Soledad

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 👍

Love it. Gets a bump from me. Mint USA Fender Jazz any use as a part-trade?

We all say this, but it's a real cracker. Totally original, not messed with at all. I'm 2nd owner and the first played it regularly from new so it's nicely worn in but in really good condition. No paint chips at all anywhere, some surface abrasions, darkened fingerboard through playing, genuine original discoloured scratchplate (Martins and Ukes have pick-guards, Fenders have scratchplates).
Complete with original chainsaw case and some candy. Currently with EB Cobalts and sounds wonderful (just straight out of the Sadowsky pre/DI)
Quoted price is a bit academic (hence what may appear quite pushy). What I want is a TRADE:

USA Precision, not black. 'Change your colour, change your luck'. LPB would be a dream, but Olympic, Fiesta, whatever, even 3TSB considered... why?
Could be an RI; a Custom Shop (+ cash of course), could be a 90s (I really rate 90s USA Fenders), poss later. May consider 70s, won't pay for a 60s. Cash can flow as required.
Don't mind some gig/player wear but no pseudo relics (except a Custom Shop JM or light relic).

More decent pics to follow and please ask if any more details required (ignore the Jazz below it of course)

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...'

33 minutes ago, Paul S said:

I wouldn't go near it

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.

V nice cab, from a long-term 410 fan. Question: If I ran Cliff Richard through your cab is it best to use the bass port and maybe run him through in slices? I wondered about the jack inputs but I'd need to run him through the NutriBullet  first I expect.

I just sold a 410 and maybe regretting already. Sound for pound (£ and lb) they are unbeatable. AND portable - c'mon 28 Kg is nowt.

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

1 hour ago, musicbassman said:

You can hear places where the bass tracks sit on top of each other - 3.46, 4.57, and 5.50..

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.

On 13/11/2019 at 10:16, wateroftyne said:

Myself and a few other Tyneside-based BC'ers did this recently... More here.

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.

Sold, collected. Thanks livingbasshead 👍

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

2 hours ago, livingbasshead said:

Would you take an Ampeg PF-210HE plus cash?

Sorry, not what I am looking for. Vanderkley, poss Bergantino, BF or  similar. Maybe a pjb47 or 45

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

Dropped to £400. This cost the first owner close to a grand, cost me 650, and I chose it over several alternatives, cos it really does sound amazing. Just over-the-top for my needs now. 
Still up for trades with cash adjust as necessary: high end 210, maybe a PJB47 or similar, poss a 112... think posh cabs, won't go far wrong

Here's my recently acquired '62 RI, in the very tasty Candy Apple Red. Got it here from a fellow-mwmber - he had the stack pots fitted using a complete loom from 920D who do some really fine components. One of 3 Jazzes I have, this one has D'Addario rounds on (the other 2 with flats). It's so shiny and mint I dare not gig with it. I'll get a pic of the other 2 (a 2013 USA Standard and a '99 USA fretless)

12 hours ago, marleaux62 said:

My custom shop jazz faded sonic blue .

Truly fabulous Jazz - but that's quite some fade, not Olympic white maybe?
Didn't I see this for sale a few weeks ago? beyond my reach but just about my dream Jazz.

No interest? Andertons have this listed at £970 or so, and the cover over £50-odd - so it's under half price, and negotiable of course.

Love this bass. I would seriously snap it up if I could justify it (but i'm selling 2 basses at the mo). I played a Godin and much preferred this Carvin - it's a lot of serious quality with a fab neck and brilliant electro-acoustic fretless goodness. Anyone even vagualy interested I recommend you get to play it - that would clinch it I reckon.

7 hours ago, Stub Mandrel said:

If you think Jaco only did crazy chops, listen to this for some of the most lyrical bass playing I've ever heard:

👍👍👍

I recall reading somewhere that he picked up and played a lot of top lines from a wide array of sources. I think it's a real signature of his that he went from root chordal / harmonic playing into melodic toplines and back, seemlessly.
'A Remark you Made' is a really fine example of that PLUS it's a really evocative title for a track. Bloody love it.

And Joe Zawinul's piano solo is a fine demo of space awareness - knowing when NOT to play a note.

I could go on...  

1 hour ago, hooky_lowdown said:

Olympias are totally different from your EB's, they have more of a dull thump in comparison to the EB's, and more muddy sounding.

yes, tbh, I am very happy with the EBs. Interesting to know what the Olympias are like but given the life of decent flats I'm happy to fork out for the EBs. Have a Fender set on a Jazz fretless and they are better than I used to think, at a very fair price.