Burns-bass

Hate is too strong an emotion. I’m indifferent which is the worst thing.

I guess my issue is with authenticity (or the lack of it). Everything is played for laughs. It's the same reason why I don't get on with Frank Zappa, Steely Dan, or any of those "zany" US bands and artists. The whole is so inauthentic and the whole aesthetic they have grates on me. Instrumentally, they're absolutely on point, but what are they trying to say or achieve with any of it? It all seems as hollow and empty as the kind of lift muzak you used to here while shopping. But, it's their journey, and they're selling out stadiums to audiences who adore it, so good for them.

Non sequiturs does not a poem make. I’ve never got the whole Vulf thing. Its irony turned up to 1000 and then compressed to hell. The result is jazz funk with a raised eyebrow played by music college kids.

Reckon it looks cool. I would have wanted a case though for that price…

More factors than that involved. Speculation for one. People are investing in vintage guitars with the hope that they’ll increase in value. No guarantee they will, of course. Dealers have a vested interest in pumping prices and people get influenced by it. You can see the crazy prices people are asking for stuff that was quite rightly considered inferior quality (when it was made). The whole thing comes from a generation that considers the 60s and 70s to be the peak of culture.

I think we’re at an interesting juncture with all this. Personally, it seems mad money to me, especially without the case or chromes. The only way is up, until it isn’t. On the other hand, it’s in great shape and won’t have that god awful inch thick poly finish they used in the later 70s. I hope whoever buys it get on and uses it. It’s very much in the “everyday classic” category, isn’t it?

Lovely bass! It’s definitely worth saving from a bass point of view. From a financial one, that’s harder to answer. Used you could get up to £1000 for a decent 60s one, more if it’s a desirable colour and original. If it’s to sell on again, a refin means it’ll be worth much less (possibly half) If the electronics are replaced possibly even less. Worst case scenario is that it’s too far gone and can be used for parts.

Been offered a Epiphone Thunderbird for £100. I'm out.

My US Pro jazz bass bridge. Not bottomed out, but very low.

We do 4 at a time (and assume the drummer never listens to them)

It’s a fair point. Maybe people are cashing out as the market is at an all time high? Or maybe money is tight? Or both!

I reckon Andy has the best stock I’ve ever seen in a vintage bass shop. Some of it has stayed around for longer than I would have expected… Guess we’re having a slow few months.

There must be a double bass luthier or two near you. Might be worth checking out some bass forums or Facebook? There’s a fairly vibrant orchestral science over there from what I can gather so there must be someone! As people have said, best to be present when they do a setup and you can get it right for you. It’s highly skilled but not exactly rocket science (bridge height, nut, etc.) An adjustable bridge is a good idea but you need it low enough to start with. good luck

There are two forces here: string height and tension. The higher the strings are, the more pressure (or pull) it takes to get a note. Some people prefer a low action but get it too low and the strings can rattle. String tension is another variable. I use low tension Spiros, but couldn’t cope with ultra low tension guts or gut-a-likes. This article is good discussion about string heights. https://www.bassgearmag.com/jazz-vs-classical-vs-bluegrass-set-up/#:~:text=The traditional bluegrass set-up allows for slapping%2C as well,strings at the same height. Unless you’re confident working on your bass it’s best to take it to a pro. Last set up I had, I was there when the action was set and was able to get it to a level I was happy with, and the luthier was able to advise on the quality of note and overall sound. I’m very much an amateur and I’m sure you’ll get much more in-depth and helpful replies. Where are you based?

I installed the ones I had so no money was spent.

I will need to ensure they fit into the hard case. Given I’m not buying basses or searching for them, I have the time.

Always try whatever you’re using on a small portion of the finish before adding more!!! (I say this as a person who used Pledge once to clean the Nitro body of a 1965 jazz bass. Don’t be me.)

I've seen about three "Option 2" repairs (and owned one of them). If the purpose of this is to save a vauable instrument, it's a bad idea. If it's going to save it from being scrapped, it's worth it. I reckon if you cleaned of the PVA from both the neck and inside the cavity, it would (with a little gentle persuasion) slot straight in there. Guess you have to be careful about the height and the angle, but assume you'll be cutting a new bridge in any case. This demands a comprehensive photo diary!

Nah, I'm a latecomer to the straplock thing. I never used them, then iI bought a set last year for a guitar as it kept slipping off. Aha. Brainwave. I'll take the ones off the guitar and swap them over. I'm still in... (the bass in question is my pink jazz bass that I bought in 2020, have the forum posts to back it up!)

Fair point. I hate straplocks as they’re clumsy and ugly but effective (like me). Personally I’d class then as an essential purchase as their absence could impact my ability to play properly.

What about straplocks?