Marcray

A couple of people asked for pics, these are as recent as I have, the blurrier one was taken around the time when I first got her.

A Zon.

That’s almost word for word what the tech said to me. Adding to that the fact that I’m not going to sell it, so one day the kids will open the case and it will be “Dad’s bass”. The one in most of the photos and videos etc... I guess it’s curiosity that sneaks into it. Always knowing it was a refinish I did wonder for years what it was originally. The green did poke through in various places that I’d dinged it, but that seemed unlikely to me. But again today in the workshop both me and the tech caught ourselves looking at it saying “boy, I bet this was pretty the day it was first taken out of the case” 😂😂. So we get a little introspective about what is best. I feel that my history is more appropriate. If one of my kids want to “make it there’s” then they have my blessing.

So, when I was 19 I went to Denmark Street with the proceeds of my first record company check to buy what I always wanted. An old Precision. I found what was described on the tag as a refinished 1964 Fender precision bass. It was what I always wanted, Olympic white, rosewood fingerboard, tort pickguard, it had a wonderfully worn smooth neck, and it sounded right. I’m now 52, and that bass has played on every record I’ve ever done, and accompanied me to almost every gig. It now has some issues, so it’s now in the hands of a very knowledgeable and experienced tech that I’ve gotten to know over the past few years. Our intention is to do what needs to be done, after all, that bass has been around a while. I’ve never so much as removed a screw on the bass so we had a couple of surprises. Firstly it had a neck date of 5 AUG 62, secondly the pickup was split between a treble side of 62, and a bass side 65. Strangely, the tech said that although it could’ve been a repair done at any date before I owned it, the solder joints looked factory quality. He had other reasons for this theory, but it’s too long to go into. We shall never know. The pots had been replaced, with much less impressive soldering, and the Jack was original. She is going to get a refret, new pots, new wiring, all original spec. We may have the pickups rewound depending on how she sounds when she is reassembled. But here’s the question. I always knew it was a refinish, but what the tech discovered between my scratches and scrapes, and the neck pocket seeing the light, was that it was originally a factory Sea Foam Green, over an Original Sunburst. The Olympic white that I bought is wonderful, has all my bangs and scrapes, the remains of an “11” sticker that Natasha Schneider handed to me herself, even a little blood, but the idea of slowly and carefully taking her back to her factory appearance has me intrigued. We’re worried that the motivation of the original owner to paint it white may have been that the green may have had some other issues, a bad hippy paint job, or some oxidized stickers, something strange like that. And worst case is that we find something awful and simply refinish it again. But is the aging that I have done more appropriate to keep? So factory “restoration” or personal restoration? What would you do? BTW, none of this is financially motivated, I was aware that the bass was value compromised on the day I bought it. Interested to know what others would do... thanks.

Hi, Can anyone tell me what brand of flatwounds come with a light orange colored twine? Thanks.

The video doesn’t really have much to do with it, even though it was quite noticeable and the guys actually talked about it. I guess I’m trying to tap more into people’s personal experience. My only experience with Spector was using a borrowed Kramer era version on an album many many years ago. It was nice, but a little “uninteresting”. Because everyone was using them at the time.

Were my ears deceiving me when I (on a YouTube comparison) heard a boost in bottom end with the DiMarzio pickup?

Hi, I know this is a very wide topic or question, but I have little knowledge of Spector basses, yet a Euro has come up for sale at a decent price, with Barts and a Darkglass preamp. Sounds attractive to me, but I had set myself on possibly trying the 1979, and maybe this isn’t the best reason but the bottom end from those DiMarzio pickups was a noticeable jump while I was watching a comparison video recently. I like a sound that edges towards too much bottom, Im not looking to hear every note with hifi clarity, a scoop, nice but not harsh highs. what insight can you give me if any? And if you have a Spector configuration that you feel is must have or for some reason better than others, then let me know why. Thanks 🙂

Yes I’ve browsed their website before. I may talk to them. Thanks.

Stenback are beautiful instruments also, Vuorensaku look cool as well.

