Bassassin

Yeah man, feel your pain. I was into bass [i]before[/i] it was mainstream.

[quote name='Grangur' timestamp='1508765549' post='3394255'] At full volume the resistance of a 500K ohm pot is Zero ohms in the path of the hot wire. At full volume, the resistance of 250K ohm pot is Zero ohms in the path of the hot wire. The resistance from the hot wire to earth, through the pot, will be the max resistance of the pot. Yet a negligible amount of signal will go through the pot main resistance to earth because it takes the path of least resistance. So I'd be interested to know the science behind this. 500K pots can make the sound more metallic/aggressive, but I can't see how it can be louder. I would genuinely be interested to know. Not being funny, honest. [/quote] In fairness a bit speculative on my part - I swapped a 250k pot for 500 in a P copy fitted with a DiMarzio Model P, specifically to make it brighter and more aggressive - pleased with the result, and it does seem louder too. Did a lot of reading about this beforehand - including accounts of people with P/J setups using combinations of different values to balance the output levels. That was of interest to me because I have a P/J equipped bass which has this problem, and was considering seeing if a 500 on the lower-output J would help even things out. Fully admit I have no real understanding of the science involved - I just muck about with a soldering iron!

And there was me thinking it was going to be an actual light-up bass! I'm just wondering - if BC can ban links to Rickenbacker & Rick copy sales, can't we do the same with beer marketing tat?

Nowt to do with Rob Green's lovely creations - these turn up from time to time and it appears to be a name used by J.E Dalls& Sons / Dallas-Arbiter on early 70s J copies, sold alongside their Jedson brand. This is from a Jedson catalogue: Somewhat overpriced at £200+, it's a refin (should be sunburst) and cosmetically a bit of a mess. In that condition, to me it should be a sub-£100 restoration project, in the hope the original finish has been painted over, rather than stripped. Interesting early 70s build though, this is a 99.9% likely a Fujigen bass, ID'd from the Maxon pickups and lower-half stamped neckplate. The pickups will have date stamps underneath but I'd put it at '71 or '72, based on the pickups themselves, common before J type copy pickups were widely available, and also the tuner style and the chrome trc cover, which disappeared from Fujigen builds after '72 or so.

Might be worth experimenting with different pot values - if it has 250s (which I'd guess it probably does), maybe swap for 500s, which will tend to let a little bit more level through. Plenty of info out there if you google 250k vs 500k pots.

[quote name='SpondonBassed' timestamp='1508655489' post='3393512'] How very [i]seventies[/i] of you was it using that adjective? Were you wearing tartan turn-ups as you typed it? [/quote] [quote name='spectoremg' timestamp='1508636468' post='3393498'] Cos they don't pass the BBC's [b]'hipster'[/b] test. [/quote] Updated for 2017 for ya. Haven't seen a single edition of this series, thrown by the fact it's not on a Friday night any more. Would appear I've succeeded in missing precisely sod-all.

I've always understoog "gig" to be a contraction/abbreviation of "engagement" - meaning a booked performance. IMO an impromptu performance in front of an audience would still constitute a gig.

Send him a PM, if you haven't already.

Most disappointingly, a Peavey T-40. Loads of love for these things everywhere but I found mine to be insanely heavy to the point of being ungiggable. Certainly incredibly sonically versatile for a passive bass - but implemented in the most fiddly, frustrating and unintuitive way. I never found it possible to get the same sound twice - unless it was one I didn't like. Any Precision or Precision copy. I've lost count of how many Ps I've owned - including two gorgeous 80s MIJ Squiers - but they always feel awkward, sluggish & hard work to play, and while I might be able to get a great, raw, punchy & aggressive tone unaccompanied, stick it in a live or recording situation & I might as well be twanging a bungie cord stretched across the top of a wheelie bin. These days I keep a lovely 70s Daion Precision copy, hotrodded with DiMarzios and looking 110% rock as f*ck, hanging on the wall in plain sight and within easy reach - just to remind me never to buy another one!

I have a Fenix ST-20 Strat - Fender headstock, enclosed single-coil shape humbuckers, Gotoh hardware - £30 from the local car boot. I also have an 80s MIJ E-serial Squier Strat - it's a great guitar but the Fenix owns it. Anyone want to buy an MIJ Squier?

Currently, the top half of this: Preceded by this: And this - which in a case of brutal irony, I sold because I thought it was too heavy! Had a beautiful (and lightweight) Japanese Ibanez SR800FL prior to that, which I didn't get on with due to lack of cheat lines. What did I do with that? Swapped it for a Peavey T-40. Not sure what it is with me & back-breaking boat anchors.

