andruca

I have my Epiphone Viola (30.5" scale) strung BEAD since the day I got it. Works OK both for the picked kind of HC/punk I play with it (with enough thick SansAmp crunch) or the occasional acoustic stuff (hate ABGs, a hollow body does it better, every time), in which I pluck mostly with a soft touch. This clip is picked but way cleaner than I usually go, still can serve as a sample. In the case of the Viola it helps to roll back the neck volume just a tad (so is here) but usually I use both pickups maxed as this gives me a more consistent OD response, vital for punk bass' omnipresence. http://andresdemarco.info/ImaginaEpifonSAMPCMP.mp3

I like Sandbergs, just can't stand the Delano big poles pickups, sounded a mix of dead and scooped I don't really like in every single Sandberg I've tried and also in a Maruszczyk Jake 5a+ I've owned, either switched passive or active. Those Roswell pickups on the latest Harley Benton Sandberg ripoffs sound WAY BETTER to me just from clips I've heard (haven't tried those Roswells myself). I know many love those Delanos. I highly dislike them.

What I have is mostly 5ers. Recently went from overall 10 basses down to just 5. That Schecter CV-5 rendered all my non-Musicman 5ers obsolete, sold them all (except for that "diy or die" red one, originally a thomann P kit my wife gifted me, an ongoing Frankenstein with no resale value, its value is the ongoing DIY adventure, went thru' different stages until its current form, a reverse P+J 5er). Also got rid of a uke-bass, most useless and ridiculous piece of gear I've ever spent my hard earned cash on (closely followed by both ABGs I've owned, SO useless). Looks like "maturity" is sorta' getting me. Haven't departed from my ceramic Stingray 5ers for almost 2 decades, that's what I love to play and sound like, the bar with which I measure all other 5ers. The only other thing I'll eventually needed is a decent "Fender killer" 5er (with a usable low B -unlike Fenders-) on the aggressive side that plays as close to my Rays as possible, for eventual Fender'ish duties, and I found that in the CV-5 (after trying and owning LOTS of attempts, including many real expensive ones). Don't need much else really. Then I have this "intruder" (strung BEAD, punk A/F despite the 30.5" scale)...

It's called identity politics. Means your value and eventual outcome are not dependent on your merit anymore. Also you cannot debate ideas "per se" anymore without your "privileged" nature coming up (one way or another they get you, we all are privileged in comparison to some other being) totally ruining the search for anything remotely close to a truth of any kind. People doing good are automatically labelled perpetrators and people not doing so good are labelled victims, just like that. Hierarchies are only reduced to how high or low your "opressed collective" of choice ranks in victimization. Sad. I know the way I think is not a trend these (collectivist) days. The supression of individuals (and their responsibility) is my idea of totally dehumanizing decadence. Only thing that's "progressing" is the complexity of the labelling, in very authoritarian ways, typical of those not trying not extract a single lesson from objective reality, but forcing (narrowing) reality to fit into their (pretty resentful and binary) script.

I'll contribute one of my most beloved GFR songs to this wonderful thread. Great bass line too.

I do this with all my 4 strings. Nowadays I only have one, an Epiphone Viola which, despite its 30.5" scale length, gets the BEAD treatment anyway. I also have a P-style thomann kit bass I've been modifying thru' time. It used to be a 4 string, also strung BEAD from day zero (either for use anywhere an "acoustic" bass is needed or SansAmped to hell and back for picked punk/HC stuff). This is one of it's final stages as a 4-string (after that video I added an S1 switch, then made it into a 5 string wth a distressed red finish, with the tone control back on -had lost it when I added the J pickup-). If playing 5ers did anything to me that's making me a LOW bass player (I totally let it change me). I too wood rather lose the G string than my low B.

I wish I had grabbed one of these when Thomann had them in the 600€ realm 😞 So much bang for the buck. German Star Basses are several times that money, hard to justify for what in my case would be a "niche" bass (my main thing is a thick crunchy Stingray5 tone, aggressive and in-your-face). This RB Star Bass 5 goes for almost 1000€ nowadays. Such price kills the bang for the buck IMHO, you're paying Korean kinda' money for a Chinese bass (even tho' craft was as good as Indonesian or even Korean made instruments, market-wise it's not the same league). Unfortunately almost non-existent in the 2nd. hand market. As per other more "orthodox" Warwick models IDK really, not a fan of them at all, just love the RB Star Bass.

I much prefer these pickups to the Delano big poles, which I've hated in every single Sandberg I've played (and a Maruszczyk Jake 5a+ I've had -ditched it because of the obfuscated tone those Delanos produce, otherwise a great bass-). These are cool, and I definitely prefer to scoop pickups' tone myself not have them scooped from factory.

