Davo-London

[quote name='bilbo230763' post='625015' date='Oct 13 2009, 02:29 PM']I am not a particularly expert in the mysteries of bass design but, having played one of the damn things for nearly 30 years (literally one of them, the same bass for over 23 of them), I struggle to see the value of spending vast sums of money on expensive custom jobs. There are only two legitimate reasons for doing this, in my eyes, one is for cosmetic reasons (like Gene Simmons 'axe' basses or the bloke from Slade's 'gun' bass, for instance) or for specific technical reasons like needing an 11-string to explore your muse. I see some lovely looking basses on here being custom designed and have glanced superficially at long posts about how it all comes together. It is all very exciting but, fundamentally, I struggle to see the point. I have always struggled to understand why musicians can't be satisfied with 'off the peg' instruments. I get that this pick up is different from that one and a maple neck feels different to a rosewood one etc but, from where I am standing, none of these basses sound remarkable enough to have warranted the expense. Most of them sound like a bass. Brilliant. But why isn't a Jazz/Precision/Wal/Warwick/Alembic/whatever etc good enough? Double bass players tend to get a bass and stick to it (Paul Chambers, Ron Carter, Marc Johnson, Scott LaFaro, Mingus etc all played one bass through most of their careers and only replaced them if they were damaged or stolen). Same with sax players, trumpeters etc. Many pianists play a different instrument every night. So what's it all about, peeps? Is it just vanity [/quote] It's OK as long as ignorance is acceptable.

Usually we break off into a bedate on the pros and cons of lined versus unlined. I have basses with lined and unlined. I think the lined is easier to play and if recording really helps keeping intonation spot on. There's no right answer. Peace Davo

I now hear that someone has put a deposit down on the bass at the Kings Road store and so apparently I'm not allowed to sell it twice. So I should hear in a week if the other guy is interested in buying it. Sorry for the confusion. It has been with them for over 6 months, so I presumed it was not selling. Davo

As for dating the serial number starts S877.... Davo

It's up for sale at Kings Road shop for £1000. But I will take less if it goes to a good home. We can start the auction at £800. Davo

Here's the back to demonstrate condition ... Here's the whole thing ... I've even got the original invoice. Davo

I have a '78 fretless P for sale. It has a tobacco sunburst body and maple neck. It is very nearly perfect nick. Any decent offer considered. Davo

I cannot possibly express an opinion here because this is the internet and anyone can read this post. My wife is a forensic scientist and she can sniff an incorrect perfume from 10 yds. My life would be in danger if I was to answer. Sorry Davo

Rob Allen and Godin make worth ABGs if you want something that doesn't look like an oversize acoustic. I have Godin A4 fretless, which is excellent but the Rob Allens are probably top of the pile. Davo

Well, you should read Nash's article on his website about finish, or the lack of it and how it affects tone. I have come across a lot of references to this recently. I also don't believe what I read. BUT, i do trust my ears. And after 3 decades of playing I had come to that conclusion as well. Wood selection is the element that they have added to the RW basses. And this for me is the key. As I say, anyone that slags them off without trying is hardly being subjective. But, yes this is the internet ... I know. As a complete aside my glazier said, when I was thinking about replacing my 100 year old windows in my house, just change the glass, keep the wood. You just cannot get that quality of wood anymore. Peace Davo

I have 2 70's Ps and they are both dogs in my view. I personally wouldn't go near a 70's P. But that's obviously because of my experience above. The CIJ basses have been consistently made from the early 80's IMHO and if I was looking for a P - that is what I would be looking for. Well that or a 60's P. I prefer the narrow neck profile that was available in the 60's Ps. And a sonic blue would be nice. If you are buying an old one, make sure it's a bit relic'd. With plenty of bare wood showing. About 4 years ago I played an early 80's CIJ fretless jazz. OMG it had that Jaco tone. No kidding. I have played 100's of Fenders and this one really stood out. I eventually tracked down a new CIJ Jaco Jazz and it is amazing. I hear lots of good things about the last 2-3 years of Fender production in America. But let's face it a P is about as basic as you can get. One PU, one volume, one tone. That said it works brilliantly in the mix, which presumably is why we are still playing them. Peace Davo

Except they are not totally pointless. The worn and exposed wood and thin cellulose lacquer releases the true tone of the wood. They are surprising resonant and tonally pleasing. Before you slag them off try them. I agree the look is quite often false and is obviously so to an experienced bassist. There are plenty of other makers doing the same thing though such as Nash. As for MIM, I agree that for a purist that doesn't feel right. But I am more interested in the supply of wood and the quality of the electronics. If these are good then the MIM badge is less of an issue. Peace Davo

