I meant more how the regular VM Jazz, 70s jazz, and Jazz 77 each got more colors and the addition of the PJ and PV expanded color options for the Precisions in general.
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Squier Vintage Modified Precision V: who's got one?
- Thread starter Chef
- Start date
I meant more how the regular VM Jazz, 70s jazz, and Jazz 77 each got more colors and the addition of the PJ and PV expanded color options for the Precisions in general.
New model in 2013, in many areas first deliveries only hit stores in November/December.
I don't imagine there'll be any changes until the first production run has had a few more months in stores, so they have a chance to gauge consumer reaction.
The Fender website still only shows CAR, Oly White and Sunburst.
Colors? Pffft... they have sunburst, what more do you need?
Lol. I wonder why it took me so long to finally buy a sunburst/tort bass.
Now that I have, it's really growing on me.
I don't think it will replace my favorite combination though...
Natural and tort.
Or maybe LPB and pearloid.
Or possibly Seafoam Green and mint.
...Fiesta Red and Tort?
I can't decide. I like them all.
Alright guys.
New sound clips, fo' yo' ears.
I stuck flats on my bass, but I didn't have a flatwound low B string so I left the stock string there. (Yeah. I'm not playing this out until I get a full set...)
As such, I did a recording of only the B string and then a recording of the rest of the strings, hust so you can get a better idea of the different tones if you're curious.
And, it's the same deal as before. No effects. Just added volume. (I added more on the flats clip.)
However, let me preface the following.
The recording is decent quality, but...
The playing is really, really low quality.
I sat down, plugger her in and clicked save on the first take for both of these.
You get what you get.
Low B:
[SOUNDCLOUD]https://soundcloud.com/ryan-j-daniels/squier-bass-low-b-string/s-IFkap[/SOUNDCLOUD]
Crappy flats playing: (Around 0:34 I turn the tone to 0.)
[SOUNDCLOUD]https://soundcloud.com/ryan-j-daniels/crappy-yyz-on-squier-with/s-8wlPe[/SOUNDCLOUD]
Ohh. Geddy Lee would be so disappointed...
New sound clips, fo' yo' ears.
I stuck flats on my bass, but I didn't have a flatwound low B string so I left the stock string there. (Yeah. I'm not playing this out until I get a full set...)
As such, I did a recording of only the B string and then a recording of the rest of the strings, hust so you can get a better idea of the different tones if you're curious.
And, it's the same deal as before. No effects. Just added volume. (I added more on the flats clip.)
However, let me preface the following.
The recording is decent quality, but...
The playing is really, really low quality.
I sat down, plugger her in and clicked save on the first take for both of these.
You get what you get.
Low B:
[SOUNDCLOUD]https://soundcloud.com/ryan-j-daniels/squier-bass-low-b-string/s-IFkap[/SOUNDCLOUD]
Crappy flats playing: (Around 0:34 I turn the tone to 0.)
[SOUNDCLOUD]https://soundcloud.com/ryan-j-daniels/crappy-yyz-on-squier-with/s-8wlPe[/SOUNDCLOUD]
Ohh. Geddy Lee would be so disappointed...
thanks Ryan, with every sample you make me fall in love for this bass. if everything goes as expected, I'm going to join this "club" on february (I'm waiting to cover it's price without selling my recent Jazz classic vibe... after stringin' it with the TI Flats, it became a keeper. I bought it for cheap, so I don't want to sell it to buy this Precision).
keep posting samples! I'll wait for a flat B-string!
keep posting samples! I'll wait for a flat B-string!
Haha yes! I've got 1 fan!
Thanks.
I think I'm going to order a set of GHS Precision Flats.
