molan

[quote name='BigRedX' timestamp='1352984024' post='1870094'] Can someone clarify exactly what you get with a Fender CS instrument. Is it a combination of standard Fender features to your spec that doesn't exist in any of the current production models or is there something more? [/quote] My understanding is that all CS basses are made in a separate part of the factory in Corona by a special team of their very best builders. They have access to a series of genuine vintage templates and stuff plus the very best woods Fender can source. You can actually see this team at work as part of the factory tour so it's not just Fender marketing hype (although I'm sure there's an element of that). Some basses are 'team' built which means there's one guy working on a batch of necks, another on bodies etc. For a, hefty, additional fee you can ask for Masterbuilt which means pretty much everything is made by a single guy. There's a belief that this personal attention to detail will mean some sort of overall higher quality but I've yet to be convinced of this. There are a range of CS instruments built every year to a set of standard specs & they all will be more or less the same (obviously each piece of wood is going to be slightly different so there will be some tonal differences). These are usually the artist models - currently Jaco Pastorius, Reggie Hamilton, Pino Palladino & Dusty Hill. There's then usually about 2-3 per year of a specific time era that's designed to be as close as they can get to the original E.G. '58 P or a '64 J etc. Every now & then they will pop up something completely different - this year they made a P Bass pro with a J pickup at the bridge and blocks on the board. The big CS dealers in the States also have Dealer Select models - basically the dealer specs something up and has a batch of them made just for that dealer. Nothing to stop a UK dealer doing this but I think the numbers involved might be too high. Finally you have the full custom orders - these are principally built from a set of core Fender design principles J or P body, 50's profile neck, 60's pickup spacing etc. However you can, theoretically order anything you like but it does need to be a 'Fender' in broad design. They ahve made a few fairly crazy guitars but not as many off the wall basses from what I've seen. The latest area the CS guys seem to be really going for is a range of odd custom paint combinations that look like old basses that were something like sunburst but then re-sprayed with shoreline gold etc. If you really go for the full Masterbuilt experience you can even choose your builder and talk to him directly about every aspect of the build and finish - which is kinda what you'd expect if you bought from a UK custom builder like Martin Petersen, Bernie Goodfellow, John Shuker etc. Probably lots more to this but that's about the best I can do for now

Wow - I'm really getting into this now, lol. Has anyone watched the videos on the CS site? http://www.fendercustomshop.com/index.php/master-built/# I found the two on body wood & neck wood really interesting. They are, unsurprisingly, totally about Strat & Tele shapes but I like the way the guy in the vids stresses some stuff about there not being a 'better' wood but just that it will sound 'different'. Even the same woods can sound quite different dependent on weight etc. Worth 10 minutes of your time if you're interested in this sort of stuff

[quote name='charic' timestamp='1352978892' post='1869995'] Hmm... Masterbuilt Fee $2,600 Custom Classic Jazz Bass 4 $4,900 Ash Body $300 Contoured Neck Heel $50 Sunset Orange Trans AAA Flame Maple Top $800 AAA Flame Maple Neck Figure $500 P Bass Neck ( I think that's Modern C) 1 - Piece Maple Neck Base Model Radius Brass Nut Black Binding and Blocks (can't see option) Black Hardware (can't see option?!), if not then Base Shaller Machine Heads $50 BA3 Bridge $50 Black 1 Ply Pickguard $50 S-1 Switch $100 Hand Wound Bass Pickups $250 Total Cost... Drumroll Please! $9650 [b]£6,086.51[/b] [b]Although I'd be tempted to ask for EMG's instead [/b] [/quote] I hadn't seen full prices anywhere but I see they are on the quote sheet. I've looked at the catalogue a few times but only saw recommended full retail prices for finished basses & not options. Those masterbuilt fees are really high - there's an extra $1,000 to specifically choose your builder as well. Mind you - I guess I did start this off by saying 'if money were no option' so i can only blame myself!

[quote name='wateroftyne' timestamp='1352978108' post='1869981'] The RH 5-string is CS. [/quote] Ah ha - the site is working again now! http://products.fendercustomshop.com/en-GB/products/search.php?partno=0158500800 Looks like the 4 is CS too That's the 4th of the Artist CS models with Pino, Jaco & Dusty

[quote name='Kiwi' timestamp='1352962684' post='1869767'] Headless, graphite bolt on neck, chambered body, semi parametric eq. and custom soapbar pickups. [/quote] I'd love to see their faces when an order like this went in

