NancyJohnson

Seems to be. I did a fast and nasty Photoshop overlay using MM images. I lined the neck heel and resized 4H and 4HH images until the bridges and saddles were the same size/location. Bearing in mind that production will inevitably change over the years (even the off millimetre or the more extreme 1970s Fender Jazz bridge pickup movement), I feel pretty confident in saying the bridge pickup is in the same location irrespective of it being a 4H or a 4HH.

I'm not really trying to emulate a Stingray tone...I have a pair of MM pickups and I'm just trying to decide whether to go with one or two...

I'm assuming that Leo/MM got the Stingray pickup positions in their sweetspots...could owners of a 4H and a 4HH take some positional measurements for me? I'm thinking about putting an MM pickup (or two) into an old P-bass body I have knocking around. I guess take a measurement off the 5-string saddle to the edge closest to the bridge in each case? Thanks muchly.

If you want to see how ridiculous the money is around Hendrix, check out these two auctions: https://guitar-auctions.co.uk/portfolio-post/lot-363-jimi-hendrix-shavings-from-the-1967-zemaitis-twelve-string-acoustic-guitar https://guitar-auctions.co.uk/portfolio-post/lot-447-jimi-hendrix-wood-shavings-from-the-1960s-zemaitis-12-string-acoustic-guitar-used-by-jimi-hendrix-in-1967 Remember to add buyers premium of 24% and VAT @ 20%. Yes, folks. People are stupid.

No, I don't have kids. heh. We have this:

They did...I'm unsure whether these were solely custom shop or limited run models, but does anyone remember these monstrosities:

Why bother? The lawsuit thing has been covered here a ton of times and over on Talkbass as well; if you think I'm being pedantic or harsh, then you'll find guys over there that make me look like Snagglepuss. I'm not trying to rain on anyone's parade and apologise if I got your back up, but it really does feel that at one time or another every Japanese manufactured guitar or bass from the 1970s that was copied from a Fender or Gibson design seemed to carry the the word lawsuit with it.

I tend to store the cases in the garage (attached to the house), everything else is in the house somewhere or another.

When I posted that comment, there was a degree of pedantry with concern to the original post. You're correct in that Ibanez were the only Japanese company taken to task (and by Gibson), which pretty much prompted them to up the ante with their original models (and change of headstocks). Fujigen and Matsomoku produced tens of thousands of guitars and basses. The Aria Precise/Primary range were no more subject to lawsuits than the Tokai Jazz Sound or Hard Puncher basses. People just throw around the word lawsuit like it's a badge of honour. Look, I've no qualms about the Aria being a great piece of kit (I've got one of those P-bass copies from 1978), but lawsuit? Nooooo.

Tell me more about the lawsuit, please.

Gone. That was quick!

Since I cleared out a few basses, I have one or two peripherals that I need to pass along. I've got a Warwick Rockstand, the same as below, that is now surplus to requirements. I really don't want to go to the hassle of breaking it down, finding a box, going to the Post Office etc. so collection from RG45/Crowthorne. I think they retail for about £45.00. I'll exchange it for a decent bottle of Cabernet Sauvignon to anyone who wants to collect.

The domain was only registered on 17/1/18. I can smell a scam.

I am trying so hard to get a fantastic British bassist in...I'm in contact with him via an intermediary, but he says he can't commit to anything so far off. I'll try again in a couple of months... And no, don't push me for a name, but he's a legend in my book. [Edit/Update] And it's pretty much a no. Sadly. For the record, it was Colin Moulding of XTC fame.

I'm sure we've already had a thread like this previously... My old band gigged regularly with a London band, no transport amongst them. They relied on public transport for everything, relying on the goodwill of other artists for drumshells and cabinets. Their drummer is a tiny slip of a girl...she carries all her drum stuff on a 4-wheeled trolley; I've seen her go on the Tube with it. They seem to survive without cars...

It does seem strange running two independent signal chains for monitoring/FoH, but look, we're bass players, we love gear and are prepared to try anything at least once. Even sprouts. Maybe he was just showboating...it does seem horribly overcomplicated and unnecessary though.

The issue I've always had with Fender (and their counterparts) is reinvention of innovation. On the whole, the new* range is simply a re-churn of the same sixty year old designs; I would honestly love to know how many gazillion Precisions, Jazzes, Strats, Teles etc. Fender have sold since their 1950s inception as there must be millions in lofts, spare rooms, under beds and so on. *not strictly true.

Yawn. So many derivations of a handful of designs. So the Original series reverts back to original vintage-ness...BBOT bridges make a triumphant return. Nearly £2K a pop to buy into a production line series of instruments that look and sound the same as nearly every other Fender bass anyone has owned. Sheesh.

If manufacturers made self intonating strings, every bridge on any stringed instrument would pretty much become redundant from an adjustment perspective. There's probably some long and drawn out article online somewhere covering the science behind string gauge, string length, action, tuning and the effects thereon, but just trust us, for a 12 (or 8) stringed bass you really should have a bridge with eight saddles, one for each of the fundamentals, another to carry the octave strings.

Well, in a sense it's more like a 4, but only from the perspective of the tuning, but it is, however, no more a 4 than a Rickenbacker 360/12 is a 6 string.

That's the Spirit. Oh teehee back at you.

Not a fan of her in the slightest (a voice like nails on a blackboard), but a shock nonetheless. A mate told me she'd died...46. It's no age. Certainly makes you question your own pending mortality.

Have you played a 12-string bass? It's really not a walk in the park and I think I'd agree with most of the comments made. It will, in general, be easier to play an eight than a twelve; less tension for your fretting hand, easier to bend. A chorus pedal will phatten things up and yes, your audience probably neither know or give a rats donkey if you're playing a four, eight or a twelve string bass.

Have Andertons actually taken on board some of the stuff that was thrown at Lee? I don't think I need a spoiler here but: I know that Andertons videos are hitting thousands of views, but I'd like to see less finger-pluckn and more pick work. Also, if you're showing off a brand new copy reissue clone of a vintage bass, then have an actual vintage one there for comparison sake. Having a 60s vibe is meaningless unless you have something to put it up against.

I wouldn't mind a B12A (so long as it was in the satin black Jeff Ament livery) or one of the EGC aluminium jobbies.