Bassassin

Hi @Heydayday - welcome to BC! It's important to remember the huge majority of headstock names on these instruments have nothing at all to do with the factories that made them - your bass looks like it's probably from a different manufacturer - and possibly a different country - from the Johnny Guitar in the link. Headstock names would be applied by the manufacturer if a customer requested one and provided a logo design - it looks like Johnny Guitar (& later, Johnny Pro II) were probably names owned by a European retailer or distributor (possibly German or Dutch), who would have ordered & imported batches of these instruments. If a customer didn't request a brand then headstocks would be blank and the wholesale price lower, which is why there are so many 'no name' guitars & basses from the 70s & 80s era around. Sometimes, like both unbranded basses in the first post, it's possible to work out the manufacturers from build quirks & details, but sometimes they can be annoyingly hard to ID! The DiMarzio Model J on yours is a bonus - the PAF-stickered, silver pole early examples are increasingly rare, and that bassbucker's interesting. Both Schaller & DiMarzio made similar pickups, but those both had hex pole pieces rather than the slotted ones on yours. Not sure what that is.

I was a massive fan of Stuart, BC and The Skids - when Fields Of Fire came out, & subsequently The Crossing, it coincided with me starting to take songwriting & composition seriously, and using the guitar as a writing tool. It's entirely fair to say he was my single biggest influence as a guitar player & songwriter at that point. I got the opportunity to meet him briefly in the early 90s & told him so - he seemed genuinely humble & flattered. Such a loss, it broke my heart when he took his life.

JJ Burnel, Lemmy, Geddy Lee - in that order. It worries me that I may not have progressed particularly far in the subsequent 45+ years.

Stoopidest bass-related decision I ever made, knocking that back. Bugger.

That's an SB-R60 or an SB Elite I, which are broadly identical - apart from minor neck width differences, apparently. I've only ever seen fretted TSBs in this finish - is yours definitely factory?

Holy NecroThread, Batman! And an opportune moment to mention that I have spent the last 5-odd years kicking myself for not buying that Fernandes P/P when I had what was undoubtedly the only chance of my life. And I bloody knew I would be...

Love that finish - very rare & something I've only seen on TSB550s - apart from this, which might be a refin for all I know. Not sure but that & black might be the only solid colours Aria used on through-neck body wings.

Agreed. It's the classiest BBOT I've ever seen.

It's got a nice brushed finish & a word on it. 👍

There's been a few. A detail-perfect reissue of the passive SB Elite 1 B&G that Cliff's best known for, and as well as that a sort of Elite/SB1000 mashup that had the SB active electronics, with the Elite/SB-R inlays & conventional neck proportions. Got an idea there was a more modest spec budget version as well at some point, a bit like the current SB-One. But yes - this current thing does look like it's the current SB1000, only painted black. Nice to see that that it has the period-correct bridge & knobs, even if the neck shape's all wrong!

Shame the OP didn't post any pics. However based on the description & name I wonder if it's related to the 'Bass Workshop' instrument which is the B-list star of this thread: If you can't be arsed looking - it's a £99 Korean-made through-neck Satellite cheapo from 1980, which someone's painted black & stuck a Letraset 'Custom Build' logo on the end.

Looks like a vintage-ish Fernandes P (hardware looks old) that someone has recently decided to cowboy-up with a novelty leather/pleather exoskeleton. In contrast to the metalwork the stuff on the body is unworn, the stitching's intact & looks perfectly clean, & the studs on the back are new-looking & shiny. I doubt it's been played much since it was done. I shall reserve my opinion on the aesthetic merits of the modification - and I'm sure we can agree that's for the best...

Logic suggests there should be a better tonal balance, experience (which in my case is a Yammy BB400 fretless & a Washburn SB40 P/J) doesn't really demonstrate much appreciable difference. I sold the Yam because I couldn't get the fretless tone I wanted with a P pickup. There's probably an argument for it on a 2x P, or any bass with the pickup closer to the bridge than normal, but I dunno. I quite like the look.

New Tiny Pink Bass Day!!! It's me birfday, innit! And my lovely partner & lifelong co-conspirator in crimes against music knows well enough what will delight and enchant me. And she has nailed it. As most of you will know (there already being an exhaustive thread about these) it's a Cort GB Shortscale - a 30" shorty with a J width neck and single 'bucker, 3 band eq and series/parallel/single coil switching. First impressions - it's incredibly playable - lately I've been playing way more guitar than bass and picking this up feels like no transition at all. The setup's OK - the action will go lower & E string intonation's slightly off - but the fretwork's impeccable, not the slightest buzz & no sharp ends. My previous experience with (admittedly very low-end) short & medium scales had me half-expecting floppy-feeling, dead sounding E & A strings but string tension's spot on, and everything feels right. Plugged in, it's a beast. I've barely scratched the surface with what the EQ & switching will do, but first impressions are that it's stupidly versatile. I love it. And it's so... so... PINK!