After lots of reading, they sound like the right set for me.
bassstringsonline.com has them for ~$26 shipped with the VIP discount.
eheh, I have this set of TI flats, JF345, used on the Yamaha BB415, and I love them, but they are expensive. I spent 70 euros for this set... totally worth it, form my tastes, so while selling the Yamaha, I kept the set, for a future 5string bass. this Precision might be best one to be coupled with TI flats...
my assembled Precision has them on since march 2011... I've tried to change them several times, going back to rounds, or trying other flats, but after acouple of days, that TI's set was back on!
the same with my new Squier Jazz CV. I've tried Roto's Funkmaster (30-90!) and GHS Boomers 45-105... even Harley Benton 40-95, but Thomastik won the contest.
here's the Jazz:
finger: https://soundcloud.com/pierfrancesco-san/squier-jazz-classic-vibe
pick: https://soundcloud.com/pierfrancesco-san/squier-jazz-classic-vibe-1
Yamaha:
P-PJ-J - https://soundcloud.com/pierfrancesco-san/bt01835g
just the bridge: https://soundcloud.com/pierfrancesco-san/thomastik-jf345-e-yamaha-bb415
Precision:
here is played first near the neck, then on the pickup, and in the end near the bridge: https://soundcloud.com/pierfrancesco-san/piercision-no-spugna
same, but with foam muting: https://soundcloud.com/pierfrancesco-san/piercision-spugnetta
pick, no mute: https://soundcloud.com/pierfrancesco-san/piercision-plettro-no-spugna
pick, foam mute: https://soundcloud.com/pierfrancesco-san/piercision-plettro-spugna
I know they are expensive, but really worth it. they have a nice midrange and "woody" sound. other flats I've tried tend to become too dark, and all you get is a dull sound, without any kind of sustain.
maybe this will help you chose
my assembled Precision has them on since march 2011... I've tried to change them several times, going back to rounds, or trying other flats, but after acouple of days, that TI's set was back on!
the same with my new Squier Jazz CV. I've tried Roto's Funkmaster (30-90!) and GHS Boomers 45-105... even Harley Benton 40-95, but Thomastik won the contest.
here's the Jazz:
finger: https://soundcloud.com/pierfrancesco-san/squier-jazz-classic-vibe
pick: https://soundcloud.com/pierfrancesco-san/squier-jazz-classic-vibe-1
Yamaha:
P-PJ-J - https://soundcloud.com/pierfrancesco-san/bt01835g
just the bridge: https://soundcloud.com/pierfrancesco-san/thomastik-jf345-e-yamaha-bb415
Precision:
here is played first near the neck, then on the pickup, and in the end near the bridge: https://soundcloud.com/pierfrancesco-san/piercision-no-spugna
same, but with foam muting: https://soundcloud.com/pierfrancesco-san/piercision-spugnetta
pick, no mute: https://soundcloud.com/pierfrancesco-san/piercision-plettro-no-spugna
pick, foam mute: https://soundcloud.com/pierfrancesco-san/piercision-plettro-spugna
I know they are expensive, but really worth it. they have a nice midrange and "woody" sound. other flats I've tried tend to become too dark, and all you get is a dull sound, without any kind of sustain.
maybe this will help you chose
On the round wound front, I'm still lovin' the balanced tension D'Addario XL's. I never thought a .145 B string could sound this good...
A .145 B string? How do you get it through the hole of the bridge? I had trouble with a .128 LaBella flatwound.
Back at the beginning of November I ordered 3-tone Sunburst VM Precision 5. It arrived a week ago so today I went and picked it up. I haven't spent any time with it yet but quickly checking it over after I unpacked it, seems like a nice bass for the money.
The first thing I'm going to do is install a new set of GHS Precision Flats 45-126 on it. I don't plan on giggin' this bass, but hell stranger things have happened.
Photos coming.
TD
The first thing I'm going to do is install a new set of GHS Precision Flats 45-126 on it. I don't plan on giggin' this bass, but hell stranger things have happened.
Photos coming.
TD
I took a chance and purchased one last week with the Musician's Friend discount and got one cheaper than the listed used price. I really wanted a 3ts but was afraid of it being uneven like some I seen, so I went with white.
I'm really starting to warm up to the idea of selling off my other basses to fund a nice home digital art studio. The VMP5 came in and I haven't picked up my Stingray 4 or bart warmoth 4 in over a month. I think it could be "the one"... disclaimer: I do have american fender pups and completely replaced pots and tuners in it.
Went to a friend's house to track some bass parts on Saturday. This is the guy who bought my 3TS...
We had so much fun comparing the three basses on hand (his 3TS, my Oly White, and my Dingwall), that we barely had any time left to work on his project.
Interesting to see how differences that matter to the player, can mean so little in the mix.
