Misdee

Outstanding work, as usual. I liked the sound of all of them, but I liked the Stingray the least in this instance. If it had been the Stingray Special it would have probably have sounded just as good as the other basses. My vote is for the P Bass, but horses for courses ect, that bass collection consists entirely of great options.

I really can't see what advantage the more expensive original model has, except it looks like someone has been using it to do the gardening with.

Fair enough!😊

I really like the Pacific Peach and I dislike the Eggshell Pink on the original Flea. The only aesthetic fly in the ointment on the newer version is the tort pickguard. I would swap it for a vintage white one.

Down the Old Kent Road?

These are indeed really superb instruments. That reverse P pickup seems to give such a good growl to these basses. Looking at that bass you can see what a beautiful shape these original BB basses were. They subsequently tweaked the body shape. I don't know why, because these basses look so elegant in their simplicity. Lots of top players used these Bb1200 basses back in the day. Lee Sklar, Abraham Laboriel, Paul Jackson ect. And the geezer out of Chas and Dave for that matter (also a good player, by the way.) Have a lovely Xmas putting your new bass through it's paces. I would like to think that you will be ripping some smouldering late '70s funk and disco lines on this beauty. And/or some Chas and Dave.

What a stunning bass! The 'burst is beautiful. It's very contrasty, just like the best Fender Custom Shop finishes. P Bass with a Jazz neck is always a bit of a treat, too. That looks a very good purchase. I hope you enjoy it.

I'm very sorry that you are now without a bass. If it is solely because of financial hardship then that's even more upsetting to hear, because selling your gear will only give temporary respite from your money problems. Salvation lies in changing your financial situation, not cashing in your assets. That's much easier said than done, though. Trust me, my friend, I know all about being poor and it's a seemingly never-ending cycle of misfortune and exclusion. It's very easy to feel despondent and think that there is no end to it, but that's not really true. Hang on in there and things will change for the better sooner or later. They always do.

I've been tormented by not owning a Spector bass on and off for a very long time now. I definitely deserve one, but the pound to dollar exchange rate doesn't look like improving anytime soon. There are not many basses left that I still hanker for, but a full-tilt USA NS2 is very tempting. I love the sound that Eddie Jackson got with his on those classic Queensryche albums, and there are so many other examples I could point to. If I could remember them right now.

If I were looking to buy an old P Bass this is exactly what I would not be looking for, unless it was available at a bargain price. If I was investing in a vintage bass I would spend a little bit more to get an all-original example. Ten grand is an awful lot of money for a compromise.

Unless it's a really special high-end bass that is an excellent instrument I would be very hesitant to act hastily just based on sentiment and nostalgia.

There are folks who can hear the difference between a stack knob Jazz control configuration and a regular v/v/t setup. I'm not one of them! Don't get me wrong, vintage Fenders are lovely things, but not that practical nowadays, if you see what I mean. And do you really want a bass that is fairly fragile, relatively irreplaceable and cost £26000? To me It would be more of a burden than anything else.

If people want vintage basses good luck to 'em, but I really do think that there is more than a little of The Emperor's New Clothes in the assumption that older is better when it comes to Fender basses in particular. Back in the Seventies when new Fender instruments were increasingly patchy in terms of quality control I can understand folks gravitating towards older basses. Nowadays, however, a new USA Fender sounds and plays great. If you want a Fender-sounding tool for a bass playing job it will do you proud. Whatever you are getting for your 26k with this bass, only a relatively small proportion of that sum is for the actual instrument. The lions share is for romantic associations.

I'd recommend contacting Lakland directly to ask for advice on adjusting the preamp gain. They are usually very helpful.

Bloody hell! Just looked online and a new 44-02 is just shy of £1800 nowadays! 😦 Last time I noticed they were about a grand, eleven hundred quid at the most. That said, if I think about it I must have had mine ten years this month. It's not surprising the prices have gone up, I suppose. Keep an eye out for a used one maybe, if you have the time to be patient.

I've got a fretless Lakland Skyline 44-02 and it's a wonderful option if you want a versatile fretless bass. It can do the classic Stingray tone if you use the rear pickup in humbucker mode, no problem. That pickup was designed to recreate something of the vintage Stingray tone. In addition, the 44-02 can also do the Jazz Bass thing if you split the rear coils, plus a few tones of it's own besides. If you're only going to own one fretless bass the Lakland makes a lot of sense because it does so many of the fretless tones we all love. The Lakland neck profile is identical to my old pre-EB Stingray, and the body shape is also Stingray-derived. It's an obvious choice if you're looking for for a surrogate Stingray. Thoroughly recommend.

I've also got a Reflex . That is a monster truck of a bass. Must be pretty rare nowadays, too.

My pre-EB Stingray was an 82/3 with a four bolt neck. It was a lovely bass in mint condition but at the time I owned it in the late '80's/early '90's the EBMM Stingrays I played in shops were overall better made with a a higher level of fit and finish. I distinctly remember thinking that at the time. I would have cheerfully done a direct swap.

In all the excitement I hadn't noticed the three-bolt micro-tilt neck. That's a big minus for me. I like a neck that's securely bolted in the correct position and stays there. I don't necessarily want adjustability. The old Stingrays definitely sounded a bit different, but I like the sound of the new ones just as much. One thing I preferred about the old ones (and the Classic reissues) was the laqured neck, figured or otherwise. But the roasted maple on the Stingray Special is pretty nice, it must be said. I suppose these new reissues are another option and you pay your money and takes your choice. I think these basses will be sought after, no doubt about that. They look and sound great, but the old Stingrays weren't perfect in certain respects, so neither will an accurate reproduction.

The world is crazy in 2023.🙁 I used to have an pre-EB Stingray in Sunburst/maple back in the day. It was a nice bass but nothing to get emotional about, if you see what I mean. I couldn't see any advantage it offered over an EBMM Stingray, then or now. Except the old-style bridge with the mutes on. Never used the mutes but it looks right on a Stingray. Maybe EBMM have missed a trick not reissuing an early EBMM-era bass. They were superb, I seem to remember. I might consider one of these basses if I could find a light one, 9 pounds or less, but I doubt I will find one. Besides which, I probably prefer the sound and feel of the Stingray Special if I am being honest.

When should bands call it a day? . From an artistic point of view usually good few years before they actually do. The old showbiz adage that a performer should always leave their audience wanting more so quit while you're ahead is particularly apposite in relation to pop music. Many legendary artist's have a cannon of work that benefitted from coming to a premature end. A great many more have inflicted inestimable tedium on the world with their continued existence. Led Zeppelin, for example, have benefited greatly from their untimely demise, becoming a mythical entity, as opposed to a mere musical act. Contrast that to The Who, still mere mortals, turning out spectacularly forgettable new music and playing it live for only god knows who and god's knows why. You could say the same for Queen. The trick is for musicians to realise that moment when the only way to further their career is to apparently end it. I will readily admit it's a lot easier said than done and it must take a lot of courage. Also, a lot of blame has to be put upon members of the public who encourage these so called "legacy acts" by buying tickets etc. A Take That reunion tour is not a victimless crime, as anyone who has seen Gary Barlow in a fishnet sleeveless t-shirt will attest to.

I would have to rate Elton's band up to 1976 as one of the very best backing groups of the 1970s. Off the top of my head I can only think of David Bowie's band post -1976 (George Murray, Carlos Alomar et al) that can rival them.