Soledad

Bloody excellent👍 One of my fave Who tracks anyway. Yep, it misses the sweeping basslines of the great JE, but good on 'em. Reminds me in their day The Who really were a very excellent band.

@ped - just ordered a set of EBs - gone for the 45-100 for starters as I do like a certain tightness in them, mainly the E, and seeing as they call them super-slinky I'm hoping tension is lightish to moderate. Not like the Fender set I have cos they are brutes! Will report back. Thanks for advice, help 👍

Have I ever met a singist? Can't recall Seriously there's only one right in this thing, and if/when he's wrong call him out. Always was popular, me.

I didn't say that. And 'rubbish' is a bit strong anyway. In the global market for hardwoods, supplies have tightened considerably and prices pcm have generally about doubled (in real terms) since 2000. This is true of alder, ash, cherry, maple, oak, poplar, walnut, mahogany... etc. To be clear, makers are either paying considerably more for woods of an equivalent quality, using lower grades, or using cheaper alternatives.

Worth giving more thought I reckon. What I gather of Squiers is play before you buy as they vary from quite good to silly-good. But this thing about wood, over the past 20 years the supplies of good woods has depleted seriously, so the quality of alder or ash or whatever that was affordable to the Squier build budget 20 years ago will be nowhere near as good now. All these woods have probably doubled in price (approx) in real terms over that time. And now we have issues with rosewoods - fingerboards becoming pau ferro or wenge or some other substitute. The 'farmed' hardwoods are managed to grow fast, the closeness of grain and consistency is just not as good. I think this makes a good case for looking at the older Squiers, and pretty much any other manufactured bass be it Fender, Musicman, Warwick, whatever your taste. I guess the premium makers still source really good woods and just price it in (Lakland, Sadowsky etc). How on earth Sire make those V and M basses to retail at that price beats me. But I've owned a V7 and I would far rather pay the same for a great 90s Squier if I was out shopping right now. Or maybe go the few quid more for an MIJ - upping the budget is just so easy !!

I think that does this whole thread. Just play it, a LOT and often. Keep it on a stand nearby so you pick it up frequently. You'll soon find you are listening to pitch (not a thing you bother doing on fretted, generally) and feeding that back to the left hand. It's just time and effort (and decent ears I suppose).

Excellent, thanks all. Know those well - use them on the fretless and absolutely ace on there, but I'm needing metal on the P, if you know what I mean... a harder bottom end. But the 760s are by far the best I've ever tried for my fretless. That's it Ped, I reckon. Is the first 24" just muting, it kicks in around 24. And what effects/processing in there? Super Slinky 45-100?? And what is the tension like? I assume I don't run them thru-body? No more questions I'll do some research, but the cobalts are probably my best first shot. Actually one more question, they do Extra Slinky 40-95. Given flats seem higher tension than rounds maybe these?

I know there are plenty of string threads but I'm confused by the whole thing now. SO> Precision, flats but crunch on top (in the high mid/lo T area). I think I might need EB Cobalts or D'Addario chromes - but with an open brief for a bright flat of lowish tension - I found the Fender flats too high tension and I think I got the 45-100s - ooh!. Didn't like the Fenders as they were just thump, not much mid - pure Jamerson I guess. I liked the sound Sibob was getting off his LaBellas (on that P/Lakland demo he did). Tried half-rounds a bit ago, didn't get the point of those at all. But think lightish n brightish - help appreciated.

Putting any oil-based finish onto woods will darken them. How much depends on the actual wood as much as the oil blend. As said above all these finishes are blends of oils. Finishing a light wood like ash without darkening requires using a non-oil finish. For a kitchen table etc acrylics are excellent, for a bass probably spray-finish poly or cellulose. Can get all the clear cellulose finishes in rattle cans from Manchester Guitar Tech. From experience you need 2 cans for a bass body - seems a lot but most of what you spray on is the volatile solvent and that vapours away. You could also try Halfords clear car laquer which is an acrylic like all cars are painted with these days. I haven't tried this but it's well worth a go I reckon - this stuff: https://www.halfords.com/motoring/paints-body-repair/car-spray-paints/halfords-clear-lacquer-500ml

Close. They're just THE bass of the bass world. And I ban myself from this thread now, promise ⏭️

Missed that, not a bad idea with a small class D. Looks mint too. Ther's an SWR12 in Driffield (east Yorks) and I have a sister in West Yorks... join the dots But he's asking £350... seeing there's a new ex demo 10 in Bass Gallery for 355, this guy is a mile out i reckon. No rush - @eude told me not to rush. I won't rush.