It'd be nice to have a "jerk detector" to avoid doing good things for people who don't deserve it. Still, a good deed is a good deed, even done for jerks that aren't worth it. Keep checking pawnshops often, he might need some dough for meth. Hope it happens before the bass is left in decay again.

I know I'm probably derailing your line of thought (and definitely not answering any of your questions), but probably still relevant... If I could afford the kind of money you're about to invest in a fretless bass I'd seriously consider adding 20-30% more budget and go the used Pedulla Buzz route. Best fretless thing I've ever been around. I've extensively played both 4 and 5 strings (Pentabuzz, even had some lessons using one -an instructor's-), they're so above any other fretless bass I've played or owned (only modest Jazzes), and that defintely includes Warwicks and Spectors (never played fretless Mayoneses). The playability (that neck, oh my!), the right mwah, the responsiveness, that allmighty burpy attack, can get as delicate or as ballsy as you need (way more tones than just the trumpet like thing most play for reviews) to accomodate many moods & styles. Overall some of the most inviting basses I've played in my life.

Already saw that in TB, gorgeous. Immense deal.

I think the word you're looking for is... LIFE? IME (on a Maruszczyk Jake 5a+ I had with those pickups) those big pole Delanos sound DEAD, indeed terribly dead if you have the real thing beside to A/B (I own a a couple -ceramic era- Stingray5s). Everytime I plugged in a Ray after that Maruszczyk it felt like someone had lifted a blanket from upon the amp. Funny thing is it also happend with a Harley Benton P-bass kit build, I'd even take that cheapo' P pickup over the Delano big pole P pickups any day. They were the reason I got rid of that Maruszczyk which, otherwise, was a superb instrument (still can't touch my current "Fender killer").

Hi from Spain! I've been following this post "in parallel" to waiting for my last iteration of a "Fender killer" 5er. I too was interested in the Schecter Model T Session 5, then found out about the CV-5. I'm pasting my story from a TalkBass thread I started yesterday, after one week with it. Short version: WAY TOO IMPRESSED, BEST FENDER KILLER I'VE OWNED, SOLID IN EVERY ASPECT. Those of you who have read some posts of mine might know that I'm a Stingray5 guy who's always looking for a Fender sounding 5er that not only feels like my SR5s but also that has at least the same quality low B, that extra edge (punchiness, in-you-face-ness, cut-thru' power) a Stingray has, just on an instrument that's timbrically in the Fender ballpark. I've been thru' a Sterling5 HS (just too thin sounding and only remotely decent at a sorta' Jazz Bass'ey thing), several Yamaha BBs (stock preamps sucked in those active and necks weren't that fast/comfortable), a very thin necked 2 pickup Ibby ATK (very versatile, just not aggressive enough) and a Maruszczyk Jake 5a+ (with Delano big pole pickups, killed what otherwise would be a magnificent bass, I know many love those pickups but to me they sound dead, terribly dead if you have the real thing beside to A/B). I had been interested in a Schecter Model T Session 5. VERY hard to see around here in Europe (Schecter distributors seem only interested in the "classical" Schecter metal oriented gear), as is the CV-5 also. Now, I wasn't even aware of the CV-5's existance a month ago. Found out accidentally thru' TalkBass (can't recall where really), one thing led to another and to Schecter's website with all of the neck specs (something I really appreciate). After listening to some reviews I decided to hunt for one and last week I got myself this beautiful ivy b-stock unit from the USA for maybe 25% less than what I'd have to pay here (buying from the UK). I still haven't made up my mind about this bass' looks, can't yet decide if it only looks weird to me or if it's plain ugly. What I'm 100% sure is THIS IS THE BEST FENDER KILLER I'VE EVER HAD. Those ugly guitar looking pickups and those coil tap switches provide a magnificent array of tones and characters, some of them personal, some great impersonations, always with an attitude. This bass PUNCHES and has some burp to its low-mids that reminds me of Wals. Can do the P and J thing great, in several flavors. Not finding the series (down) positions too engaging because the volume jump is so hard it forces me to adjust the input gain on whatever I plug into (SansAmp or MS60B emulating it). There's plenty of bass boost, or scoop combinations available at the flip of a switch, really liking it. This is my first 35" bass and I must say I don't feel anything different about it, the VERY THIN neck profile and the overal sensation of the bass feel like home, I'm equally as comfortable as with my Stingray5s despite the longer scale, didn't require any adaptation. In my case this bass came indeed "Setup to play" (as a sticker on a little cavity cover in the back claims), low action (maybe a little too low if I dig in too much, but I prefer it comes this way than a little too high), perfect relief and intonation, and the nut comes at the right height (usually I have to file them down on most instruments in this budget range). The long Slinkys this comes equipped with are really nice (I had a Slinky endorsement from a local EB distributor more than a decade ago and wasn't too crazy about them, these seem much nicer). Fortunately my usual cheap Warwick Red Label NICKEL (not the usual steels, these are only available thru' thomann) fit this bass well enough, with taper starting some 1cm after clearing the nut. It's not that I go thru' strings that fast, in fact the contrary, my hands won't sweat, ever, string zing lasts for months of daily use and I discard strings when they're halfway thru' their life for many other bass players' standards (and even that may be each 6 months on any bass that gets played on a daily basis). Still, going from spending 12.60€/set to probably over 30€/set was a "concern" for me. I'm a cheap creep, I know. This is both pickups on, neckside in single coil, bridgeside in parallel, my fave fingerstyle tone in this bass so far.

