Soledad

Thanks, had a look and I'm sure they could do what I need very well, but having spoken to Dave Wilson by then I have committed already. It's a '90s bass and I will use it quite seriously so it'll get marks and dinks over time anyway. I understand that, I think if you want a Limelight you are happy with a replica roadworn / relic'd bass. I've discovered that perfect as new finishes cost at least one third (Dave) of a whole Limelight. I still don't know how Mark does such a great bass at that price and from what I've seen his light relicing is really convincing anyway. But it'll have to wait.

Aha, yours then? That'll be the one five back on the left rack at your meet. Does it sound reasonably OK through the Acoustic rig? Like, north of acceptable.

Who said anything about choice OK, I suppose I could sell a body-part. Just one of those coincidences that I happened to be discussing a 60's P with Mark, and the cost of that really puts the Sims quote into perspective. So, I'm about to break down my P to send body to Dave W - he reckons about 6-8 weeks. And still in contact with Mark re a Limelight, though that might need to be Olympic/tort now. As a reminder to us all, here's a Limelight 60s P (recently made for a BCer I believe) - just how GOOD does that look??

Your contributions here and on YT deserve far more attention. I haven't watched this full vid yet but had a quick look with sound off (odd but had to). You mention practicing in the dark, which I reckon is a really good thing to do with fretless (or fretted for that matter). Ont thing about ascending slides, even just a tone or semi. That nasty effect sometimes of the note becoming louder - the string energy being compressed into a shorter length. I've tried rolling back the fretting finger to put some fleshy contact onto the string and hence damp some of the vibrational energy. But I don't have the touch on this. It may seem a small thing but it sounds noticably bad on whole-tone up-slides, I mean it sure don't sound like Jaco. I will watch the whole vid properly with sound, I'll definitely benefit from it. Top work Greg, thanks for sharing so generously.

Well, what a morning. Spoke to a guy at Sims (apparently Martin is a bit part-time these days and wasn't there but their paint guy spoke to me). So, bass dismantled but poly finish left on for them to strip, then poly new colour, approx £650. Nitro add 50% to the paint part, comes in about £870... fork a duck. As an aside spoke with Mark at Limelight recently and he will do me a 60s LPB Precision for a grand, so for £130 more than a nitro refin I'd get a whole extra bass - and a right nice one too. SO> spoke (well FB'd) David Wilson - we're on. Around £310-ish for a full strip and nitro refin solid colour (3TSB may be more, dunno). He sounds ace, nice work on FB page. 6 - 8 weeks but I'll get some pics of the body in it's current black and then WIP and back in the LPB - just to share experiences and spread the word. As usual on BC, if you ask for help you get it quick, good and true. Big thanks to all above👍 The Limelight will need to wait... sorely tempting tho'

Cheers @joeystrange - just what I needed. I'll give him a call. Thing is I have this really fab P that is my main gigging bass (a Jazz the close second) and it is all-round excellent except it's black and that is just not me - get the colour right and it's a lifer.

I'm considering having someone refinish a bass body for me. Did a Google, Sims Workshop comes up and they are fairly close to me but don't have much detail info on their site. I'm undecided yet between nitro and poly, I know the pros and cons but not firm either way yet. It's a Fender and I'll probably go for Lake Placid Blue. Does anyone have any recommended painters - doesn't matter where in the UK really as I'll strip the bass down to body only so can ship reasonably easily. Advice and recommends appreciated 👍

Very nice pair! I reckon the MIM 4 might suit a tort plate, or black. Not the white, it's like a mashup banana custard thing. The only small thing about the P5s is the asymetric pups - I am a bit OCD so it won't bother most. Love Ps, well done for being a sturdy champion of the finest bass ever (from a bloke who plays Jazzes too).

Just checking Wiki, worth a look. He wrote on 60% of the SM output and was never credited (citation needed says Wiki). FFS Kerr, you tw*t. Derek Forbes credited with Kirsty MacColl 'A New England' - excellent. Anyone remember her 'Electric Landlady' album (Virgin I think). Cracking title - a very bright talent she was. I believe Guy Pratt played with her at some point (his book slightly annoys me but he's definitely a bit handy). Off to listen to A New England now....

