HeadlessBassist

I tend to be pretty pragmatic when it comes to instruments. I try [really, I do] to only keep basses that are earning their keep and actually earn me money. I currently have nine, which seems to be the level I always return to these days. I have the Jazzes for anything vintage, like the live tribute shows, and all of my active basses for the more technical trio stuff and duo work. Any sessions I do these days have several bassy options, depending on what kind of sound the folks want. I like to think I have most bases [basses!] covered.

They're looking great, Kiwi. It's hard to tell whether or not it's the camera artifacting and making certain areas up, but are the graphite weaves all even to the naked eye? For a prototype batch, they seem to have all come out pretty well. I'll have to send you some more money soon!

I see what you're saying here, and yes, in some ways you're absolutely right. A lot of the premium 'Super Fenders' by the likes of Sadowsky and Mike Lull, and even the German and newer Polish contenders can seem a little sterile for their comparatively huge price tags. Most don't even sound like a good example of a Fender. The answer continues to be, if you want a really good Fender sound, go out and play Fenders until you find a good one. I've only played one Sadowsky I ever loved the sound of, and that was a Japanese 2 band Will Lee Signature. The rest sound bland and sterile to my ears. I tend to like the Mike Lull instruments better, but they still don't have 'that' Fender sound. For me, Bernie Goodfellow got it absolutely right with the Spitfire. It has the Jazz ergonomics and playability, but plays and sounds like a totally different kind of bass, much more premium and hand crafted and it doesn't try to sound like a Fender. It's truly a bass from the top tier of makers that can out punch a Stingray with it's metallic anvil-like attack, and has a sweet tone to boot. I've been sorry to hear what's happened with G&L, but at the end of the day, they seemed to stop innovating in terms of the bass range some years ago. They certainly have their fans and I know @Mike Brooks really likes his newly acquired American L2000 CLF. Maybe they will re-emerge as a Fender sub-brand (particularly the excellent value Tribute models)?

Oddly enough, in a curious twist of fate, I'm picking up another Space 5 today...

They make an excellent backup bass, and they sound fantastic. Very hifi, clean sound. Easily small enough to keep in the boot of your car when you need a backup or quickly need a bass. I've owned two, a 5 and a 4. I've never sold one because I didn't like it, instead usually because students always want to buy them off me! Would have another one in an instant. In fact, once my Walnut-Graphite Jazz is complete, I'll be looking for another one. My last Space 4 was a demon with one of the fastest necks I've encountered this side of a Status.

Maybe you just need to order one and if it doesn't suit, send it back, Steve. I did that once with Andertons and had no problems.

Now that looks amazing, DJ. Congratulations on your lovely new bass! I was only playing along with "Rio" & "Hungry Like The Wolf" on my GB the other day. Enjoy!

That's definitely a valid concern, Marvin. I've never been able to change the one on my American Original, although it's thankfully never needed it in the 6 years I've had it, and I definitely don't want to be taking the neck off. Nooo. It's interesting how all Fender's modern necks (except the Vintera/Vintage models) have been through production streamlining now, and all now have truss rod adjustment at the nut & a skunk stripe on the back.

So does that mean you got a full refund on the bass and walked away?

I've gone for the full AUROK branding on the front. Flying the flag for this excellent venture, as it were. I've also had the body logo'd with MGCS Basses, in order to promote @Silky999's excellent work too. I just ordered another set of the Fender Pure Vintage 66's today, and the Gotoh black lollipop tuners.

🥲

@Silky999 I hope your wife is as understanding when I drag a MarkBass amp into your living room when the Walnut-Graphite Jazz is complete… 😁

Having played both, I'd say that they both feel of similar quality. My more recent experience is with the Squier 40th Anniversary Jazz and a nice example Firemist Gold Vintera Jazz that was for sale in a branch of PMT. The biggest difference you're going to find is in the pickups and the wood choices. The Squier pickups were the usual Duncan Designed ones which are, in isolation, pretty good. But the Vintera actually sounds like an alder 60's Jazz bass, much like my American Original with its Pure Vintage 64 pickups. You also get the tall and thin vintage reverse tuners on the Vintera. If you can find a nice one, a used Vintera 1 would be a great buy. The neck profile of the Squier is a pretty standard modern C-shape, but the Vintera is a little narrower and thicker (fingers to thumb), again, like a 60s Jazz.