If I'd spotted it, I wouldn't have been able to help myself.

Blimey. Anyone here get it?

"No longer available". Just out of curiosity, what was it?

Cool - that'll be them pesky adjustable collars then! I'd always recommend leaving original parts on a bass of this vintage anyway.

I've used a CSL Jazz as my main bass since finding it for £60 in a local pawn shop, about 13 years ago. I'd intended to hose it down & flip it for a profit, but was seduced away from that idea by the fact it had the nicest neck of any bass I'd ever picked up. I'm usually quite an anorak about original spec on vintage MIJ instruments but admit this one's been modded, just a bit. [url="https://postimg.org/image/1937vv0s0b/"][/url] I'd be intereseted in seeing pics of your CSL Jazz & Tele, if you have any. The brand is of interest to me because I'm a bit of an MIJ nerd and always assumed that CSLs were ordered through Hoshino Gakki (Ibanez parent company) alongside Ibanez, as C. Summerfield Ltd was UK importer for Ibanez at the time. Interestingly, most (if not all) the CSLs I've seen - including my bass - are rebranded Cimars, the majority of which were absolutely not Fujigen builds. Cimar was another brand owned & distributed by Hoshino, and there is a bit of shared DNA between late 70s/80s Ibanez & Cimar, and as a consequence, CSL too. The little I can find about Charles Summerfield Ltd suggests that the company was a successor to Summerfield Brothers - whose own brand was Sumbro. I can't find any confirmed time periods for either of the companies, but Sumbro instruments (which appear to be budget Chushin Gakki builds) are typical early/mid 70s, while most of the CSLs I've seen appear to be "post lawsuit" - which is to say the copy instruments have re-styled headstocks, which is typical of instruments made after 1977. It may be that the CSL & Sumbro brands ran alongside each other as upper & lower quality tiers, much like Rose-Morris' Avon & Shaftesbury brands. Sadly there aren't enough examples around to be able to draw informed conclusions! My bass has no serial or dateable pickup/pot codes but it has the headstock shape of the Mk 1 Ibanez Blazer, which dates from 1980. Later versions of the same bass (both CSL and Cimar) have the subsequent, better known Blazer/Roadster-style headstock, so it's fair to assume these are 1980 or later. [url="https://postimg.org/image/1cyb9xglez/"][/url] Do you have any other info about Summerfield & their involvement with design?

I have one of these - aesthetically slightly different in that it has bubinga (or something similar) front & back veneers on the body wings, with a pale timber core - very hippy sandwich! Really nice, playable 5er, if you don't mind tight spacing. Should put some new strings on mine & actually use it a bit more!

Will definitely grab a copy of this - although from what I know of his extensive bass collection, he's sorely in need of educating regarding the merits of MIJ instruments. "Bignose's Bass Book" would have been my choice of a title.

[quote name='BigLicks67' timestamp='1506672656' post='3380262'] The Bass was recently in for a re-fret and set up and the Tech suggested that the tuners were slipping and may need replacing. [/quote] Sorry for the late response! As I mentioned, these tuners have torque-adjustable collars (which your tech may not have noticed) so try tightening these before replacing them. If they do need replacing, I'd be interested in the old ones for spare parts.

Here's a cracker for the old folks' home: [media]http://youtu.be/C-CUSIK7-Gs[/media]

I'm familiar with the MIJ copies (typically Avon in the UK, & the same bass as Cimar & probably made by Chushin Gakki) & had one myself a few years back. These are very, very accurate copies and could almost pass for the real deal. I've not encountered MIA or Eagle (suspect they're not UK brands) but the Melody copies are actually Italian-made & quite different - I've heard mixed reports about these, and they're a lot less common. There are Kimbara & Aria-branded Ripper copies (both Matsumoku builds, AFAIK) and these are both rare and expensive! Will keep my eyes peeled for an MIJ Grabber & if one turns up will give a heads-up. Assuming I can manage to not buy it myself - I miss my old one! [url="https://postimg.org/image/6ko8gph8ij/"][/url] [url="https://postimg.org/image/3iscfhjr7f/"][/url] [url="https://postimg.org/image/66uk40l0jf/"][/url]

Sold for £156 (+£25 post) which is not at all bad, given that it looks pretty decent apart from the missing/damaged bits. Anyone on here?

Got my pickup back safe & sound & thanks alexcaber for the t-shirt! Hope the pup was of use & happy to help out!