ikay

Assuming it's all original and not some sort of reliced reissue, on the evidence of the pics alone I'd say it's a '70 or '71, possibly an early '72. Reasoning as follows: - it has single groove saddles which puts it at 1970 or later - it has lower thumb rest which puts it at pre-1974 - it has 60's bridge pickup positioning which puts it at pre-1972

with a start price of £9.99 - [url="http://www.ebay.co.uk/itm/Wal-Lined-Fretless-Bass-Guitar-/290768749051"]http://www.ebay.co.u...r-/290768749051[/url] scam or genuine I wonder ... anyone know the bass or the seller?

This post from Dosi Y'Anarchy might be of interest - http://basschat.co.uk/topic/45796-sold/ Might be easier to replace the standard woofer with a DiMarzio Will Power Neck pickup than find a replacement cover ...

This thread from the fender forum might help - http://www.fender.com/community/forums/viewtopic.php?f=10&t=52682 The Precision V uses the standard HMV bridge which allows adjustable spacing from 19mm to about 22mm. String spacing at the bridge on a Stingray 5 is 17.5mm so the polepieces of a regular MM 5 pickup won't line up properly using the HMV bridge. However, a soapbar type like Bartolini or EMG should work fine.

This pic of a 75 P shows the correct 70s tug bar position: [attachment=116911:75 P bass.jpg] This one (a 73) shows positioning of the screwholes in the pickguard: [attachment=116910:73 P bass.jpg]

Can you unscrew the control plate and post a pic of the underside showing the wiring to the pots? Seeing what's going on there would help. I live about 10 miles from Guildford (on the A281 towards Horsham) so if John can't help you drop me a pm.

This post on the Fender forum is about the same problem - [url="http://www.fender.com/community/forums/viewtopic.php?f=10&t=45460"]http://www.fender.co...hp?f=10&t=45460[/url] In this case he swapped the S1 switch out for a regular pot but ultimately discovered that it was a problem with the neck pickup. If the neck pickup is at fault then you should be getting weak or no output when the S1 switch is in series mode. When in parallel mode (standard VVT configuration) you should be getting weak or no signal from the neck pickup only. If you're getting a good strong signal in series mode then it sounds like the neck pickup is OK and the S1 switch/pot is at fault.

I had to repolish the ebanol board on a VMJ fretless a couple of years ago to remove marks from roundwound strings and using paintshop or jewellers finishing materials works very well. Materials listed below. Micromesh polishing paper: [url="http://www.ebay.co.uk/itm/MICRO-MESH-MICROMESH-POLISHING-KIT-9-SHEETS-6-X-4-/320956999050?pt=UK_Crafts_Other_Crafts_EH&hash=item4aba87258a"]http://www.ebay.co.u...=item4aba87258a[/url] Foam sanding backing pad: [url="http://www.ebay.co.uk/itm/MEGUIARS-Hi-Tech-Sanding-Backing-Pad-5-5-E7200A-for-Unigrit-Finishing-Paper-/110886795543?pt=UK_Car_Accessories_Car_Care_Cleaning&hash=item19d15e3917"]http://www.ebay.co.u...=item19d15e3917[/url] 9.5" radius sanding block: [url="http://www.ebay.co.uk/itm/LUTHIERS-FINGERBOARD-RADIUS-SANDING-BLOCKS-/330768016363?pt=UK_Guitar_Accessories&var=&hash=item4d034f63eb"]http://www.ebay.co.u...=item4d034f63eb[/url] If the marks are very light just use the foam sanding backing pad and use the finer grades of micromesh polishing papers finishing with the 12000 grit. If the marks are deep then use a radius sanding block and start with the coarser grades then work up through the finer grades. The ebanol will turn a dull gray to start with but the shine will come back when you finish polishing with the finer grades. Be warned that ebanol sands very easily (ie. a little sanding takes off a lot of material) so take it gently and start with a finer grade than you might think. Also wear a face mask as ebanol generates a lot of very fine dust which you shouldn't breath in.

[quote name='BigRedX' timestamp='1345014450' post='1772235'] Getting gigs is easy if your band is any good. [/quote] That's a little harsh !! I think it's as much to do with having someone on your side with the necessary drive, persistence, tact, guile, powers of persuasion and personality to make all those cold calls and tramp around the venues to bring the gigs in. That person isn't always someone in the band or easy to find. Being in a good band helps of course!