Report back. GK 10 very impressive - nice sound without constantly twiddling knobs - clean channel for me, the overdrive dirty one isn't my taste but it's a great little combo. So I would consider a 12. Still on the lookout - the Fender Bassman is a strong contender (the 12 again). This has popped up on the Bay - Bassman 400 combo 210. Too big for me and about 36Kg. Bet it sounds ace. Started at £275 but there's a hidden reserve prob nearer £350 maybe. Worth it I reckon but size and weight will put many off. https://www.ebay.co.uk/itm/Fender-Bassman-400-350W-Combo/273844170843 If anyone spots a decent SWR 12 or Bassman 12 giz a shout 👍 (except for the SWR up north for £440... not that one).

It's not a good fight - it's just a fight. So many great players in great bands on great tracks, all playing Ps and Jazzes (actual Fender ones). So many premium makers producing high-end clones. The Precision in particular defined what an electric bass would be - Gibson, Gretch, Hofner, Rickenbacker, Framus and the rest didn't do that. I'm certain the P and Jazz are both as relevant and useful today as they ever were. Delete the existence of the P and Jazz, and what would Sadowsky, Lakland, Sandberg and all the rest be making? So, It's not a good fight - it's just a fight. Like pushing water uphill. If avoiding Fenders was easy for you it wouldn't be a fight would it?

Chatting around and generally picking up on comments here and there (not just here) I have a hunch there's a bit of a downer around class D - small but building it feels to me. That's not a comment on class D, just a vibe I'm feeling. My own view is small isn't SO important - like the TE Elf is super-small but by some accounts the whole thing is one complete heat sink. Another hunch (and it's only that, plus I may be a tiny bit biased) but is the original Essex TE gear trending towards a little harder-priced?

Thanks all - the job's not done til the pics are delivered. Seriously pleased with this, I won't be ashamed to take it out 'n' about (that's the idea after all). Still playing with sound on the CS 60s p'ups and as the bass was in bits a few weeks I can't do anything like a quick A/B comparison with the originals. It seems noticably more full in the mids - and for a Jazz in particular I think that's a good thing. Main thing my 2 'working' basses are different colours now so I can grab one without hesitation One small punchy combo needed and I'm set. Thanks to @TheGreek for a play on his GK10 - really good, have added a GK12 to the hunt list (along with SWR 12 or the older Bassman kickback with Eminence - after excellent advice from @eude - a top bloke here👍 Here we are then (early a.m. colour shift, it's an excellent LP blue in the flesh)

Good point - I would feel at home with a Fender something, they look v good on paper. Shall investigate. Should have got that Fender tatt on my a**e while I was young enough to appreciate it. i know. Still remember the first time I plugged my P into a 361... effin' life changing. No logic here - it's just lovelust. I did send Acoustic an email re European distributors or would they ship from US free of local taxes.... well, no harm askin' But back on Planet Earth, I will investigate the Fenders. Also having a go on @TheGreek 's GK tomorrow... and the rest of his stable of fine stuff.

Where I'm up to. Got through 2 cans of clear laquer, slowly building (over 3 days). Then a few days to harden off and fine cut flat and smooth, then polish (T Cut, Steve said was OK and I had some around). I was forced to take some time as the p'ups from Thomann are due today (about 2 weeks, because Thomann gave UPS an incomplete address then tried to blame me). I'm happy with this now. Took a closer look at my '97 P which is factory original, and the finish on that is not super-flat, I mean it's really good but not a mirror. Colour in these shots may look a bit flat, but the light is blue sky and very hard, so it tends to flatten the metallic effect it seems. 3rd shot with plate etc is closest. Look forward to finishing this as it is a truly cracking Jazz - I think the graphite reinforced neck and the Badass may be contributing (the graphite neck in particular) to making this the best Jazz I have owned, and as good as any I recall playing (noting I owned a '67 transition for years, and a few others besides). Thanks for help and tips @rubis and @Manton Customs, and Steve at Manchester GT, who made it sound easy enough for me to have a go. and isn't Lake Placid Blue just the best. Suits me: cool, deep, dark... and fishy.

Hunting around, researching possibles and I came across this beauty (in the States of course). Creeping up in size of course (210) but it's got that Acoustic logo across the front... ooooh👍

Cool, I like dogs. I'll find a bundle of fluffy kittens, that'll do it. Messy but fun. Check your pms @TheGreek - I fancy a road trip and there happens to be a GK12 near me that might be a possible. Really fancy an SWR though.