It's about tone and mojo and so what tone are you after? I've been looking for several years and briefly owned a '67 Jazz with non-Fender neck. Bit mad although it was cheap. Sold it to a guy who had a '69 neck and so that seemed wise. As for Jazzes the question is alder/rosewood or ash/maple. Now maybe there isn't a huge difference but you will get fans of both. Clearly Marcus Miller gets great tone from a 70's Jazz. I own 2 70's Ps, which I bought from new and quality wise they are dogs. Tone wise the 76 P is starting to sound OK, but maybe because i've had it so long it doesn't really excite me. I feel differently about 60's Fenders. The Jazzes from '62 to '64 are the real players favs. This is because the non-concentric tone knobs are easier and they are pre-CBS Fenders. In Jan 65 CBS bought Fender. So early 65s are likely to be just as good but thereafter the wood quality and the general build start to slowly decline. I think for value the 65-66 Jazzes are great and worth searching out, as although they are not pre-CBS they are still good quality and they are not too messed with. In 66 the neck binding came in with dot inlays - these are fun and rare - then around 66/67 the block inlays came in. I hate block inlays. I don't like the look or the feel and I wouldn't want a block inlay Jazz. So for me the Mojo ends in 66. As for 70's Fenders, well mine had the bridges in the wrong place, lovely gaps between the neck and body etc. And I have to confess I am an alder/rosewood guy. Precisions were good throughout the 60's with less variation in a way. And I have played lots of good Ps from this period. I prefer the 60's neck profile as it is often slimmer. 50's P's I know nothing about , as for some reason, they don't interest me at all. Finally, I would go for a refinished bass if you are a player. Who cares the finish isn't original. It only matters when you sell it again. And that won't happen if you get the right one that feels just so. Anyway, these are my very humble opinions on the subject of vintage Fenders. Peace Davo

Spoombung I see where you get your sound from now ... Davo

I haven't used that supplier, but I extensively road-tested the MIA and CIJ Jaco fretless Jazzes and walked away with the CIJ. It's great that this is UK forum so I can really say that I sense that the CIJs are superior. In the end it was the tone of the CIJ that was more Jaco than the american version. indeed the first time i played a 80's CIJ Jazz fretless, I realised that it was the first time i had got that Jaco tone and believe me I have played 100's of basses. Davo

Stainless steel strings are harder than nickel and will do more damage to the neck. I would always encourage the use of roundwounds on fretless, because I love that sound. After a while the neck will start to groove inevitably if you play a lot. You can then just have the neck sanded down. Or you can do what I did with a rosewood fretless jazz neck and send it to HG Thor in the states and have him epoxy coat the neck. This way that lovely, irreplaceable, Brazilian rosewood neck will be preserved for ever. Cheers Davo

I have also played this Jazz. I trust it is original and £8k+ is a reasonable valuation. The stack knobs do fetch a higher price but the '62 would be my choice. I have been looking for some time for a refinished '62. Refinished so the price comes right down but as long as it is a complete '62 it wouldn't bother me. They have a thick slab of Brazilian rosewood and are usually very light. I'd much rather spend money on an instrument than a car. That's what choice is. Those that condemn so easily should be a bit more circumspect IMHO. Peace Davo

Of these the most important is how the finish affects the tone. There seems to be some growing agreement that natural finish or oiled finish is best for tone. Some reckon that old Fenders sound so good because these have lost their thin nitro coating, which has allowed the wood to breathe and dry out even more. Some "hidden under the bed" 60's Fenders sound new because the wood hasn't been able to continue to age. If you go to Nash Guitars website and read all about this. Hopefully you will add this to your considerations. And as an aside, i would not sell an 80's or 90's CIJ because you are unlikely to improve upon their tone with a new MIA Fender. Just MHO of course. But check out the difference. Peace Davo

what no knob gags? Davo

I have a sansamp and a JDI for sale if you need one? Davo

No-one has mentioned Mitch Mitchell - who single-handed has ruined just about every important recording of Hendrix ever made. Just MHO of course but that is overplaying at it's worse. It's OK playing lots of notes but as long as there are dynamics and contrast and context. I play drums and I'm not good enough to overplay yet. When I get there, make sure someone tells me off? Peace Davo

In a similar vein try this: [url="http://www.pagelli.com/e/2instrum/image/gross/bg_gold_g.jpg"]http://www.pagelli.com/e/2instrum/image/gross/bg_gold_g.jpg[/url] Davo