FinnDave

I played a Gibson Thunderbird for a while - people did comment on it, but all the comments were positive. I no longer have it, but it was at least as good as my Fenders, though perhaps suited a narrower range of styles than a Precision & Jazz can cover. Wasn't exactly a lightweight, but it did sound good.

Strings are my weak point, I have to admit that.

I had a fairly dramatic slide - three Precision basses in six weeks, and three ABM combos in the same period. Also two sets of strings. It's the strings that did it, honest.

Same here.

I must have got the wrong end of the stick - I assumed this thread was about necks made in Bolton, Lancashire vs those made in the Yorkshire village of Neckthrough. A bass version of the war of the roses.

I have six Fender basses, four of which were made in Mexico. Last week I played two gigs on successive days with the same band, for the first one I took a US Precision, and for the second a MiM Precision. Both sounded the same, no one noticed the difference, including me. I briefly played with a guitarist who at the time had over 70 guitars, all Fenders and Gibsons but he was a dreadful player. I actually had to take his guitar and tune it for him, he was that clueless. I have also played with an excellent guitarist who used a Woolworths Audition, and another I have played with for several years who often uses an unbranded Strat copy he found in a skip! Doesn't matter what the decal on the headstock says, it's all down to the head & hands of the person playing the instrument.

My new (to me) 2010 US Standard Precision (sunburst/rosewood & tort) arrived today extremely well packed. Once I had extracted it from the packing & included Fender case, I tuned it to pitch and the set up was spot on - played it through my headphone amp as a little late to fire up one of the ABM combos. Sounded and felt just right - exactly the same as the 2012 US Standard that has been my main bass for the last nine years. Not sure what the strings are, 45-100 flats with red silks and felt very smooth. Didn't feel or sound like the Rotosound flats I have on another P bass (also red silks though), certainly didn't sound like the La Bellas I also have on other basses - I was wondering whether they might be Chromes - but all of the Chromes I have previously used have had a grabby/sticky feel. Whatever they are, they sound good, but not sure they will be appreciate being strung through body, which is how they arrived, for too long. I'll try to stop playing it long enough tomorrow to get the obligatory pictures taken.

My wife hasn't retired yet, so there is always a list of things for me to do…. Bass practice is never on her list!

I try to find time to play for at least an hour everyday - sometimes from set lists for one or the other of the two bands I play with, or simply put on a suitable album (well, just stream it through the computer) and play along to it. Partially to keep the songs in my head, but also to keep my fingers working. I'm also retires, and the lack of being constrained to get things done in by a certain time makes it harder to find practice time, not easier!

I've had a LBT as my main gigging amp for a year (or maybe two). Use it with a BF Super Compact, never had any trouble, good loud ballsy amp. Unfortunately, it has been 'resting' recently as I seem to have developed a strange passion for Ashdown ABM combos, and have bought three over the last month or two, the most recent purchase was about an hour ago! Any gig that involves stairs will see the LBT/SC come back instantly - no way am I carrying an ABM combo up and down stairs!

Right behind me as I recline elegantly (!) on the sofa is a stack of Ashdown combos - two ABM 500s, on is a 1x15, the other a 2x10. I've had to stack them to make enough space in the lounge for another one I am going to look at tonight. Everyone's heard about crazy old cat ladies, well, I think I'm turning into a crazy old ABM combo fella! So much amplifier for so little money - I just can't resist rescuing them and putting them back to work.

To be honest, I have never had to shim a neck either and I've been playing nearly fifty years now. The chap who advised me to steer clear of through necks is a friend, he wasn't expecting any work from me (lives too far away).

I was advised to avoid through necks by a luthier/guitar tech as they are limited in their ability to be adjusted - no shimming possible (as already mentioned). I have had a few set neck and through neck basses, but currently have only Fender Ps & Js so all are bolt on necks.

My Player Precision seems to be OK (bought new a few weeks ago) but my MiM Vintera Jazz had to go through 3 replacements before I (or the shop - Peach guitars, who were great about getting it right) was satisfied with it.

i used my Player Precision for a gig last weekend and it sounded and played just great. Not quite as good as my US Standard Precision, but not far behind.

