A previous sale fell through, so this is back on the block... * $930 shipped to the lower 48! * Paypal preferred * No trades please * Pictures: http://share.shutterfly.com/action/share/welcome?i=EeAMXDVk2cMWzxQ¬ag=1&x=1&sm=1&sl=1 Features: S/N = 622 Excellent+ condition Red in color with white pickguard Comes with great gig bag Full size Alder body Graphite reinforced Eastern Rock Maple necks with traditional vintage contour Contour neck heal Rosewood fingerboard 34" Scale length 21 frets 12" radius fingerboard 1 3/4" nut width Bone nut Chrome hardware Hipshot Ultralite tuners Top routed passive electronics Lindy Fralin custom wound pickup Aluminum bridge Mike Lull P4 Reviewed in issue of Bass Player Magazine By Scott Shiraki Mike Lull has seen plenty of vintage Fenders come through his Bellevue, Washington repair shop. He has seen recurring problems, such as neck warping and dead spots; he also knows the typical modifications made on these instruments, such as shielding and hardware upgrades. But he also knows what can't be improved. So Lull started creating tricked out versions of his favorite basses. A few impressive variations on his J-Bass theme have come through our nit-picky hands over the years. This time we're taking his souped-up P-Bass - the P4 - for a test drive. Our P4 arrived with the classic P-Bass essentials - an alder body, C-shaped maple neck with a broken in feeling edge and finish, and a split humbucking pickup in the "sweet spot." I checked the pickup placement against stock '58, '60, and '74 Precisions, and it was dead on. Straight out of the case, the P4 has many of the modifications players often want: high quality modern hardware, Schaller strap locks, a flatter fingerboard, thorough shielding, and an optional Jazz pickup in the bridge position, similar to the pickup position on a '64 Jazz. The final stages of the P4's creation - paint, assembly, and setup - were all done with care. Some staffers loved the sexy black matching headstock, but found its shape a bit out of place on such a classic-looking instrument. The neck-fitting and hardware installations were done meticulously, with no gaps or ill fittings. The bass sat in our storage closet for two months, and owing to the necks well chosen woods an internal graphite bars, it still played like it had been professionally set up. Its light weight and familiar neck and string spacing mad for a comfortable ride. Real World At medium-size-club volumes, the P4 spoke with authority and muscle through a variety of amps: Demeter VTBP-201 and Aguilar DB680 preamps powered by a Stewart 2.1 power amp, a Tech 21 Landmark 600 head and 4X10, a Gallien-Krueger 1001RB combo, and a Carvin RC210 combo. The P4 possessed a familiar vintage growl and punch - without the electronic hum. The necks shape and finish were instantly appealing. One BP editor played the P4 through an Ashdown 400-watt head and Aguilar 4X10 cab on two gigs with his funk/R&B band and felt right at home. His main bass has active controls, but he didn't miss them on the passive P4 because he could easily dial in a variety of good tones. The simple control setup (two volumes plus one master tone) is quite versatile, especially in this P4's PJ combination. With both pickups on full and the tone knob opened up, the J adds a raw gank that worked well when I used it at a loud rock rehearsal. The P4 loved an Ampeg SVT; the bass barked when I dug in with a pick, and it rocked Sabbath-style when I added some hair by boosting the amps gain. The P4's organic, wide-sounding P-bass pickup, combined with the bridge pickup's sharpness, created a full sound while still cutting through. I brought along a stock '64 Jazz Baa and a '74 P-Bass (loaded with a '65 pickup) for reference. With the P pickup soloed, the P4 and the '74 had a similar girth and bite. The P4's J pickup soloed had the familiar throaty punch of a Jazz, but it sounded a touch more nasal due to its placement - a bit closer to the bridge than our '64. (Roger Gee of Mike Lull's Guitar Works comments: "if the J pickup is placed in the traditional '64 Jazz Bass spot, it is too close to the P pickup and the two pickups interact in a way that sounds not very pleasing to the ear. We have taken this into consideration by having Lindy wind the J pickup to compensate for its placement close to the bridge.") Mike Lull has once again created a great playing and superb-sounding instrument by retaining what Leo Fender got right the first time - warm, room-filling tone and down-home playability - and adding modern ingredients.