampeg which is a tonal paradox I know.  The punch of the 'Ray combined with the fatness of the Ampeg gives a sweet but fattish tone that cuts through the mix nicely, I love it.

It can sound a bit glassy through my Markbass tho.

For me it depends on the musical style. For rock, blues and slap I generally use a 4 string (with a hipshot for drop D). For pop and funk a 5 string is essential as I am often replicating synthesiser basslines in a lower register than a 4-string.  I also like a tight 16.5 mm string spacing on a 5 (a Warwick Streamer) for fast fills and licks, although it's a pig to slap. I actually find it much easier to play than a 4.

Other benefits - double octave arpeggios across the neck, much easier to transpose songs and a nice handy thumb rest for when I'm not playing the low B!

I was nervous at first when I switched, but I had no problems at all. I could play all my 4-string lines straight away, just took a few weeks to realise all the extra benefits.

3 hours ago, twsperring said:

Hey,

 

Do you have a flightcase or anything similar? What cab were you using?

No case, just as is. I was using a 410HLF (ported) which sounded great, but this would work best with a sealed cab. I have used these with SVT810e cabs and the sound really is incredible.

2 hours ago, police squad said:

Trades?

Yes possible, pm me with what you have in mind.

I'm off on me hols tomorrow for a week so if anyone messages, i'll reply 10th August. Also dropping the price to £750.00. Ta.

Unfortunately due to an ongoing injury from a motorcycle accident I have to sell my SVT Classic all-valve 300 watt amp. Works well and sounds amazing as you'd expect for this legendary amp and has had little use since the last re-valve.  It's in pretty good condition, just a few minor scuffs on the tolex.

Too heavy to post, so collection only or you can arrange a courier if you want, or I'd be happy to meet within a reasonable radius from Southampton in the South-Central area.

I have feedback on here, feel free to check it out.

Cheers!

Bought a beautiful Warwick $$ from Rory.  Really well set up, looked after and sorted bass and Rory is a proper gent. Buy with absolute confidence, cheers Rory!

USA 50th anniversary did not have a trussrod plug at the headstock end as far as I know.

The MIJ ones did, and the serial would have been at the base of the neck so that checks out.  However, the headstock logo looks wrong for a 1996 MIJ 50th anniversary, it should be a speghetti logo I think (and earlier MIJ ones were black and gold transition logo). Those logos with patent numbers only seem to appear on very early basses or fake decals. Not seen an MIM with this type of logo and no heastock serial either.

So my take - it's an MIJ with a headstock refin or a faker or has had a replacement neck somewhere along the line.