My white P5 is set up to within an inch of its life with BT strings, filed nut, all measurements to Fender specs, fancy tuner and bridge upgrades, and pickups balanced for level using a VU meter. He spoiled the setup on his 3TS trying to find an action height that he liked. It had a well-worn, mixed set of OEM and DR Dragonskin strings on it. My ABZ was wearing a lightly-worn-in set of the new Dingwall nickel rounds, which are a little heavier than the OEM SS strings.
My P-bass was much easier to play than Emmanuel's. The Dingwall was even easier, had a more even tone across the fretboard, sounded more articulate in the low register, and added some grind and growl compared to the two P's. It also sounded a little too mid-forward (this was with no EQ or compression on the tracks).
Playing back the tracks solo'd or in the mix, the differences between the two P5's was minimal. The Dingwall was easy to recognize, thanks to the more modern tone.
Just for fun, we re-tracked it with a touch of EQ (a broad push in the low mids and a touch of mid scoop around 800Hz), and the end product sounded EXTREMELY close to the P5's in the mix.
Disclaimer: As always, the biggest factor is the player. After cutting some tracks on one of the songs he's working on, we both agreed that the best combo was my Dingwall...
...with Emmanuel playing it.
My conclusion after extended listening tests in Pro Tools, using expensive monitors and a high-end recording interface: make sure that you spend more time on your music education, than you do on choosing your basses.
We had so much fun comparing the three basses on hand (his 3TS, my Oly White, and my Dingwall), that we barely had any time left to work on his project.
Interesting to see how differences that matter to the player, can mean so little in the mix.
My white P5 is set up to within an inch of its life with BT strings, filed nut, all measurements to Fender specs, fancy tuner and bridge upgrades, and pickups balanced for level using a VU meter. He spoiled the setup on his 3TS trying to find an action height that he liked. It had a well-worn, mixed set of OEM and DR Dragonskin strings on it. My ABZ was wearing a lightly-worn-in set of the new Dingwall nickel rounds, which are a little heavier than the OEM SS strings.
My P-bass was much easier to play than Emmanuel's. The Dingwall was even easier, had a more even tone across the fretboard, sounded more articulate in the low register, and added some grind and growl compared to the two P's. It also sounded a little too mid-forward (this was with no EQ or compression on the tracks).
Playing back the tracks solo'd or in the mix, the differences between the two P5's was minimal. The Dingwall was easy to recognize, thanks to the more modern tone.
Just for fun, we re-tracked it with a touch of EQ (a broad push in the low mids and a touch of mid scoop around 800Hz), and the end product sounded EXTREMELY close to the P5's in the mix.
Disclaimer: As always, the biggest factor is the player. After cutting some tracks on one of the songs he's working on, we both agreed that the best combo was my Dingwall...
...with Emmanuel playing it.
My conclusion after extended listening tests in Pro Tools, using expensive monitors and a high-end recording interface: make sure that you spend more time on your music education, than you do on choosing your basses.
Is anyone else using this bass with a set of Chromes? Successfully?
I put a new set on it this weekend, and the B just thuds, with less sustain/volume/tone compared to the rest.
Dead string? Or does the bridge not like the fat string or something? This is my first time with flats, first time using a B this thick, potentially first time getting a dead string in a pack, so I'm confused.
I put a new set on it this weekend, and the B just thuds, with less sustain/volume/tone compared to the rest.
Dead string? Or does the bridge not like the fat string or something? This is my first time with flats, first time using a B this thick, potentially first time getting a dead string in a pack, so I'm confused.
sounds like a dead string, I have had Chromes on mine for 2-3 months and the B-string sounds fine
Were you having problems going in, or when you got down near the ball end?
On all strings, I like to put a mild bend (maybe 30 degrees at most) about a 1/2" in from the end. Especially with bent-plate bridges, it makes it easier to thread the strings over the saddles.
At the ball end, the D'Addario .145 was a little tight going through the hole, but not enough that I felt any need to drill or ream the hole larger. The section where the string end is tied off at the ball end, was also a little long. I was wondering if I would be able to get a proper break angle over the saddle.
Thankfully, it needed the saddle moved forward a little in order to get proper intonation, so everything fit AOK.
Photo of D'Addario .145 B string on stock VM Precision V bridge.