[quote name='Angel' timestamp='1352924652' post='1869499'] I already have a Fender CS, it's a Reggie Hamilton 5 string. Probably on the chopping block now though as I am firmly in the 4 string camp. I guess I'd like the same as a 4 string but relic'd and NOT sunburst! [/quote] Is the Reggie classed as a Custom Shop? I thought it was an 'Artist' series but wasn't sure if it carried the CS logo as well? I'd seen the Pino, Jaco & Dusty Artist models so maybe Reggie is in there as well N.B. I did try to check but the CS web site was down when I looked earlier

[quote name='fretmeister' timestamp='1352912698' post='1869333'] Something with Sadowsky written on it. [/quote] The pickups and pre-amp

I've played a few Fender Custom Shop basses now and have been really quite impressed with just how well they are made and, more importantly, sound. I realise that we should expect them to be top notch given the price premium over 'regular' Fenders but it does feel like some of the newer ones have seen them raise their game a little (or maybe I was just lucky!). Certainly the Pino signatures seems to get rave reviews from just about everyone and the one I had for a short while was great. I also saw a Jaco model that looked seriously nice a while back which was much nicer than the Artist series ones I've seen. So - purely for fun - if you didn't have to worry about how much it might set you back I wondered what the BC collective would ask the Custom Shop to build? My starters would be: 1960 stack knob Jazz Herbie Flowers model in Lake Placid Blue with Fiesta Red undercoat & heavy relic finish with a tort guard. 1966 Jazz with a bound board and dots in a nicely faded Olympic White with matching headstock (because I like the way white matches the binding) and, again with a tort guard that looks like a 'proper' 60's aged one. 1977 Marcus Miller Jazz in natural with pearl blocks and a simple, high quality, active pre - basically an MM signature that's as close as possible to his original gigging bass & without the nasty scratchplate There'd probably have to be an old looking P bass in Burgundy Mist with a slim neck and a pearloid plate plus a 64J in Shell Pink along the way as well, lol. Haven't really thought about crazier colour schemes or hybrid body / neck combinations yet. . .

Blimey - you could open a shop with that lot!

Standard fit on Wood & Tronics as well. They used to use Fodera, and did actually prefer them, but the Dunlops come in a lot cheaper and still sound really good Could just be me but I felt they 'died' quite quickly though

[quote name='dwh87' timestamp='1352685001' post='1866203'] These are cheaper than some MIM models by a couple hundred pounds from some places. Fender have really made them very cost effective. That does mean luxury things like a hardcase are missing though. [/quote] A Mexican Fender P is about £425 - surely there's no way a UK dealer can sell an American P for a couple of hundred less than that? The FSR tag has been used for a few different basses and not all are for a single retail chain. I think the early ones were for Guitar Center in the States and some of those were MIM not MIA. Fender marketing then realised they could use the label for other limited runs and these have been around 150-200 units I think. I have seen some as low as £500 (the Antigua P) and I seem to remember one of them up over £1,000 (stained ash P). I know the more expensive ones came with hard cases. Sounds like typical Fender really, grab a label and use it for marketing purposes across a range of guitars and confuse everyone

Saw a gig at the Festival Hall tonight with a bassist switching between DB and a Fender P (looked like a Pino) all evening. Both basses went through one rig with what seemed to be a simple A/B pedal. The rig was an SVT Classic into an 8x10 (laying on its side). Big suspended wooden stage and not a hint of feedback all evening

[quote name='pendingrequests' timestamp='1352667377' post='1865945'] yep, its just the bare bones, which gives it a really good price for an american made fender. [/quote] That sounds wrong to me - sure the dealer isn't just tryin to flog you a new case (whilst also selling the original Fender case to someone else)?

This is nice - but very expensive (and it's German!) http://www.bassgear.co.uk/products-page/accessories/straps/richter-beavers-tail-jaro-tan-1055/

Take a stack of pics, front and back of body, neck and headstock. Remove the neck and get pics of the cavity pocket and any stamps on either neck or body. Same with the control cavity and check the pots for serial numbers. If they lift out easily then remove the pickups and get pics of the underside of these as well. Basically the more info you can get them the more likely it is that you'll be able to start dating it. Depends if you just want an approx value for personal reasons or whether you're intending to sell it. If it's the latter then you should, ideally really strip it down and get a better feel for authenticity and dating. I've seen a swathe of old Fenders in the last year and it's amazing what some, supposedly reputable, dealers will sell as an authentic vintage guitar Saw one recently that had been through one of the highest profile dealers around that had been sold as 100% original with no refinish. Took the neck off and the pocket and bridge had been shaved to take a neck that was either not original or had a seriously thick coat of gloss lacquer as part of a, very obvious, neck refin

I saw this on No Treble and genuinely thought it was an April Fool! They sometimes republish stuff or it gets moved back up the site because of an update etc.

