Beedster

Does anyone know why necks were identifiable to a specific maker but (apparently) not bodies?

i just wonder if before we say things like 'certainly' and 'surely' in a thread about vintage Fenders, we might want to provide more than opinion and what we've picked up in other threads? You're probably right, but on the other hand the four basses I've had with a Torres neck have also been four basses with really rather good heel/pocket fit, which let's face it, wasn't always a characteristic of 70's Fenders 👍

Evidence?

Mmm, any evidence for that?

Indeed, I often wonder what Sr Torres would have thought had he known his neck stamp had become such an iconic piece of Fender history.

Nice one mate, great to have the memories in concrete form 👍

Plenty of those around….. 👍

Nice 👍

It's a lovely looking thing, nice score @Stompbox 👍

Who knows, we can’t see that side, might be perfect, might be worse. But either way doesn’t necessarily affect stability, playability, or tone 👍

First I would absolutely message John East, he is very helpful Second I would be a little annoyed if I bought a decent bass to find that the electrics had been bodged as appears to be the case, but..... It might not have been the seller who did this, on which basis the seller might be completely unaware of it. I'm one of those people who but a bass and within days pretty much take it apart to check it all over, but lots of people aren't, quite reasonably they just play it, and it it plays OK, everything's OK. Either way, might be worth having a chat with them also, good luck 👍

If you're referring to this on the bass side...... ....I've seen worse. I'm also convinced it makes a whole lot of difference in real terms as long as the neck joint is stable. As a player I find I'm more concerned with the alignment between heel and body on the treble side 👍

Oh, the irony (or in context of Alanis, is it something else...), of Fender releasing an Innovation range.....

I might be up for that thanks for posting 👍

Not any more they don't no. A mate of mine saw them in London and said it really was rather good, seems that things got worse........

And you expected what, Steps, S-Club Seven, Bros? Dylan's been like that since the 70's 😁 I saw him do exactly that, but expecting him to do exactly that was rather impressed by the whole thing. Even in the camera close ups he looked like a character from Michael Bentine's Potty Time, we didn't see his eyes or mouth the whole 2-hours, he managed to maintain his reclusiveness even in front of several thousand people

I think that while there is a significant psychological component (nostalgia/association/mystique/status) there can be no doubt that playing through a well-maintained 1960's B-15 is a special thing. There is just something magical in the combination of voicing, tone, responsiveness, size, and convenience of a B-15 that is unique among bass amps with the exception of those that aim to emulate those very qualities (like the reissues or my Ashdown Drophead). More importantly I think this magic is entirely unrelated to collectibility. I really doubt the same can be said of the Marshall PA, but of course I may be wrong

A road trip with Pasteis de Natas, love it

Or at any price, the comparison with a B-15 above is interesting because there probably isn't one in real terms; B-15 is small enough to sit in a studio and make your bass sound glorious. I guess those 4 x 12 speakers could sit in a rehearsal room but whether the sound they produce would be appreciated by the punters is probably debatable, certainly given the price compared to smaller, lighter and higher quality gear. Yes, they could also sit in a man shed or similar where they might be a talking point. But at £7k I think I'd prefer the people I invite over to my man-shed to talk about a nice late-60's Precision 👍