As you can see, if it had needed the saddle moved back just a little for intonation purposes, the stiff part of the windings would have interfered with the break angle over the saddle.
If that had been the case, it would have been necessary to drill new holes for the mounting screws a little further back, and relocate the bridge.
As you can see, if it had needed the saddle moved back just a little for intonation purposes, the stiff part of the windings would have interfered with the break angle over the saddle.
If that had been the case, it would have been necessary to drill new holes for the mounting screws a little further back, and relocate the bridge.
On an impulse, I picked up a Snark Mini with my last string order. Worked fine on my electric guitar and on the Dingwall. Didn't work worth beans on the Squier- it had trouble picking up the A and E strings, never mind the low B.
We're in a bit of a deep freeze up here at the moment, and the neck was staring to show a touch of fret sprout thanks to the low humidity.
I prefer the feel of a thin satin finish anyway, which led me to wondering if the thick, glopped-on poly on the P5's neck was impeding the operation of my new $13 tuner. I also wanted to clean up my touch-up job from the Ultralite installation. So, I grabbed the sandpaper, and went at it.
Satin back/gloss front seemed like the way to go. I used 320 grit and a sanding block initially, avoiding the decals on the back of the headstock. This revealed a lot of high and low spots, particularly around the edges of the heel and headstock. Even gentle sanding released a strong solvent smell, so it may be that the poly is continuing to shrink and harden. This would also contribute to fret sprout.
I was able to knock back the high spots and still leave a level satin finish with no rub-through, even after sanding out to 1200 grit.
Cosmetically, sanding spoils the "maple under glass" look on the back of the neck. You also have to be very careful around the decals. Even a couple of light passes at 800 grit to knock off the gloss in that area, was enough to fade the serial number noticeably.
Still, the neck feels much better under the hand, and the back of the headstock looks better now that the dents from the old tuners are minimized. I'll need to wait a day or two to see what happens after the strings settle down again, but it sounded noticeably brighter and more complex after I strung it up. Ironically, the Snark works better, too!
We're in a bit of a deep freeze up here at the moment, and the neck was staring to show a touch of fret sprout thanks to the low humidity.
I prefer the feel of a thin satin finish anyway, which led me to wondering if the thick, glopped-on poly on the P5's neck was impeding the operation of my new $13 tuner. I also wanted to clean up my touch-up job from the Ultralite installation. So, I grabbed the sandpaper, and went at it.
Satin back/gloss front seemed like the way to go. I used 320 grit and a sanding block initially, avoiding the decals on the back of the headstock. This revealed a lot of high and low spots, particularly around the edges of the heel and headstock. Even gentle sanding released a strong solvent smell, so it may be that the poly is continuing to shrink and harden. This would also contribute to fret sprout.
I was able to knock back the high spots and still leave a level satin finish with no rub-through, even after sanding out to 1200 grit.
Cosmetically, sanding spoils the "maple under glass" look on the back of the neck. You also have to be very careful around the decals. Even a couple of light passes at 800 grit to knock off the gloss in that area, was enough to fade the serial number noticeably.
Still, the neck feels much better under the hand, and the back of the headstock looks better now that the dents from the old tuners are minimized. I'll need to wait a day or two to see what happens after the strings settle down again, but it sounded noticeably brighter and more complex after I strung it up. Ironically, the Snark works better, too!
It's official: now that the strings have had a chance to settle down, and I've continued doing A/B comparisons between the P5 and my other basses, I can confirm that thinning out the finish on the back of the neck has changed the tone, making the top end sound brighter and more open.
The neck is definitely more resonant as an assembly. This is confirmed by the fact that my Snark clip-on works better than it did with the full-thickness gloss finish. Perhaps best of all, the slight dead spot on the G string seems to have finally retreated.
I'm happy with the change. The neck feels better. I like the extra zing, yet the overall tone is still full, dark and thick, like a P-bass should be.
The neck is definitely more resonant as an assembly. This is confirmed by the fact that my Snark clip-on works better than it did with the full-thickness gloss finish. Perhaps best of all, the slight dead spot on the G string seems to have finally retreated.
I'm happy with the change. The neck feels better. I like the extra zing, yet the overall tone is still full, dark and thick, like a P-bass should be.