Have you asked about it on TalkBass Rick? There's a few real Fender experts over there. Mind you, feedback for Rudy's is generally terrible. Poor customer service, way over-priced, lots of basses badly set up etc. The Americans seem to rate Rudy's & neighbour Sam Ash a bit like we do Denmark Street

I've spent quite a long time now with my Ritter which is a 33.3" scale. It doesn't immediately feel hugely different to my 34" Fenders or Foderas but after a while playing I find I'm definitely more comfortable on the Ritter. I use to play mosty 35" 5'ers and got on with them fine but fairly convinced that this 33.3" is the best for me. I notice far more of a difference in stretching and hand cramping on a small bodied bass with a headstock strap button that falls closer to the body than a 'regular' bass.

I kinda like it - would definitely gig with it if I could afford it Price seems like a bargain for Rudy's - they have a $54K '69 Strat up for sale at the moment. . .

Some of this is very obvious but it's worth a read for people new to gigging - or those who don't gig that often & could do with a 'refresher' Main link is here: http://www.musicradar.com/tuition/guitars/playing-a-gig-kit-list-and-essential-tips-566304 Copied & Pasted below: [b]Whether you're a guitarist who's taking their first step into performing on stage or a grizzled veteran of the live circuit, we're here to help you out.[/b] We'll start by providing you with a checklist of everything you should take with you; then we'll give you the essential dos and don'ts for when you're soundchecking and playing the gig. [b] Stage survival kit[/b] Talent aside, preparation is the real key to success – and your gear is a big part of that [b]Guitar tools[/b] Pack string cutters, pliers for tightening, and Allen keys to tweak your action and vibrato system. [b]Gaffer tape[/b] Fix your mic stand, setlist, cable, van exhaust, leaky shoes. [b]Spare guitar and strap[/b] Tune it up before you go on. Your fans will escape to the bar if you hold things up changing a broken string mid-song. [b]Spare strings[/b] Strings aren't immune to breaking in soundcheck – spares are essential. [b]Torch[/b] It gets dark onstage: get an app for your smartphone and you won't have to worry about forgetting your torch. [b]Tuner pedal[/b] Never forget this. Get the best you can afford: there is no excuse for starting out of tune. [b]Pen and paper[/b] Have these on hand to jot down your setlist. [b]Amp backup[/b] If you can't take a spare amp, try a modeller with cab simulator that can be DI'd straight into the PA. It's not ideal but it's an option if another band on the bill can't help you out. [b]Batteries[/b] You'll need some spares if your power supply goes down. [b]First aid[/b] You don't want to bleed on your fans or let a headache ruin your big night – pack some plasters and painkillers. And the singer's secret weapon: throat pastilles. [b]Blu-Tack[/b] If your pick tends to fly out of your hand mid-song, stick spares to your mic stand or guitar so replacements are always at hand. [b]Electronic cleaning spray[/b] A quick fix for crackling connections. Make sure it's in your gigbag. [b]Spare pedal[/b] Get a budget spare for your essential pedal. For the super- prepared, a multi-effects unit could save you from serious pedalboard problems. [b]Earplugs[/b] It might get loud – these can increase the clarity of onstage levels. [b]Cables[/b] Pack instrument, patch, speaker, XLR and daisy chain cables. Don't buy the cheapest: quality lasts and you always need more cables than you think. [b]Picks[/b] Minimise the chances of losing one from sweaty mitts by packing picks with grippy surfaces. [b]Mains adapter[/b] Never assume the venue has enough power points or extensions. It's worth investing in your own multi-socket extension adaptor that's RCD- equipped, with surge and overload protection. [b] The Soundcheck - Take the time to get to your band's sound right and then you can focus on the fun part[/b] [b] [b]Do…[/b][/b] [b]Learn the names of the sound engineers: [/b]treat them with respect and thank them at the end of the night, even if they treat you like an amoeba. [b]Set your amplifiers to sensible volume levels onstage.[/b] Moderate levels allow the engineer to have more control over the overall front-of-house balance meaning that monitors don't need to be pushed to levels where they begin to feed back in order for singers to hear themselves. [b]Turn your amp on at least a few minutes before you start[/b] – it lets your valve amp warm up a bit. [b]Tune all your guitars[/b] (even your back- up) again as close to the start of your set as possible and make sure they're on hand and on stands. Things have a tendency to get knocked over in the heat of the moment. [b]Choose a song for soundcheck that will test the sound mix[/b] in the best way for all instruments in your band. [b]Listen carefully to the mix [/b]of instruments coming through the monitor speaker wedge – can you hear yourself and the rhythm section clearly to keep time? [b]Check as many of your sounds as you can:[/b] clean/crunch/distortion