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PJ Club

Here is my PJ,Chandler USA body,with Fender MIM Precision neck. Would like to have had a nice US Precision neck,but had to watch limited budget. Nothing wrong with MIM,it is a quality neck,and plays,and feels great. Someone,may need to have things matched?
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Wow. This club flew under my radar somehow! I have 2.

First (and my #1) is my parts bass. Fender American Vintage Hot Rod Precision body, American Standard neck, Wilde Bill P46 with Super 55 jazz, 3 way switching, stacked VV with master tone, chromes. 8 lb 3 oz!
Edit;May 2017: P46 replaced with Seymour Duncan SPB-1. Delicious!
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And a 1996 MIJ (Fujigen) Precision LYTE Deluxe. No mods. 7 lb 3 oz!!

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Quote Over, New Stuff:

I have a number (#160) but I've added a couple PJs. One's forever and one is for sale.

I built a beater/loaner PJ in my favorite configuration, as above, with a Pre '08 American Series Precision pickup (as in the 50's RI, Road Worn, etc) and Super 55 jazz, 3 way switching, stacked VV with master tone. The body is a Squier Standard PJ, with an MIM Fender neck. Plays and sounds like a $1000 bass!
Squier Build Full.jpg


Another parts bass. Identical to the above, electronically, but in this case an MIM Fender Jaguar Standard body with a Fender Troy Sanders neck (love those inlays!) and a Fender Badass style HM bridge. I used a black chrome Jazz control plate to accentuate the chrome stacked knobs.

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sexy 1.jpg


I'm currently trying to sell some basses to fund a Fender American Precision 5 String PJ build. Then I'm done. :D
 
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Here's mine, a 1988 MIJ 'Jazz Bass Special' that I defretted promptly upon taking ownership. Great bass.
 

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Thanks, turned out better than I expected for my first such job. No, just crappy pictures/lighting and GHS Pressurewounds, which are the most fantabulousest strings ever conceived by the mind of man. As great as they are for fretted, they're twice as awesome for fretless. If you're not aware of them, they're roundwounds but with the wrap wire smashed into an oblong shape, the wrap is 'alloy 52', which seems to be fairly stainless without being legal to call 'stainless'. They're what groundwounds wish they could be, and stay alive for-effing-ever. HIGHLY recommended if they sound like you might even maybe be able to stomach them.
 
I also sanded the neck down to bare maple and put 8 coats of Birchwood-Casey Tru-Oil on it (rubbed with 00 steel wool between coats), it feels just like my EBMM Sterling, which is the most comfortable neck I've ever fondled. The fingerboard got a super thick (smeared on with fingers) coat of the same, and I rubbed it with 1000-grit sandpaper til the oil started to get sticky to make a rosewood-oil slurry to fill the grain, then radius-sanded it with 600-grit and finished with wool again.

Turned out slick as can be, and even after probably 40 hours' playing time, not a mark on it.
 
Thanks, turned out better than I expected for my first such job. No, just crappy pictures/lighting and GHS Pressurewounds, which are the most fantabulousest strings ever conceived by the mind of man. As great as they are for fretted, they're twice as awesome for fretless. If you're not aware of them, they're roundwounds but with the wrap wire smashed into an oblong shape, the wrap is 'alloy 52', which seems to be fairly stainless without being legal to call 'stainless'. They're what groundwounds wish they could be, and stay alive for-effing-ever. HIGHLY recommended if they sound like you might even maybe be able to stomach them.

I know of them academically, but I've yet to try a set. I think I've been put off of them by a rather uninspiring:meh: set of D'Addario Half-Wounds, but I'm making progress. I recently picked up a pack of Rotosound RS55LD stainless steel pressure-wounds. The big question on my mind is which bass do I try them out on first…a P/J or a straight-up Jazz? :unsure:
 
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I know of them academically, but I've yet to try a set. I think I've been put off of them by a rather uninspiring:meh: set of D'Addario Half-Wounds, but I'm making progress. I recently picked up a pack of Rotosound RS55LD stainless steel pressure-wounds. The big question on my mind is which bass do I try them out on first…a P/J or a straight-up Jazz? :unsure:
I can say personally that they totally rock on said PJ, and rock equally hard on my Sterling HS. They're everything I love about roundwounds with none of the annoying stuff I try to minimize. I didn't know Rotosound made pressurewounds, I'll have to look into them.
 
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Anybody here try an Ibanez MDB4?
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I have a Precision with a Seymour Duncan SPB-1 in it already. This bass has me thinking about adding a Seymour Duncan SJB-2 Hot Jazz bridge pickup to it. Since I play in a heavy rock group and that combo works for the last Killswitch engage album, it should work for me too right? A local luthier say he can do it no problem and wire it v/v/t. Should I give it a shot and if I do, what spacing would work best, 70s or 60's or something in between? Also the Ibanez is in series, should that be better than parallel wiring? Just interested to hear some opinions.
 
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Anybody here try an Ibanez MDB4? ... Also the Ibanez is in series, should that be better than parallel wiring?
I'm not sure what you mean about the Ibanez wiring "in series."

If you wire the P and J pickups in series, you can't control their volumes independently. Since the MDB4 has a blend pot (they call it "balancer"), the P and J are not wired in series.

The P pickup is actually a single pickup, divided (split) into 2 parts. It's normally wired with the 2 parts in series.

As for the J pickup location, I prefer the '70s spot for a more aggressive J tone in the blend. To my ear, the '60s spot is more subtle, unless you crank the P way down. And even then, it's still a more mellow J tone.
 
I'm not sure what you mean about the Ibanez wiring "in series."

If you wire the P and J pickups in series, you can't control their volumes independently. Since the MDB4 has a blend pot (they call it "balancer"), the P and J are not wired in series.

The P pickup is actually a single pickup, divided (split) into 2 parts. It's normally wired with the 2 parts in series.

As for the J pickup location, I prefer the '70s spot for a more aggressive J tone in the blend. To my ear, the '60s spot is more subtle, unless you crank the P way down. And even then, it's still a more mellow J tone.

I think the specs from Musicians friend said series and that's where the confusion came from.
Ibanez MDB4 Mike D'Antonio Signature 4-String Electric Bass Guitar
The way Pat Wilkins has his PJ with the J very close to the split coil made me think there might be some advantage to setting the pickups closer together. The 70's spacing would seem to make more sense to me for a brighter tone.
 
Proud poster in the PJ Posse present, sir!

Current girl is a ESP LTD Vintage 204 (black with tort pickguard, natch). And I've a Shredneck bass en route to my current Undisclosed Location so my time in the bass-less wilderness can come to an end. Loves me some PJ, I do.