Beedster

[quote name='Jus Lukin' timestamp='1464261264' post='3057965'] Sometimes, but erroneously I think! Don't hold me to it, but I think this is the chronology... Pre '57 the Precision was 'The Precision Bass', single coil and all. After '57 the model was updated and continued as The Precision Bass. In the late 60's the earlier version was re-released as The Telecaster Bass, some with those psychedelic wallpaper finishes. Around '72 the single coil was replaced with the monster humbucker, and these basses were treated as a different model, The Telecaster II bass. So right from the step two there was confusion built in- perhaps initially you could talk about the old Precision and the new one, but of course that doesn't work out nowadays! The 60's Tele and 50's original were essentially the same, perhaps hence the originals being called Tele's sometimes, but additionally the Telecaster 'II' bass name hasn't really come into regular use, so they just get called Teles too. I think Fender must like the confusion, as they also released the [i]other[/i] Telecaster guitar shape Tele bass, just to lob another spanner into the works! So, I believe that officially we have... The original P, which we never quite know how to differentiate, although SCPB seems to do in most cases The standard post 57 P-bass Telecaster Bass (SCPB mkII) Telecaster II Bass (humbucker) And then the guitar shaped Tele bass. Jury is still out I guess! [/quote] Early 50's were slab bodies, they then moved to contoured bodies mid-50's. 60's and 70's were all slab bodies, both MK1 and MK2. The necks on the MK2's were to die for, one of the best necks Fender have made

Late 80's 'rays are as good as it gets mate

Wow!

[quote name='Hobbayne' timestamp='1464213739' post='3057713'] Those early single coil pickups are prone to damage. I had a paisley pink one and the E string got caught under the rim of the pup and snapped it in half. [/quote] I've always worried about doing that and I'm a bit surprised that the reissues - as well as the aftermarket PUPs - don't use a slightly different construction or case to prevent it. I guess that back in the day the problem was largely countered by the PUP cover, and perhaps different playing styles, but yes, I can imagine that Flea would get through a few PUPs is he was using an SCPB live!

Both versions are glorious instruments in their own way, great shame Fender never combined the two in one bass

[quote name='Geek99' timestamp='1463949152' post='3055288'] You don't need to, I'll let you know. I've asked for it to resemble stings p51 for batteredness and dull paint [/quote] You'll probably like my avatar then

[quote name='Happy Jack' timestamp='1464024101' post='3055850'] If you're that serious about the recording thang, why not put an isolation booth inside the shed? [/quote] I'm thought about doing that but it's not all that big and a booth big enough for DB for example would take up a lot of the internal space. I can probably get close with some portable acoustic screens. I am however starting to think about the adjacent greenhouse (on concrete) that might make a wonderful site for an isolation booth......

[quote name='Lee-Man' timestamp='1463931128' post='3055075'] How have you got on with the shed build? [/quote] Hello mate, I'd completely forgotten I'd started this! Kids and work permitting it's coming along, I'll update with some photos at the weekend. Main problem I have at present isn't the amount of sound that gets out, but the amount of sound that gets in. In fact I'm going to have to do something to rectify this, especially as I'm wanting to record mostly acoustic instruments. You don't realise how much ambient noise floats around a back garden until you want to record stuff! Chris

Here's mine by the way [URL=http://s80.photobucket.com/user/Beedster/media/IMG_5432_zps72q5doto.jpg.html][IMG]http://i80.photobucket.com/albums/j199/Beedster/IMG_5432_zps72q5doto.jpg[/IMG][/URL] [URL=http://s80.photobucket.com/user/Beedster/media/IMG_5439_zps1ho1lwpv.jpg.html][IMG]http://i80.photobucket.com/albums/j199/Beedster/IMG_5439_zps1ho1lwpv.jpg[/IMG][/URL]

[quote name='blablas' timestamp='1463918535' post='3054918'] Defretted my F(ake)ender Jazz Bass V a few weeks ago. Lovely to hear all those theoretical problems in this topic. However in practical terms, if the fingerboard is properly leveled you won't really hear a difference between the blocks or the fingerboard. [/quote] That looks lovely. The problem I've had with mine is that the neck wood occasionally moves - humidity and temperature I guess - but the blocks don't, so if I'm playing with a really low action and with light strings, I do notice it. Whether an audience would is a different matter, but it does occasionally bug me

Finished maple biard with blocks is generally fine, unfinished rosewood and blocks less so, ebony and blocks somewhere between the two. That's all other things being equal, so assuming all playing surfaces are are aligned, which as Bass Doc suggested, is often a big assumption.

