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Did the '58 Precision have the raised A string poles on the pickup? I understand the originals did from '57 to '59. If so, that would make a far bigger difference in tone than the fretboard wood--IMO, YMMV, etc.My AV '63 P has a round lam Rosewood board, yet still the tone of that bass is very much the rosewood tone, and very different than like say the alder bodied '58 P with a maple board I tried a while ago. So it doesn't take a lot rosewood to have impact IMO. And it's THE thing to with THE most difference on electrics; fingerboard wood. Seems almost counter intuitive, that little wood, but it's what I'm hearing and always has. I'm a real fan of woods, and on a Strat I strongly prefer rosewood over maple for the fretboard, and on a acoustic with steel strings; rosewood back and sides are what's IT for me. All my acoustics has that and I sold my D-18, it was just "not right".
I will also say my opinion on woods generally; and this will be me ranting a little (I've not had my coffee yet); that the difference in tone between a maple vs rosewood board on a bass is as dramatic as rosewood vs mahogany backs and sides on a acoustic; very distinct and characteristic difference, and easy to hear with all other variables being the same. Yet, on this forum (for some reason), some people just don't get that and the "Whoa, the electric bass is not an acoustic instrument" nonsense; and link to the "scientific" experiments, which are as scientific as the worst 911 conspiracy theories, you know?; the ones that's written by people who think they know physics, but in reality don't understand pretty basic stuff about the subject.; comes up all the time. That happens VERY rarely on say The Les Paul Forum and NEVER on the Martin forum (UMGF). And to think; people (those same people often) here has the nerve to call guitar players for "guit@rds". So bass players: oh, those guys!Well, they score high in confidence but low in education, or they have cabbages for ears. Ok, rant over. Sorry!
Sometimes, I guess. Other times, they're just willing to believe whatever sounds good.
without the tounge sticking out. to show how off how technical or clever I was. So I can sympathize, and if I'd have to give one advise to get rid of that stuff, it would be to take up another instrument. And it works the other way around too, like guitar players benefit a lot from picking up the bass, I think. 
I’ve collected data on early ‘60s Jazz basses – 1st/12th fret neck thickness, weight, p/u dcr - to see if there was any science behind the early ‘60s Jazz bass mojo. To Roger’s comments -
Ahh, understood. Sure, no doubt players who do not hear the whole mix and do not act as team players are not optimal team members in an ensemble. They can even be quite irritating to work with.It wasn't meant as a generalization of bass players as a whole, it was more of tounge in cheek thing. You know the
But I'm a guitar player too, and when playing the bass or the guitar or whatever, I think and listen a lot like a producer. And bass players that impose themselves onto the music, trying to make their "statement" and showcase their style on everything, playing unmusical crap, really grind my gears, you know? But hey!; truth be told; I used to do the same when I was younger. I was a real gunslinger; I've ruined many a jam with uncalled for slaps and pops, harmonics, reharmonizations etc.
my PJ5 is impeccable...made by Lisa. Bought preowned and I love it!
