Sparky Mark

It's genuine and definitely not pieced together any more than other Fenders of that period. All Fender guitars were made up from parts made at different times. The vintage year is traditionally determined by the youngest dated component such as the neck, body or pots. Fender would buy bulk pots and serial number plates and they would be picked from stock bins relatively randomly so there is a fair degree of date tolerance when it comes to serial numbers. IMO a genuine period case would've added at least £500, maybe a fair bit more, to the price. I don't think the strap buttons are significant as a reliced modern pair would be indistinguishable from the originals.

You're welcome. Yes the 63 rosewood is practically black, like a dark ebony.

It's a horrible rainy day here so I thought I'd do a comparison of my 63 (on the left) and 64 J's. I cannot hear an output level difference between them. The 63 is wearing stainless vs nickel strings on the 64 which is evident in the slightly brighter tone of the 63. The headstock of the 63 is 14mm thick against 15mm on the 64. Otherwise the neck profiles feel the same. The body contouring of the 63 is cut very slightly deeper and feels relatively light weight for a J which is confirmed by my bathroom scales by approx half a pound at 9lb vs 9.4lbs for the 64. If these were fitted with the same strings I doubt I could tell them apart blindfolded.

My guess is that the fretless fingerboard was supplied with excess wood at both ends to allow for whichever neck it was to be installed on. Unfortunately whoever fitted it didn't account for that and just slapped it down regardless, probably thinking "it's a fretless; who needs markers? Play by ear".

You would think that the intonation problem would be the same for all strings. If you measure the distance from the nut to the first fret position is it the same as on another bass (if you have one to compare)? If that distance is a few mm more then maybe a zero fret is required?

I concur completely with this opinion. Even though mine is the entry level active version the fit and finish are absolutely flawless and there wasn't a single fingerprint anywhere that I could see. The fretwork and wiring were also as good as I've ever seen; in fact probably the best, and I have owned a Wal. There's even a circuit diagram attached to the inside of the control cover; I've not seen that done before. The active preamp is remarkable in that the frequencies are perfectly selected to maintain a usable sound even at quite extreme boost settings. Switching to active mode on some of my basses changes their basic tone significantly but the JD allows you to sculpt the tone in a more "natural" manner precisely as John describes on his website. I'm surprised considering I've been smitten by JD basses from the time I heard Mark King in 1981 that it took me 40 years to order one! I don't have a formal bucket list, but if I did, having JD build me a bass has just been ticked.

Apologies, I may have missed this information in the earlier posts; when open tuned to the correct pitch and you play the strings exactly on the 12th fret mark position is the note flat or sharp? I'm assuming the bridge saddles don't have enough travel to correct any variance?

Arrived today!!! Sunlight and my crappy Samsung phone camera makes the cherry look much brighter than in reality. The faux laminate finish and gold hardware work really well with the gloss translucent cherry IMO.

Technically excellent playing but it gets way too busy for me especially towards the end. I realise it's high up in the mix but I wonder what the singer would make of a bass player going for it like that through the whole song? As Oliver commented earlier, I think it's distracting rather than supporting the feel of the song.

You're always welcome Mick.

I've waited 26 months for this. I ordered it hoping it would arrive in time for my 60th last November but l know the extra wait has been worth it. This model has increased in price by £500 in that time but they're still great value when compared to a mass produced instrument.

Shipping to me this coming Monday!!!

No that's not the same bass. Mine came from the USA.

Thank you. They are very very similar both in the hand and tonally but due to the gigs I'm getting post covid I haven't played them for a while. However, an old schoolmate is looking for a YOB 63J so we'll be doing a comparison in a couple of weeks so I'll report back then.

Just a 64J

Here's my all original 63J. Still has the mutes.

My all original 61P:-

Where did you learn this "fact" please?

I would think that the characteristic sound of both Precisions and Stingrays is the sum of all their parts, not just the pickups. You may find that a different construction, perhaps to accommodate two pickups or a single movable pickup, achieves neither character that successfully. A bass that could produce both the authentic tone of a passive Precision and the unique tone of the active Stingray would be an incredible achievement.

I bought a CS toolkit from Ian. Great comms and Ian posted exactly as requested so I could be at home to receive it. Thanks Ian.

I didn't interpret your "scaled to compensate" comment correctly (or at all). I wonder if the Mustang pup is intentionally proportionally further from the bridge compared to a P to compensate for a potentially reduced low end of short scale basses?

Ah, I see.

Surely this image can't be correct? Mustangs are short scale so wouldn't the frets be more out of alignment compared to a long scale Precision?