There's pots other than CTS that are equally as good. Still, if AliExpress sells them around 2.50€ a piece I'm sure they could cost 1-1.50€ if ordering enough qualtity. My point here is it's just passive VVTT wiring, I don't see many people buying that for such high prices. I've had some very cheap basses and never had a pot crackle on me, zero times really, so not buying into the CTS hype, they're good, as good as many others that simply don't exploit the hype associated with musical gear. Manufacturing standards get better and I don't even contemplate crackling as a potential problem with pots, just buy anything when DIYing stuff (guess I've been lucky none ever crackled). The Fender plate could have CTS pots and super expensive (say 1€?) caps. And that's all that separates it from a 15€ prewired plate (and there's much cheaper than 15€), so even if it costs about 25-50% more to manufacture, it's sold for an abusive 400-600% more to the public. I don't see how just wired pots (and 2 caps) on a plate could cost what a decent onboard preamp costs. It's not negativity, sorry, it'd cost me 15€ to make that plate (even solderless), wouldn't pay more than double that to buy it ready made. A non-DIY seasoned guy could pay more, of course. I don't know how scientific your research on caps is, but there's tables all around the internet, if you tried more than a dozen caps (and probably less) you're doing no research but blind trial and error, that's not efficient and you cannot charge the customer with your inefficient processes, that's no value added. BTW, cheap chinese jazz bass plates are also "handmade" (somebody solders it, 'cause that's the way to do it), handmade is unfairly overrated, some things are better done by machines, so not buying into the "handmade" argument either, unless you manufactured any of the individual components yourself (IDK, a decorated plate i.e.).

My only advice is stay away from those Delano big poles pickups. I know they look Musicman'ish, but unlike Musicman pickups, the Delanos sound terribly dead (scooped and opaque). Had those on a Maruszczyk Jake 5a+ and I sold the bass because I couldn't stand them, either active or passive (so the -also not that great- Delano preamp it had wasn't the culprit). I much prefer the P pickup in an 88€ thomann kit I've built than the big poles Delano P this bass had. I plugged in any other bass and it was like a blanket was taken off the amp. Same thing with any Sandberg I tried, hated those dead pickups. The other thing is the MM pickup (and more broadly, any neckside humbucker) in any position other than a Musicman's sweet spot is useless. A California VM is no more functional than a PJ really (same with TM and Jazz Bass).

Don't want to disapoint you but just look at the internet my friend. I've had a hard time finding a prewired Jazz plate for over 15€ on eBay. Fender seems to sell some for around 70-80€ (and any "custom" electronics guy can charge you whatever sum they want), but they're outrageously out of reality. IDK, I would never pay that much (not even half). The potentiometer and cap costs you state are already pretty inflated. You defintely CAN put the price down. I wouldn't pay more then 30€. Anything over that I'd do it myself for some 10-15€ and 15min of my time, and would definitely include the S1 wiring too (swapping the volume pot for a DPDT push-pull one). BTW, you should consider the S1 in your project, good added value (a virtual bass boost for the all open Jazz Bass tone) and really cheap and easy to do. Still probably not a too viable business for the street prices you're foreseeing, IMHO.

Personal preference. I have HUGE hands (I cover 11" with one hand spread) and still can't play thick necks nor too wide spacing 5ers. I mean, I can, just won't. SO used to Stingray 5ers that almost any 5er feels hard to play for me. Only like the sharpest of C profiles. The other thing I can't stand is fingerboard radius, the flatter the better. I'm the most picky person about this I know. I have a hard time understanding why manufacturers won't publish specs such as front-to-back thickness @ frets 1 and 12. In the internet age, where sometimes you don't get to try all you buy, such a spec would have saved me from buying a couple hand thrashers.