A bit off topic but Chris Brubeck and his fretless Ric, another unlikely jazzer. Fabulous player [media]http://www.youtube.com/watch?v=EySQ2ei1NTA[/media]

Exactly that! Thanks for sharing, it's good to know I'm not alone!

Loads of string reviews on talkbass here if that's of any help in deciding what to try next - [url="http://www.talkbass.com/reviews/showcat.php/cat/17"]http://www.talkbass....wcat.php/cat/17[/url]

[quote name='davebass66' timestamp='1344877596' post='1770549'] ... people reporting problems with low output because of the 2 capacitors ... [/quote] This post on talkbass (about halfway down) explains the technical factors relating to the two extra isolating resistors in the VT VT circuit which result in slightly lower output and some loss of high frequencies compared with the standard VVT circuit - [url="http://www.talkbass.com/forum/f38/stacked-tone-volume-jazz-bass-401694/"]http://www.talkbass....zz-bass-401694/[/url]

[attachment=115523:66 jazz p;ickups.JPG]

EDIT - As mart says below, use a regular 250k concentric stack pot and wire it up as two separate vols (sorry, what I posted originally about using a blend pot was complete rubbish!!)

A combination of real world speakers and Transcribe (http://www.seventhstring.com/) for the tricky bits. Headphones are much better for hearing the detail of what's going on though, maybe my playing would improve if I used them more

Toneworks do finished jazz bodies - [url="http://www.toneworks.co.uk/guitar-bodies.html"]http://www.toneworks...tar-bodies.html[/url]. Haven't used them myself but they look good and are reasonably priced.

This fret position calculator is useful if you want to check the position of your existing markers or add some temporary markers with masking tape: http://www.manchesterguitartech.co.uk/fret-and-nut-calculators/fret-calculator/

Using open drone notes along with fingered notes is a useful way to practice getting good intonation and make sure you're not wandering out of tune. Try plucking an open string (eg. low E) and letting it ring. While it's ringing play notes on other strings, using the ringing string as a tonal centre or harmonic anchor. Try to play scales and arpeggios along with the open string and see how in tune you are. This is a good way of training your ears to hear all the intervals (2nds, 3rds, 4ths, 5ths, 6ths, 7ths, 8ves) which will help you to make adjustments and keep in tune when playing more freely. I should really do more of this myself

Sorry for the dud post about the Cortobass, I'll read the title properly next time!

My bad, just found the Warwick/MEC one. Crikey that's one big pot! - [url="http://www.thomann.de/gb/mec_m88552.htm?sid=19016689f402e7a3e796f31208037ce2"]http://www.thomann.d...796f31208037ce2[/url]

Passive blend uses a stereo pot. Adding volume would effectively mean having three pots on one shaft. I'm not sure that they exist...

This thread from a few weeks ago is for something similar and may be worth following up: http://basschat.co.uk/topic/181426-is-anyone-out-there-awesome-enough-to-make-me-one-of-these

Vintage basses are a bit like a favourite old pair of jeans. Well worn in, a bit frayed round the edges, maybe past their best but fit like a glove and feel 'just rght'. Like an old friend who you don't see very often but when you do it feels like it was yesterday. If that strikes a chord then you might like an old bass. My 72 J and 72 P are old workhorses with no pretensions to be anything else. They have many knocks, flaws and idiosyncrasies but can still hold their own in most playing situations and have great character and individuality. Playing them always makes me smile! Many other 'better' basses have come and gone over the years, including new Fenders, but these two are somehow a bit special and are still here. I wouldn't pay silly money for an old bass but with the recent price hikes of new Fenders and MMs there are plenty out there for similar cash.

One half of the P being out of phase with the J indicates that the J wiring/polarity isn't correctly matched with the P (rather than the P wiring being at fault). Assuming the P is correctly wired with both coils being RWRP, then the J needs to be the same winding and polarity as one of the P coils to work. If it's not then there will always be a phasing issue with one of the P coils, regardless of whether you reverse the P wiring. The attached diagram may help. It should work as shown. But if the J was instead wired N-CCW then there would be a phasing issue. First check that the P is correctly wired with reverse winding and reverse polarity. Then try changing the wiring on the J (rather than the P). If you've already done that then sorry for wasting your time and please ignore this! [attachment=114897:P-J wiring.jpg]