I have a few keeper P's and three of them are ones you asked about.
The sunburst Fender is a '69 ash and it is 7 3/4 lbs - even with the BA bridge.
The Olympic White Fender is a '75 - ash and all original at 11 lbs.
The Lakland USA is Bob Glaub #01 - 8 lbs on the nose.
Here's my 2 cents.
Other than neck comfort, the biggest difference to me is mid-focus vs mid-transparency.
The '75 has a super focused "bark" that the others don't have, but it's only really noticeable when you record - so at 11 lbs, that's a great thing : ) It sounds SO good when you're sharing the low frequency lane with other players.
The '69 is an amazing instrument. It's super light and resonant and produces these overtones that just make it sing with vibrance - which is really fun to manipulate with your fingers. It really comes alive when you've got the low zone to yourself.
The Glaub is a perfect "Live P" for me. It practically plays itself (1.5" nut width and stupid low action). It sounds really close to the Fenders, but it has a Lakland tonal "personality" that you either like, don't like, or don't notice.
One thing that may contribute to that tonal difference are the graphite rods used for stability in the Lakland necks , as well as other high end basses I've owned and then moved along.
I personally don't like to record with them because I've found I lose a bit of tonal "richness" with a graphite reinforced neck (vs one piece maple)
That may be nit picking a bit, but I've found they have a "ping" that is unique to them, and it really stands out when a track is soloed.
The USA Laklands don't seem to have that "ping", as much as they have their own characteristic sound. And their necks are really stable, even with crazy temperature swings at outdoor shows.
I replaced the original Fralin split coil in the Glaub with a Klein Epic 62 pickup and that really makes the bass shine, IMHO.
It's not as aggressive as the Lindy, which allows more of the "tonal personality" to come out of the bass.
But when all is said and done and my sound is being pushed though FOH at volume, those minor tonal differences are really not an issue - especially if I'm singing a lot.
My experience is that when I'm playing live shows, especially long sets, the Glaub's comfortable neck is an absolute Godsend. And it always sounds amazing.
One caveat - that mid 80's Tokai-TPB64 with a Fender PV 63 pickup and TI Flats is one thunderous beast.
I played it through the rig in the photo at a "hired gun" show with no PA support and earplugs jammed halfway into my brain.
It was honestly one of the most satisfying "P" tones I've ever had the pleasure hearing come out of a cab.
I remember thinking - "OK - I get the whole P with TI Flats thing now". Low end thunder with out that 'bloomy confusion".
The P that sounds the most "60's vintage" to me is the Tokai.
The most "lively" P is the '69 Fender.
If I was playing in a large disco band, I'd sit down and play the '75 P all night long : )
My favorite P to perform with is the Glaub because it lets me completely relax onstage - and relaxed is my favorite key to play in : )
IB