Looks a lot like Sandberg California VMs to me (6 bolt neck, zero fret, reverse P+MM layout, 2 band EQ), could they be in any way involved? OTOH, after owning a Maruszczyk Jake 5a+ and trying about every Sandberg model (also some of the Cort GBs, the Fender's Am Dlx P 5, etc.) I don't think a P + Musicman pickup (in the WRONG spot) combo works really. That humbucker there is useless at producing any tone that's remotely close to a Musicman, so it's of no use other than being a P+J really, with some flavor variation (series/parallel/single) for the humbucker. Being the price range it is, I'd definitely get a Sire P7 or even a V3 over this. But this is "prima facie", nobody knows how these sound, play or weight so far, so it's all speculation. Hopefully those Roswell pickups sound more alive than Delano's big pole pickups (which sound real DEAD, hat'em).

I still wonder what's that switch this woman flipped inside John Lennon to have him be her pet. After her it was all downhill for him, like sketchy musical outcome, alienation from Julian (save for the "lost weekend", BTW, his most productive post-Beatles period, connected with lots of top cats and recorded whole diversity of stuff), then getting secluded for some years to raise Sean on his own (Yoko gave up any task as soon as the poor child was born). It's sort of sad. IDK, I often re-read the Playboy interview and what's splashed all around is the smell of a pretty fake guy that not only is a big b/s'er (some of his own and some with Yoko's script writing contribution), but who also seems to firmly believe his own b/s. The kind of thing "intellectual inbreeding" (contact with few people and mutually reinforcing/feeding back of some ideas or doctrines to extremes) does to an already emotionally abducted person's brain. The most repulsive part is probably where he's like "Julian's still my son but Sean's first" (not literally but along that "morale"), as a father that's really f*ed up to me. I definitely think Yoko would still be anonymous (as she deserves, based on her own lack of merit) if she hadn't been so skilled at manipulating the guy for so long. No, she didn't break up the Beatles, listen to the music, they simply weren't a musical (nor personal) turn on for each other anymore. With some less important storms along the way it all came apart; but those storms were not only Yoko, it was also management/production/corporate disagreements. Yoko was just one more mishap along the path to the Beatles' end. The mishap, as explained by Bill Burr (I 100% subscribe)

Sorry to hear your conversion didn't work. I'm just in the process of doing this to an 88€ thomann kit I've had for a couple years (already modded: strung BEAD from day 0, reversed the P pickup, added a J pickup, added an S1 switch). Still some final touches to go (a threaded insert from the new bridge interferes with the bridge's ground cable hole -so far going "open air"-, pickups have been slightly moved so "routing" looks bad, probably need a new pickguard + some frame around the J pickup, or frames on both, I really like the distressed mirror guard), but so far it plays OK. I got a MM style bridge with 16mm spacing and a cramped enough metal nut, and my strings aren't as close to the edge as yours, and maintain that distance throughout all the neck. Still under 140€ even after all the mods, this kit has been a lot of fun. Didn't even mind making new sound samples, it sounds exactly as it did before (samples here, here & here), string balance is great (even tho' you can clearly see the A string is in no man's land over the J pickup). Also seized the oportunity to make this sorta' distressed Pino red refinish.

John Decon has definitely produced some of my fave P-bass tones. As he has already been mentioned, I'll add Peter Cetera, my closest second.

I love Pino in any register really, but much prefer him rocking than doing his fretless shtick. I think I haven't shared this video here (yet), got me headbanging each time I watch it. So hypnotically groovy...

Una alegría verte por aquí 😉

Hi, this is Andrés, argentinean, but longtime inhabitant of Madrid (Spain). I've been here for a few months but never properly introduced myself. I'm 44, been a pro bassist on and off for some years and now, with 2 kids, I'm deep into dad rock territory 😂 Still, I try to keep active, building our second studio with a longtime musical partner and have a couple "latent life" HC bands, one in the vein of Me First & the Gimme Gimmes (just in Spanish, with Spanish and Latin hit material) and what I call MY band, in which I sing and compose all vocals and do the vocal arrangement. Every few years we release some new material, the topmost intention of it being the challenge, creating and recording new music is probably what I've enjoyed the most about music since I became the singer in my own band (out of long time distaste with 9 out of 10 singers I've played with and/or hear). I'm a total Musicman+SansAmp fanboy. I've produced and occasionally still produce some bands here & there, I'm way more into artistical production (making your music interesting) than the tech part of it, of which I'm no nerd but still have come to have a lot of knowledge about too. This is some of my ("badreligionary", sorta') music...