Bassassin

The Kays will be horrible plywood Taiwanese rubbish. The Guya is MIJ, better quality and also has some collectability value. Any of the modern basses however will be a more functional, useable musical instrument. There's been a vast improvement in the quality of budget-end instruments since the 70s!

I know a guy who has one. Don't think he's selling though. I've had GAS for one since seeing The Armoury Show in 1985!

[url="http://www.matsumoku.org/models/ariaproii/catalogs/78_pb1500_slick/78_pb1500_slick.jpg.html"]http://www.matsumoku.org/models/ariaproii/catalogs/78_pb1500_slick/78_pb1500_slick.jpg.html[/url]

Dave can be quite funny - particularly liked his Rickenbacker & Ibanez Rickenfaker vids. Not entirely sure what's the joke about the Strat copy though - actually looks like quite a nice Partscaster someone's put together but lacked the skills (and string trees!) to set up properly. Dave seems to imagine a Fender sticker would automatically make it better though. Continuing the topic of loudmouth Canadians who polarise opinions, I can wholeheartedly recommend [url="https://www.youtube.com/user/SpectreSoundStudios"]Spectre Sound Studios[/url] - particularly if you're an easily offended metal bassist. NSFW.

[quote name='alyctes' timestamp='1509667045' post='3400799'] If your Marmite's that colour I wouldn't eat it if I was you [/quote] I'd be a lot more disposed to sample green glittery Marmite than the normal brown filth! I think the bass is - but that's a bit dear for a CIJ, isn't it? Admittedly I don't know much about "proper" Fenders...

Consistent with this 85/86 catalogue from Tokai Registry site - different model but same era: A lot of Japanese manufacturers who were still making copies in the "post lawsuit" era changed the headstocks on export models, but kept the Fender (& Gibson) shapes for the Japanese market. Quite a lot of these seemed to end up unofficially exported, which is probably why you see both.

Nice looking body. It's not ply - the easiest way to tell is that a ply P or J body with a 'burst finish will have big black oversprays on the front & back contours, to disguies the laminations. Also there are no visible laminations inside the routes or the neck pocket. Looks to me like this is made from two pieces of timber joined dead-centre.

Missed it. Arse.

[quote name='Spaced' timestamp='1508878666' post='3395140'] Would you like it if everyone judged your music by the first 30-60 seconds? [/quote] The vast majority of everything performed on Later will have said everything it has to say well within the first 60 seconds.

Live Music is interesting but the used gear (at least the stuff I know the value of) seems eye-wateringly expensive.

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.