channels all need to be checked so they're at the right level. Ditto effects. [b]Talk to the other bands you're playing with[/b] on the night and find out what backline will be shared. While it's common for a headline band to let support acts share drum shells and stands, it's not for breakables like amps. [b]Be tuned-up and ready[/b] to take to the stage when the sound engineer needs you. [b] [b]Don't…[/b][/b] [b]Drink alcohol[/b] excessively before. It won't make you play any better! [b]Assume you'll be able to share gear [/b]and turn up with minimal kit. It should be easy to get contact numbers or email addresses for the other acts on the bill from the promoter or the venue, and it's common courtesy to ask first. [b]Crank your volume if your amp is being mic'd through the PA[/b] – you don't need a very loud onstage volume. Let the sound engineer get the levels. And you may not need your cab or combo front-on to the audience if it's being mic'd – angle it in a position best for you. [b]See soundcheck as a rehearsal or jam.[/b] One or two short songs should provide more than enough opportunity for the sound engineer to set up a decent mix. Taking liberties won't do you any favours with the other bands on the bill. [b]Leave your pedals running with the input plugged in[/b] for long periods of time ahead of the gig if you're using nine-volt batteries with your effects pedals – it drains the power unnecessarily. [b]Get bogged down with your onstage sound if you're playing outside.[/b] Put even more trust in the sound engineer's front of house mix – the nature of the external environment means your concern is playing in time, and the sound engineer's is making sure the audience get a good mix. [b]Play blazing lead lines when the sound engineer is tweaking the bass drum sound[/b] – he/she won't appreciate it. [b]Lose sight of the bigger picture[/b] – it's about attitude as well as the rig you're setting up. And remember that you get back what you put out. If you're confident, professional and polite, that's what you'll get back from the engineer and other bands. [b] The Gig - There's more to impressing the crowd than your blazing chops[/b] [b] [b]Do…[/b][/b] [b]Write a setlist for the show.[/b] Unless you're playing free jazz, you'll need a list of the songs you're playing and the order in which you're playing them. [b]Demand the audience's attention.[/b] The general rule of thumb is to open with a song that makes an impact. [b]Take a drink onstage with you[/b] – especially if you're a singer. You may be surprised to find your throat can get as dry as the Mojave desert onstage, and you'll soon be begging for water. [b]Realise that things can go wrong[/b] – it's just part of gigging. Have contingency plans in your head in case the worst happens, including an instrumental piece the rest of you can play to fill time if one of the musicians has a problem they need to sort. [b]Look people in the eye while you're performing[/b] – engaging with your audience is more than just about sound. [b]Signal to the engineer[/b] if you need to communicate with the desk mid-gig: for example, if you can't hear your guitar clearly through the monitors or you're too loud. [b]Relax, listen to the sound engineer and remember that, ultimately, it's about the audience, not the band.[/b] Nobody cares that much about your tone except you, so stop stressing about it. [b] [b]Don't…[/b][/b] [b]Amplify your guitar when you're tuning up.[/b] You should tune quickly and silently between songs. Buy an electronic tuner with an easily visible display. The audience don't want to hear you tuning and it gives a sloppy, amateurish impression. [b]Forget to say the name of your band between songs.[/b] If you're a support act and don't have a banner, you can't assume anyone knows who the hell you are [b]Allow long silences between songs.[/b] While the guitarist or bassist tunes up, it gives the singer an ideal opportunity to crack a joke or, if they're not a natural raconteur, fill the silence by plugging the band's website or merchandise. [b]Mess with your amp settings during the gig based on the monitor speaker mix[/b] – it isn't a reflection of what the audience and engineer can hear out front. [b]Take forever to pack up your gear.[/b] Unless you're the headline act, the next band want to get onstage before the audience drifts away and loses interest. There will be plenty of time for excessive alcohol consumption and chatting up groupies once your equipment is off stage. [b]Be sheepish with the audience.[/b] Forget apologetic amateurism and smack them right between the eyes with your set!

They've been selling at under £300 for ages in the States and there are some 'friendly' US dealers who are more than happy to ship to UK in tax efficient ways. I've also heard of someone using the US pricing to negotiate a deal with a UK retailer to get one new for under £300 (but I'm damned if I can remember who it was!). Definitely quite a few dealers offering very good package deals for a head plus cab(s) too. The 750 doesn't seem to be moving in price much though