The Bass Doc

It's from the new MM licensed budget range. It's an Ernie Balls Dongo.

[quote name='Roland Rock' timestamp='1348046227' post='1808400'] it looks odd when vertical, but good when horizontal. [/quote] Reminds me of a girl I once knew.

[quote name='Conan' timestamp='1348045720' post='1808392'] Good old Howard! [/quote] At my age I'm reading that as 'good OLD Howard'.

I'd love to reply to the OP but I can't think of anything to say.

Lots of positives about Clarky on here so I thought I would redress the balance and include a few negatives. He is NOT a nasty man. He is decidely NOT tardy in communicating. He looks NOTHING like Ken Livingston.

I have some thin brass sheet from which I can make the strip you may require as long as you have the brass grounding plates with the pickups. Can include it with the scratchplate I'm doing for you - no extra charge.

Bought a pickup from Lozz in an ultra smooth deal. Top man

I've seen a lot worse - wouldn't expect that to be a problem in terms of stability.

I think I can help. PM'd.

If the capacitor is already attached to one of the lugs of the tone pot it's other end should indeed be attached to the body of the pot and make sure the bodies of both volume and tone pots are linked.

Don't think there's anything wrong with the 3-bolt system in principle. Leo Fender persisted with it through his Musicman period and on to G&L. It's mainly that it's introduction coincided with a time when jigs were wearing out so neck joints were gappy, pickup routs got sloppy, contours got slabby etc...

I do a fair bit of palm dampening Sorry

Oh dear........I've just had to explain to Mrs. BD that I've been on Basschat discussing G-strings and longer screws ...........

It's pretty obvious from the 3 in line that the bridge is further back on the 72 than the others and yet the pickup remains in the so-called 70s position. Methinks by 74 Fender realised the bridge should not have moved so far back after all and returned to a position whereby the extra long G-string length screw was not needed. I notice there's a choice of holes for the 'F' chrome cover to be fitted - a sign of perhaps a Badass being on the bass in it's previous life.

Yes I would say the bridge will be non-original. As it happens I've got a set of 70s saddles in good nick but don't have the elongated G-string length adjustment screw and the plate they came with is rather rusty. Most early 70s Jazzes I've worked on seem to be capable of achieving correct intonation without the saddle falling off the end of a normal length screw. Judging by the picture above I would say that the G saddle shown seems to be where I would expect it to be in which case there's still a little thread to go albeit not a very stable-looking scenario. I would certainly be amazed if you can't get the D in tune without it falling off. As far as the position in relation to the bridge cover is concerned my experience is that both pickup and bridge moved back and the cover looks the same in both periods i.e. the same degree of cover for the pickup and not the reason Fender moved it. Without carrying a bridge pickup Precisions also exhibit the elongated G-string saddle screw and my theory is that it was in response to users finding that the portion of string carrying coloured thread intruded over the saddle so the bridge was stepped back - and in the case of the Jazz the pickup went with it. Having owned and analysed loads of 60s and 70s Jazz basses I can safely say that the big 'F' cover shows no more or less of the bridge pickup in either period.

He's a good friend of mine so if there's any serious interest by BCers I could go along to check stuff 'in the flesh' if required. Also I can confirm I did the work to fill in the side jack socket hole and the 2-band circuit is one by our own Higgie.