redstriper

'I just want a quick profit' would perhaps be more businesslike.

PORT TOO ! Blimey............. The scratches don't matter - think positive, at least it works .

And then there's [url="http://www.bassmerchant.com/item_detail.php?product_id=1106&category_id=3&subcat_id=1"]THESE[/url]

It suits the lad. Status apparently do nice double ball end strings and not too expensive.

I love it - just checked my office and there's nothing even near as cool lying around. If you ever want to sell it, give me a shout - or better still, lend it to me and I'll leave it behind the photo copier when I'm done.

Hi GW, I appreciate your, (and everyone else's) opinion. My experience of Squiers isn't very extensive and I am considering one as a gig replacement for my heavy old Fender jazz. Last time I was in London, I played a couple of fretless VMs in the Bass Cellar and in Macaris - they both felt and sounded great, but neither shop had a fretted model. Over at The Gallery, they also only had the fretless one, along with a CV and I played both - neither sounded as good there, possibly due to the 10" cabs I was using and I felt uncomfortable in there for some reason, (it was a bit posh for me). So, I still haven't played a fretted VM and I intend to do so soon, with a visit to a shop that has both the new sunburst VMs and the CV so I can compare and decide which is best for me. I did not notice any differences in build quality between the VM and CV at the Gallery and I prefered the satin neck of the VM, I also thought the pick ups were warmer and deeper - I play reggae and only use the neck pick up with no tone most of the time. I heard that the VMs are made by Cort in Indonesia and I don't know that their factory workers are any different to those in China, Mexico or the US - they all bolt parts together and I [i]think[/i] they know what they're building them for..........? Really all these Squiers are incredible value, with great quality for far less money than you could buy such a thing 30 years ago when I only dreamed of buying a new bass. I played a few US and Mexican Fenders while I was in London and I saw no reason at all to spend the premium for the name on the headstock. I might even buy a VM and a CV, then decide which is the keeper after I've gigged them a few times.

What is wrong with the original pick ups - isn't their sound just a matter of taste, rather than any actual fault? Many people also change pick ups in US jazz basses - does it make for a better bass, or just a slightly different sounding one? This quote is from tredders talking about precisions, I think it applies to jazz basses too - [quote]If you blindfolded someone and gave them a MIM, a MIJ, a US, and a Squire (and they were all well setup), I bet most people wouldn't be able to identify which was which...[/quote]

[quote name='Grand Wazoo' post='1121176' date='Feb 9 2011, 11:40 AM']for the last time.... YES! they are that good provided you appreciate them for what they are, and I mean look at them as in their "stock" livery. Great basswood body with excellent neck weight ratio, superb hi-mass bridge with brass saddles. Perfect neck fit to the body (find me a mim that has a good neck fit in the pocket and I'll eat my hat) out of the 3 CV's (jazz / 60's P and 50's P) the jazz had the best resonance out of the 3 unplugged, always a good sign. Finally, and tha'ts a fact, they are limited in the electronic department and while, say... 75% of the people here who owned one could live with the stock alnico p/ups the other adventurous 25% of peeps, like me sees them as a blank canvass for modding, (none more than me having even bovined the look of it as well as totally junked p/ups and wirings) which means they are a very decent starting point towards making it your dream Jazz bass picking and choosing the best boutique p/up to fit in them. Gareth I have read that you are someone who doesn't like tinker with mods and you prefer a stock Fender USA but think about it. £1200 spent on one of them which you weren't even full satisfied with, against a starting price of £300 for the bass and no more thant £150 on p/ups and pots leaves you with something that, a) you made it your way and that will be the best 500 quid you've ever spent on a bass that will defeat all your expectations. Man you know it makes very good sense.[/quote] Everybody loves the CVs, but how do you think the VM jazz basses compares to the CVs ?

[quote name='Chris2112' post='1120353' date='Feb 8 2011, 05:54 PM']I'll admit, the Classic Vibe basses were better value when they first came out, although as a used buy you won't find anything better for the price. I used to own a VM fretless jazz and I've played a few of the fretted VM jazz basses too. The CV holds it own as a 'proper' instrument whereas the VM basses strike me as very good buget basses. The CV basses feel better, look better, sound better and the fit and finish is better than the VM's too. YMMV, but that is my experience having owned two CV's and a VM fretless and played a few more.[/quote] It is a personal choice and I wouldn't say either is better than the other. I don't like glossy necks or white or blue guitars, so the CV doesn't look better in my eyes, which only come in those finishes. I prefer the choice of finishes in the VM range and I also prefer the sound of the Duncan pick ups in the VM, which are warmer and deeper to my ears. I haven't noticed any significant difference in the build quality between the two, certainly not enough to say one is a 'proper' instrument, while the other isn't. Feel is also a personal opinion and I feel more comfortable on a VM, as do many players - it doesn't mean one is better than another, just that everyone feels differently. When it comes to price, I thought we are talking about new instruments and I don't see where the extra £90 for a CV goes. I would not suggest that it is impossible to get anything better than a used CV for the price, because anything is possible and I have had some amazing basses for a lot less. Having said all that, I agree that both are great value instruments with enough choices to find one that suits most people in the price range. Play both and choose [b]your[/b] favourite. £228: [attachment=71618:vm.jpg] £318: [attachment=71617:cv.jpg]

[quote name='Ou7shined' post='1120256' date='Feb 8 2011, 04:34 PM']edit - I presume you mean bridge J pup.[/quote] Why do you presume that - have you seen the OP's name ?