The Grateful Dead cover band I play has often rehearsed (and played to audiences) in fields using battery inverters and regular amplifiers. I don't know the details of the equipment used (I just plug in) but i could find out easily enough. I bought my TE Elf primary because it works perfectly when powered by a 12v battery and inverter.

I've had to sack several people from bands - it's always a band discussion (minus the soon to be ex-member) that results in the decision to dump them - and when it comes to 'so who is going to tell them' it's usually me! One guy took it very well, he was relieved not to have to quit, one kicked up a fuss and one just decided it was their decision to leave. I've had the push from one band - hadn't been with them long, wasn't impressed with the material, and had a better offer so told them I'd honour the gig commitments but then I'd leave, but they told me to off off with immediate effect, so I did.

I only get nervous about getting to the venue on time (or even being able to find it). Once I'm there and setting up, I'm usually able to ignore anything outside the gig - though I can (and do) get a bit ratty with people who continue to potter about fiddling with their gear after the time we were due to start. Probably a legacy of my years in TV News where the bulletins have to start exactly on time with no excuses possible. I always ensure that I know the material inside out, so as the original poster said 'you can't play it incorrectly' but sometimes someone else will play it incorrectly and throw me off balance for a moment (though it always feels a lot longer!).

I currently have two Jazzes and three (soon to be four) Precisions. I play in two bands and had formed the idea that one (blues/rock) was better suited to the Precision, and the other (Grateful Dead covers) was more Jazz bass territory, but I played two gigs in the last couple of days with the GD band and used a different Precision for each gig….and they sounded great. Not that my Jazz basses are going anywhere!

When this one arrives I'll have four Ps and two Js - does that qualify?

About 10% down on the asking price. A good used US bass for little more than the cost of a new MiM has to worthwhile. Still glad I bought my MiM recently, but looking forward to a second US Precision.

Reading this thread is not good for my financial stability! My favourite bass is the olympic white 2012 US Standard Precision I have had since 2013. A perfect bass that just feels like it's part of me. So why on earth did I start looking at ads for similar basses? And when I saw a lovely 2010 US Standard in sunburst, rosewood & tort, I couldn't get the damn thing out of my head. Then I noticed that the seller was open to offers, so of course I had to find out how low he'd go…and before I know it, I've paid for it and it should be here next week. I checked the specs on the Fender serial number look up and they have everything except the colours in common. That's three Precisions I've bought in the last 4 weeks or so!

I always work on the principle that bass amplification can meet two out of three of the following criteria - light, cheap & good sound. If you want light and cheap, then you have to sacrifice sound quality. If you want light & good sound - then it won't be cheap, and if you want cheap and good sound, then it won't be light. I currently have one light and good sounding rig (Orange LBT & Barefaced Super Compact) and two cheap and good sounding combos (ABM 500 - one 2x10 and one 1x15). The combos sound great, but if there are stairs involved, the lightweight gear is the only choice for me these days. I also used to have a 4x10 Trace combo, and lived on the third floor of a house converted into flats which no lift. I was 40 years younger then than I am now, and it was a struggle even then!

I played my 2022 MiM Player Precision at this afternoon's gig - felt and sounded OK but not as good as the 2012 US Standard I played at yesterday's gig. Same amps and strings for both gigs. The Player is a good back-up bass, but the US Standard retain top place in my affections.

Just back from my second gig this (long) weekend - another outing with Franklin's Tower in Oxford. Another outdoor gig, fortunately with a good canopy over us as there was intermittent light rain. Good audience, mostly locals but a good few wearing Dead T Shirts who had come from as far as South London just to get a hit of their favourite music. Three hour gig divided into two sets - second day in a row so we were feeling it by the end, but a great atmosphere. Band felt and sounded much tighter for it as well. Nothing else in the diary now until a Grateful Dead festival in Cirencester in a month's time.