GreeneKing

An update. Still loving my P and yes it is light. I'll weigh it. It's my go to bass atm and I have 6 hanging in my den. I'm not sure what strings Sandberg put on their basses but playability is very good and I'm loving the P tone. Nice neck too, quite shallow. The Delano doesn't seem too bright either, a criticism I've heard. The 2EQ works well but I'm as inclined to use it passive with the treble knob doubling as a passive tone. There's only a slight volume drop going into passive. Next week I'll maybe switch to another of my collection but we'll see. I did play the same song on each bass out of interest the other day. The best in terms of playability and tone was my ACG Uber Finn and I'm not just saying that because Alan is a friend. Sometimes a slightly battered (new) P bass hits the spot

When I find out I'll let you know. I'm 63 nearly and I'm doing what I've always done

I've got 9, one of which I've lent to a mate in similar circumstances. If you were close I'd be willing to lend you a 5er too if it helped. Maybe a BCer closer? So feeling slightly guilty. I've never had to sell a bass although prudence would suggest that I should some times

Sometimes a change is invigorating.

Absolutely top class job.

There have been times when I've taken a firm stance on some topics. Included in those would be the merits of relic'd instruments and the narrow mindedness of those who eschew everything that doesn't have an 'F' on the headstock and a single pickup in the 'traditional' position. I do however love that unique P bass tone, in all it's varieties and think that Leo got it right at that time when others failed. I just that for me it's not the only tone, it's not extremely versatile and there are times when it struggles 'in the mix' (my opinion, I know that many would disagree). My ACG Holly Salace headless has a P pickup under the hood (and an MM). I have many great basses with a huge range of wonderful tones but none of them quite had that P bass tone. Becoming bandless left me wanting a simple P for playing in my mini practice room at home. I ended up looking at a new 'soft aged' Sandberg California II VS5 in BassDirect. Given that the bass is new and hasn't been abused AND given the the relic'ing was mild I went ahead with acquiring it. It's funny. I love it. I love it to bits even. It's got a worn finish and the bridge and tuners look 'steam punked'. There are several chips and painted over scuffs and scratches. The fit and quality of components is very high indeed. There is no fret wear. It plays and sounds absolutely lovely (it's also the lightest bass I own) and I'm left feeling slightly fraudulent Sometimes life doesn't follow the path you expected it to. Maybe that's what makes it such fun? I thought I'd share Sandberg's work:

[quote name='TrevorR' timestamp='1490348408' post='3264437'] Just as an off topic encouragement... learning to play (get along well enough) basic lines from a chord chart is actually a pretty straightforward skill to learn if you know how to approach it right. I don't ascribe to the "too old to learn" school of thought. A chord sheet is only a high level outline of the basic structure of the song with anchor points/way marks/guide posts. Have you learned any movable major/minor scales? If you learn the fingering shapes for major, minor, major pentatonic and minor pentatonic you have the building blocks for some easy baseline building. Know the root note of the scale and the notes on the frets on the neck and you can play those scales in any key or to any chord. Then it's straightforward to start applying the notes and scales to simple chord progressions. A good place to start is country rock ballads by bands like The Eagles. lying eyes, peaceful easy feeling, best of my love. Because the pace is medium paced, the chord changes aren't rapid and the chords are pretty straightforward. Download some chord charts for the songs and try playing along using just the roots a couple of times. That's just learning to follow the chart. Then start throwing in some melodies, lines and runs based on the scale for that particular chord, without necessarily trying to emulate the recorded bass line. You'll quickly start to see how the chord chart, scales and music fit together. [/quote] From the very beginning, over 20 years ago, I've learnt my major and minor scales as well as modes, I know them much better than many good friends who are superb musicians 'on the hoof'. I listen to intervals, try to understand chord functions and I've produced and developed good(ish) bass lines from chord charts beforehand. Given the pressure of performing live with a chord chart my brain melts and I revert to root notes. But your advice really is appreciated and now that I'm bandless again I will have a go at developing the skill. Sometimes I just think that I haven't got a good ear. Maybe that or I need to learn to relax more.