Interesting thread. I recall the Propaganda album well but never stopped to look who played bass. He was cracking with Simple Minds, some of the B sides were quite something. I think that when he and Mick MacNeil quit, that band lost a leg or two (and it's heart). Back around '92 or '93 I got to know Mick MacNeil when he was working with Robin Zander (Cheap Trick) on an album and he used to tell me unlimited yarns about the behaviour of Jim Kerr (Herr Kerr as the band would say, you need the Glasgow accent to get that). Mick and Derek both got so sick of all that they quit. I'd say Propaganda's big album was the first lineup with Claudia Brucken: A Secret Wish (on ZTT) - remember 'The First Cut'?. 1234 was the new lineup and 'Heaven give me words' was a minor hit but the band seemed to fade rather quickly and I believe Virgin dropped them shortly after. But the big thing looking back IMHO is the magic combo of Derek on bass and Mick on keys. There is no doubt at all that Mick composed all the big themes of the Simple Minds years - and Kerr made sure he never got the credit or nowhere near the credit he deserved. I know Simple Minds have fallen out of fashion but what they were doing in the early to mid years (up to Mick's departure) was quite magical, and they were stadium massive to boot. The Simple Minds sound powerhouse was Derek Forbes and Mick Macneil. thanks @darkandrew for reminding me of those years👍 edit: Propaganda's hit was called Duel of course, featuring the lyric 'the first cut won't hurt at all...'

same. The vote form doesn't give a 'walk away' option. I'd say the area around neck to head transition is the most critical structurally and a repair may be cosmetically very good but that isn't the issue - it wasn't designed that way for a reason and I can't see inside the repair. It's like a Lalique with a chip out of it... pass.

There's real knowledge and understanding here, shared - big thanks for all the insights and @Hellzero deserves a special mention. We've chatted before about the fretless Jazz and he knows his onions. Here's what I think I've found out: - rounds with hard-laquered board. I'll do the rounds but can't face laquering my nice 90s fingerboard - work on EQ, lose tops, push around 800 mids, keep the bass but make sure the mids dominate - then, start working with delay or if I get really serious a 2 channel with delay along one path - investigate or just get a One Control 360 emulator. I loved the 360/61, I'd argue it's the biggest single landmark in the history of bass rigs (bigger than SVT/810, yes). Though the emulator's EQ seems a little odd to me (see pic). - Bass settings, full bridge, neck off, tone all way back/off. - get that firm right hand bite, over back pup Part of this is chasing Jaco's sound (at least approximately) but along the way I may learn a fair bit about getting the sound I want from a fretless anyway. I won't end up with the exact Jaco sound but I might end up with a pretty good fretless sound and that would be worth the journey.

Thanks for all the input here (input eh?). Setting aside the multi-tracking as I can't be doing that, his core topline sound is fab. I know the technique is important @spectoremg , get that - but I'm chasing that eq shape (mids but just where, need to play more with amp eq). I've been using a Sadowsky pre but no mid shaping there. Next step is get the analogue delay out (box somewhere) and play around. May make myself get a diff pre pedal - ToneHammer?? It's quite like Where's Wally. Took me ages and it might this time too but I'm sure I can get somewhere close... might cost a few bob mind

Thorough - that's what I like 👍 I think I need to go and play around with some delay.

Jaco on Joni Mitchell 'Hejira' - Refuge of the Roads. I'm using a 90s USA Jazz fretless, currently strung Fender 45-100 flats. I know he usually used rounds but I don't think that is the issue (you might disagree though). Fingerstyle, near or over back (bridge) pup. Back pickup full, front about 8/10ths, tone about 6 or 7. Basic amp eq - I'm pushing the mids (around 500). I can add chorus (Boss CE5) and it starts to head in the direction but not properly close. I'm chasing this sound and I reckon I'd use it a lot with the fretless - it really makes the topline stuff quite vocal, very melodic, and all-round ace. I suspect it's about the right effects, some delay maybe... dunno. Ideas please.

Don't often see that many Ps all together, not even in a shop. Well, maybe Bass Gallery in the old days. i'll take the LPB 5 back on the left please. Seriously, if I ever find an older LPB Precision I'll be on it like a... And an Acoustic wall along the back. My oh my.

Met Cambridge to hand over the Trace Twin. All went very well. easy and pleasant transaction, thanks. Recommended forum buyer. Douglas

Tony bought my GK410 cab - came to collect, 5 mins max and sorted. Excellent buyer, no messing about and pleasure to deal. Highly recommended buyer. Thanks, D

👍 from Wakefield and likes Hooky and Mani. That'll do