[quote name='Chris2112' post='1120062' date='Feb 8 2011, 01:36 PM']The Classic Vibe basses are a lot better than the Vintage Modified ones though.[/quote] In what way? The new fretted VM sunburst jazz is nearly £100 less than the CV at £228 and I would advise comparing them to see which suits you best. The build quality is excellent on both and preference of tone, feel and look is highly personal. I have not heard of anything better for less money, but that doesn't mean it doesn't exist, the new VMs seem fantastic value, while the CVs have increased recently.

I know what you mean about the volume levels of the pick ups affecting the tone. My jazz bass goes very deep and it's no coincidence that Familyman and Robbie both play jazzes for reggae. The deepest tone is with the neck pick up on about half with the tone rolled right off and no bridge pick up at all. This gives a great studio dub tone, but may not cut through enough at gigs, where an increase in level of the bridge pick up and the tone control will transform the sound. Subtle changes in volume levels can produce dramatic changes tone wise and should cover any requirement. And obviously, where and how you strike the strings is crucial as is your string choice - have fun !

[quote name='Buzz' post='1117226' date='Feb 6 2011, 12:17 AM']I'd imagine it's down to: 1) The environment they're in, re: inductive mains hum. Houses differ from room to room, same applies to other locations. 2) Knowledge of that and how to ground a bass properly, therefore reducing the hum to such as level that it's effectively been removed. Some basses are already grounded well when they leave the factory.[/quote] So you wouldn't know if the pick ups were noisy or not by trying basses in music shops, because they might be quiet in the shop and noisy somewhere else. Tricky.

It's interesting that some people find jazz pick ups noisy, while other people don't. Why is that? And why is the bridge too flimsy for some people, while most are happy with the standard one ?

[quote name='Mikeg' post='1116648' date='Feb 5 2011, 04:01 PM']For my next bass i'm either going to buy a second hand Squier vintage modified jazz, and put in some bartolini's and a high mass bridge. Or a fender jazz standard Any opinions?[/quote] Depends how much you want to spend and what you want from the instrument. There are differences in looks, finish, tone and feel and I would play both and ask yourself which you prefer and why. And what's wrong with the original bridge and pick ups on the Squier?

Happy days !

BRILLIANT.

I have 2 1x15 Flite cabs loaded with Eminence drivers. Not sure what they're made of, but they're ludicrously light (c.10k) and they sound great despite no bracing.

James Jamerson left his covers on his '62. He was quoted as saying, that Leo Fender "put them there for a reason."

A friend of mine believes the ash trays are part of the pick ups and add something to the sound, rather than just decorative.

[quote name='paulflan0151' post='1102846' date='Jan 25 2011, 09:53 PM']Hi Guys, Dont know if this has been covered as I haven't read all the comments but the wood of the bass is a major factor IMO. I'm starting a guitar workshop myself so have done a lot of research into these matters. What I have gathered is that wood, construction and pick-ups/EQ have the main inflence on a basses sound. It's the middle section of the guitar that makes the sound, the edges (horns etc) dont. [b]Generally speaking[/b] softer woods, like mohogany create a softer, deeper tone. Harder woods, maple for example are brighter and have more attack. Ofcourse you can mix the woods to get a bespoke sound. A good combo of wood is mohog body, maple top, maple neck, rosewood fingerboard. you get body and warmth from the mohogany, attack from the maple. maple is strong for the neck and the rosewood is strong and dureable for the fingerboard. it's also not too bright. Then you gotta pick construction. Bolt is brighter, glue-in is similar but not as bright. then pick-ups etc etc. Hope this can help.[/quote] Generally speaking is not enough to make me spend dosh on anything. I have a bass all made from maple - neck, board and body. It is the deepest, darkest, warmest sounding bass I have ever played - more to do with the strings, frets, electrics and pups than the wood IMO.

[quote name='Bloodaxe' post='1085124' date='Jan 11 2011, 07:54 AM']This is where I'd point the finger. Set the intonation on the 12th fret, then take a tape measure & check that the distance from the 12th fret to the centreline of the saddles is the same as (or very close to) the distance from the nut to the 12th fret. From what you've said, the odds are it won't be & you'll need to move the bridge until the two dimensions are equal.[/quote] I tried this, but the saddles are all different distances from the 12th fret - which one should I use, or should I just take an average?