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Soledad

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  1. I guess there are active variants around but the one I fancied (still do to be frank) is passive, just the way I like 'em. I have owned a fair few Fender Ps and I accept there are subtle differences in sound but I concur with @EliasMooseblaster - every one of my USA Ps sounded like a P. I suppose I just fancy a back thumbrest Oh, and a change of colour... change your colour, change your luck.
  2. I've calmed down now. There was a '98 USA P Special in Bass Direct that I very nearly bought yesterday, but when I finally got through to them it was on hold. Just as well... buying blind, on a whim and all that. Sometime soon I'll get my hands on one and see what they are all about. I think if I get a good P sound off the split p'up I'll probably get one for a while. Note to self - don't need it, stop buying stuff for no good reason.
  3. Yep, that's it I think. If the presence of the J in the circuit takes anything at all from the core P sound then it's a no for me. After all, the P does one single thing very well, and if that is compromised by adding the J... I might as well use my Jazz. Do think the J p'up would make a great thumb rest for me though Slightly wonder about a modded circuit with push/pull on one pot to isolate the J out altogether... or just stick with a straight classic P and get back to work.
  4. Anyone advise me what to expect from a Special with the back Jazz p'up and 3 pots (I assume VVT?). I'm a lifelong P user (USA Fenders) but never tried a Special and I might be interested - only if it's exactly a P when you dial in the front split p'up alone, and then get some othe usable sounds with the Jazz p'up or blends of the 2. User feedback most welcome please.
  5. Was over your way yesterday meeting a guitar and drums for a looksee - quite local. The acoustic & banjo sounds v interesting. I've been trying to put a rootsy folk/blues/country gang together. Might be worth a chat !
  6. Very excellent, yes. You get the slight damping of finger direct to board, also works very well with a pick (something I think is maybe overlooked) - get really close to the classic Carol Kaye sound. (For me that's a Jazz fretless with EB flats on, back p'up full, tone mostly off). A thing about fretless I think is just because you can slide around doesn't mean you have to.
  7. on hold eh? Saves me eating a hat 👍 Very nice buy for someone.
  8. A cracker. These 90s US basses are very, very good and you don't have to pay a 'vintage' premium for them. Great colour, all straight and bargain price. If this hangs about I'll eat a hat.
  9. Soledad

    Precisions

    Refin on the way. My '97 USA P is due back to me next week from David Wilson who stripped the original black and repainted LPB. Here's some WIP shots from David - interesting that under the very tough poly black (factory original as I know the bass's history from new) it was sunburst - so even in the 90's Fender were still repainting bodies when they had their colour stocks wrong. I did find the original black amazingly resilient. I'd given it some fairly serious knocks over time and never broke through the black surface. Anyway, it's now nitro LPB so much less tough, a lot less paint on it so it might be a little more alive and rather more delicate. More pics later.
  10. Agree Laney seem rather overlooked. But what, may I ask, is tilt and touch - did they get that from Pinball Wizard? Space, interval and focus are obvious, no worries there .....
  11. Soledad

    Precisions

    Quite right too. I'd never heard of the maker but that is quite something - checked his site, some nice stuff there, that Jazz for Zafer Sanli is neat. They'd suit a Ray I reckon. A bit hardcore for my styles but really tasty.
  12. An absolute stonker. Natural with white plate suits the early 70s very well, dead right. And the paler original tone under the covers, nice. The nut's immaculate - it's a timewarp 👍 p.s. anyone know when they stopped the foam damper strip under the bridge cover? I'm assuming around CBS transition, maybe '66 or so?
  13. What strings please? I'm a fan of EB Cobalts but always keen to know what else is out there on the bright flat side. And regarding lines, agree with most here, silly things, can't see 'em anyway when you're playing and they get in the way of what really matters - ears and muscle memory. Why Fender USA seem to always put lines on beats me. Maybe a hangover of Jaco's Jazz, and the fact the makers aren't fretless players. PLUS, and let's be honest here - unlined looks very cool indeed. Lined looks a bit pony.
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