Yes absolutely, and if I had a personal relationship with one that had those resources then I would probably go for it. I am good friends with an extremely respected luthier who’d love to build me a bass but it would include a certain amount of experimentation on his part as he doesn’t hold a lot of stock. He’s used to people handing him their 54 precision and saying the they want “this shaped neck with...”, and I’m not that bonded to anything specific like that. I can say I’ve enjoyed a Spector neck, I want a paddle headstock, we can talk about neck joints, body woods, shapes, until the cows come home. And that’s our problem. He tends to over think. He’s so perfectionist in his work. I’ve asked him if he wants to go into business but he is so unable to commit to finishing builds, and with balancing repairs etc. And as soon as he finishes an instrument, of unbelievable workmanship, he wants to break it apart to fix something he’s not entirely happy with. So you can see, this makes me a little anxious. There is a guy I want to talk to who made an an instrument for a friend and when I’m back in England I’ll try to meet him. I’m in no hurry.

I’m not sure I have the knowledge to explain exactly what I want in terms of build specs etc. Electronics maybe, but neck shapes etc would be guess work, whereas I’d like to pick up a bass and just say “well this is amazing”. Only truly had that once and that was a John Cruz custom shop, which is not what I’m looking for now.

The white Spector. A classic. When I first saw Sting with his it was like “woah!!!”. I did a record in the early 90’s and I was desperately trying to prevent it sounding too hair metal by using an old crusty Guild Bass I had, but the producer forced me to use a Spector that the guitar player owned. It played and recorded beautifully but sounded very “corny” to me at the time.

Wasn’t this the Wal/Alembic days? Then he used Bob Rocks Spector for the Black album, then Sadowsky?

I’ve thought about that, but it’s not really my style. I’m also interested in something that has new build elements. Something fresh. I appreciate the idea though. 🙂

Status is definitely on the list, and I have a Peavey TL-5, my only fiver. I love it. The Cirrus is a nice bass.

For me it’s... 😁

It’s definitely a legit contender. But you know where my problem lies? Whenever I think of Spector I think of hair metal. Completely irrational I know, but I can’t help it. 🙂

Yep, it’s on my list as a possibility. I’ve also considered asking a luthier to simply build something with the same type pickup options. Although for some reason that gives me more anxiety 😁.

Many many years ago I used a borrowed relatively early Spector for a record, that was very nice. They were a little too common at the time and I was never one to go with the herd. Now, It’s certainly one to consider, even though you could possibly call it vintage at this point 😁

That’s a really good question. Maybe my definition of modern is more in build quality and method. I tend to prefer a scooped tone, probably more old school. Which is why I’m attracted to the F-Bass PJ, for the tone I’m used to with modern build quality. But does it go against my search? That said if there’s one thing that I don’t think there is enough of in modern basses is neck position pickups. Bridge pickups, especially solo’d is something I can’t stand. Another bass that’s caught my eye is the Manson JPJ, but of course not the easiest to get your hands on.

I hope I don’t regret this, because I know this is a rather silly question that has a thousand possible answers, so please reply only if you have real experience with what you are recommending. I’m pondering a new 4 string bass, but not an old school bass. Modern, modern-ish, primarily for rock. Probably switchable passive/active, tremendous playability, a budget of 3-5 thousand. I have had Fenders, Gibson’s, G&L’s, the only bass I can call “modern“ in my collection is a quite early Zon Legacy Elite. So suggestions welcome and please ask questions. I’m wondering if there is something out there that I should take a serious look at. Thanks 🙂

I’m pretty simple and no fuss when it comes to my bass sound, I only went to pre-amp pedals when I went to Class D a couple of years ago. Without sounding especially lazy, now I feel like I’m putting way too much effort in!! 😁 I yearn for ease.

Hhhmmm, yes it’s intriguing. This does seem to come as close to a one pedal EQ/drive solution as I’ve seen so far, barring the big modeling units. But does it? 😁 Somehow I’m going to have to get my hands on one to try.