Ha ha, probably selling a bass I then bought back and then sold again only to regret it

[quote name='dood' timestamp='1463767466' post='3053977'] Wow! I was just searching for something else and I found this post! Time to reminisce ... remember, the 'good ole days'?.... [/quote] 10 years time and these will be the good old days Dood

Seller states that the truss rod is close to maxed-out. If you have to return it you won't get any import duties etc refunded. Seller also says you need to have insured shipping in case of problems, which I imagine is over and above the quotes in the thread. Wait a while and a similar bass will come up at equal or lower cost in the UK with far lower risk.

[quote name='discreet' timestamp='1463475491' post='3051562'] Collapsed during a performance of 'There's No Business Like Show Business', aged 87. Signed out doing what she loved. I can think of worse ways to go. [/quote] +1, we've all got to go sometime, that's a good way to go, especially at that age. Hope family and friends were with her. C

They need to be filed, you'll place a lot more stress on the windings if not, and the strings can/will move laterally depending on your style and the gauge of string (which will place more stress on the windings). The instructions with the bridge are pretty clear on this IIRC. I would recommend that you don't do it yourself - like so many apparently simple aspects of bass setup, it's harder than it looks. I've had the misfortune of buying a couple of used Badass bridges the slots on which were DIY. I had to but new saddle for both. However, sounds to me like your first choice luthier may not be the man for the job?

I auditioned for a band whose guitarist couldn't hear majors and minors. I had learned the bass parts to the letter. When I diplomatically raised the issue the general vibe at audition was that I should follow his lead - if he was playing a major third, so should I. Did 'Take It Easy' in G with A and E major chords and bass! Band seemed unflustered by this, despite it sounding awful. I made my apologies and left.

Best cab ever, I sold mine after it broke my car http://www.ebay.co.uk/itm/Mesa-Boogie-1516B-Cab-/322107702595?hash=item4aff1d7d43:g:s~UAAOSwr0ZXNh9H

[quote name='leftybassman392' timestamp='1463128063' post='3048775'] All very good points (and FWIW I do agree with many of them). I'm not looking to be confrontational (and did indeed make the point about adopting a multi-faceted approach). I'd agree that in the absence of any clarification from the OP, there do appear to be some flaws in the piece as it stands. That said, his aim seems to be to develop an algorithm: any algorithm he develops will need data. How he generates that data is the point under discussion (and which may stand in need of further development), but the need for it isn't going to change. The obvious place to look for it is in the music itself. [/quote] Yep, agreed; how he generates the data is exactly the problem. Data in itself isn't a neutral phenomenon simply waiting to be tapped into (as I suspect you know), the way the question is asked biases the data. So, for any given problem there's good data and there's poor data. OK, those data will no doubt tell a story and that story will be part of the thesis. These days any competent data analyst can analyse even the most complex dataset, but it doesn't mean that the results will tell us anything about the real world or the specifics of the question asked. That's the difference between good data analysis and good data capture. Whilst an incompetent bassist (certainly by the standards of the survey), I am a competent data capturer (i10=24, h=17)

[quote name='leftybassman392' timestamp='1463093745' post='3048640'] When all's said & done, it is a Ph.D. project, so the level of difficulty involved should really be a given I would have thought... [/quote] A PhD is supposed to good research, not difficult. OK, we don't know the full story of the OP's work, but s/he states very clearly that they want data from bass players of all levels, and I think his questionnaire attracts the opposite, it speaks to a relatively narrow spectrum of educated and tutored musicians. If the survey were specifically aimed at this relatively small group of bass players, then fine (having said that, from some of the responses in the thread, it's clearly drawing ambiguous responses from players interpreting questions differently, so perhaps it still needs some thought). I get the feeling the OP should have piloted the survey on a small group, got some feedback (the type he's getting here), and then gone public with it (although perhaps that's what he's doing). I'd certainly suggest that s/he explain or provide examples of techniques specified and clarify some of the questions themselves, both of which would both broaden the range of players who can respond and at the same time increase the reliability of the responses. And frankly, use a decent platform, the YOB has a drop down icon next to it but you're required to manually enter the year!