I'm not a brilliant musician. I can learn to play a song and I can play a set list well but I can't improvise well. I've tried to learn but maybe at 40+ I started a bit late. I had an audition. I asked for some sort of a set list so I could prepare myslf. I told the main man that I didn't do on the spot chord charts. The few songs that I'd even heard of (this guy played stuff from before even my time) turned out to be entirely different songs to the ones I'd learnt. We spoke on the phone several times and each time I stressed that I didn't do chord charts. I really don't know why I bothered turning up. Chord chart followed chord chart and it became more and more embarrassing for me and the other band members. We went for a pint afterwards but I didn't even bother asking about the chances of me getting a slot in the band. I really didn't want that burden.

I really love the sound of a P bass. I'm not alone. I don't know what it is about it but it has an earthy sort of hollowed out goodness that sort of gives me 'bassbumps'. Wood as a natural growth isn't consistent in texture and resonance for any one piece of wood will be different to any other. The neck, a long slender pole will be even more so. I think the rosewood vs maple conundrum has little if anything to do with strings touching wood and everything to do with neck resonance. Then, as Dood rightly points out pickup type and position is key. No two pickups are identical either. Given the variables it would be nigh on impossible to produce a mirror image tone on two 'identical' basses. In a classic rock band with a loud drummer and a competing lead guitarist I've usually found a P bass struggling myself. When the need is for some sort of 'bass influence' in the mix something more lower mid focussed seems to be more effective. But I still love that tone

Very nice

I bought a Sandberg Cali II VS5 yesterday as it happens. I've owned a Sandberg in the past but this is lighter, much lighter. The neck on mine is shallow and really nicely finished with very dark rosewood and a nicely vintage looking finish to the rear. The 2 band EQ with passive tone sounds great both active and passive and I'm loving it. Mine has a Delano pickup and I think a Glockenklang pre. I do think they have upped their game. The hardware and construction are shouting quality at me. It's 'soft aged' too, something I've never been a huge fan of (that's an understatement) but the 'worn in' paintwork with steam punk hardware really works. Maybe knowing it's new helps? I'd not want a heavy relic however. I'm chuffed to pieces with mine....

Another option that I've read good things about: http://www.haeussel.com/index.php?id=22

They all sound good. Different and the 70's bass has a better bottom to my ears but it lacks something else. Essentially the P bass sound is there with them all.

[quote name='bubinga5' timestamp='1490177812' post='3262817'] Sorry Conan. he has passed away. [/quote] I'd missed that. Saddened.

It sounds perfectly natural. Loss, grief, it's a process. All the best with the future

I've owned a Yamaha BB2024. My present BB425 is much closer than the huge price difference would suggest.

Finally my lovely Sterling. I've owned this bass twice and it has 'done the rounds' with quite a few of the BC community a few years back. She became known as 'Rita'. One piece body and matching headstock. I fitted a Nordstrand pickup the 1st time I owned it and I notice that there is no Nordy motif on it now. Maybe there never was? Did someone swap the Nordy out? (they are rare beasts nowadays, special order only). It still has a huge tone anyway which makes me think it's still the Nordstrand. I also have the pearloid white scratch plate in case anyone is offended. I'm not sure where the original white one went. It lost it's original case along the way too but I replaced it with a new one. Sadly it sits in it's case as I I'm used to 5's now. It's still not for sale though for sentimental reasons

And here's my Radiance Red Bongo 5 HH. According to Sterling Ball only 5 or so were made in this colour.:

Here's my MM collection: First my 20th Anniversary SR5: I'm not the greatest fan of the SR5 asymmetric scratch plate so this, together with the other modifications, really does it for me. Saying that she is up for trades as it's too similar to the Bongo below.