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The official "Show your basses" thread part 19!


Loved the Plasmatics/Wendy-O-Williams! :bassist: I had an art-studio when I lived in Chicago (Uptown) across the street from the Uptown Theater (a fine old ornate ballroom/theater used for rock shows then - '80s) The area was once an upscale entertainment destination for Jazz and big-band music, but in the '80s the neighborhood was very dicy - Porto Rican gangs and homeless on the street. Anyway, I happened to be looking out my second floor window when I saw a big ratty old black van pull up in front of the theater. Out comes the Plasmatics - pink, red, green and yellow mohawk's and tight leather kit. I was there for a few hours more and they came out of these small second floor balconies facing my building that must have been where their dressing rooms were. I waved to them and they waved back!

The only band since who carried a similar vibe were from the Bay Area - The Sleepytime Gorilla Museum, formerly Idiot Flesh. They put on a great show!

 
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Loved the Plasmatics/Wendy-O-Williams! :bassist: I had an art-studio when I lived in Chicago (Uptown) across the street from the Uptown Theater (a fine old ornate ballroom/theater used for rock shows then - '80s) The area was once an upscale entertainment destination for Jazz and big-band music, but in the '80s the neighborhood was very dicy - Porto Rican gangs and homeless on the street. Anyway, I happened to be looking out my second floor window when I saw a big ratty old black van pull up in front of the theater. Out comes the Plasmatics - pink, red, green and yellow mohawk's and tight leather kit. I was there for a few hours more and they came out of these small second floor balconies facing my building that must have been where their dressing rooms were. I waved to them and they waved back!

The only band since who carried a similar vibe were from the Bay Area - The Sleepytime Gorilla Museum, formerly Idiot Flesh. They put on a great show!


Their original bassist Jean Beauvoir was actually pretty clever. He was with Little Steven and the Disciples of Soul later on and had a pretty prolific career.
 
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Their original bassist Jean Beauvoir was actually pretty clever. He was with Little Steven and the Disciples of Soul later on and actually had a pretty prolific career.

I'm a big fan of SCTV from Canada in the '80s - one of m faves...

 
Recently acquired from Japan - an ESP/Grass Roots Bass IV. It was a Japanese market only model based on the early '60s Fender VI by ESP (G-T-64B IV) from the late '90s as a signature TETSUYA model - bass player of L'Arc ~ en ~ Ciel.


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So what's the switch layout? It's similar to my MIJ Jag but there's an extra light switch (4) so I'm curious.

It's a good question and through it I discovered a very cool feature to incorporate into (any) bass. So with 3 pu's, we have Neck/Mid/Bridge/treble boost. How a passive bass has treble boost is very simple and effective - that last switch by-passes the circuit and goes directly to the jack + tab - it disconnects the volume and tone control which makes it brighter and louder. (volume and tone knobs are still in effect) So, by wiring a mini-toggle similarly - you could have this real-world useable option on any (passive) bass. Pretty cool.

Oh, and the late '90s ESP Bass IV had an alder body - this one has a basswood body. (lighter and sounds great!) It was (initially) decal-badged ESP and later Edwards along with Grass Roots. I don't know this for a fact, but when ESP continued that model into the 2000's (as Edwards and Grass Roots) - they 'cheapened' it in a few ways that I have reversed since acquiring it. All the control plates on mine were mirrored plastic. (cheesy) So since parts for the Fender (and Squier) Bass VI are not currently available, I fabbed the control plate, switch-plate, and (decorative) bridge base-plate out of polished aluminum. I also replaced the (cheap) bridge, installed a bone nut (original was white plastic), added Dunlop Strap-Lok buttons, installed new D'Addario XL strings, and designed and had made custom hs decals after stripping off the 'matching' Feista red sparkle finish on the hs w/a generic Grass Roots decal. Plus, I shielded all cavities with carbon paint and covered their floors with copper tape, and star-grounding them all to the jack ground. And... I upgraded the slot-shaft pots with solid-shaft MIK (where the bass was made) pots and jack.

I highly recommend this bass (there are a few for sale on eBay from Japan). Good price, fast shipping (to CA) - a great playing/sounding bass with a lot of variety of tone. And this was a good 10yrs before Fender intro'd the Jaguar bass. :bassist:
 
It's a good question and through it I discovered a very cool feature to incorporate into (any) bass. So with 3 pu's, we have Neck/Mid/Bridge/treble boost. How a passive bass has treble boost is very simple and effective - that last switch by-passes the circuit and goes directly to the jack + tab - it disconnects the volume and tone control which makes it brighter and louder. (volume and tone knobs are still in effect) So, by wiring a mini-toggle similarly - you could have this real-world useable option on any (passive) bass. Pretty cool.

Oh, and the late '90s ESP Bass IV had an alder body - this one has a basswood body. (lighter and sounds great!) It was (initially) decal-badged ESP and later Edwards along with Grass Roots. I don't know this for a fact, but when ESP continued that model into the 2000's (as Edwards and Grass Roots) - they 'cheapened' it in a few ways that I have reversed since acquiring it. All the control plates on mine were mirrored plastic. (cheesy) So since parts for the Fender (and Squier) Bass VI are not currently available, I fabbed the control plate, switch-plate, and (decorative) bridge base-plate out of polished aluminum. I also replaced the (cheap) bridge, installed a bone nut (original was white plastic), added Dunlop Strap-Lok buttons, installed new D'Addario XL strings, and designed and had made custom hs decals after stripping off the 'matching' Feista red sparkle finish on the hs w/a generic Grass Roots decal. Plus, I shielded all cavities with carbon paint and covered their floors with copper tape, and star-grounding them all to the jack ground. And... I upgraded the slot-shaft pots with solid-shaft MIK (where the bass was made) pots and jack.

I highly recommend this bass (there are a few for sale on eBay from Japan). Good price, fast shipping (to CA) - a great playing/sounding bass with a lot of variety of tone. And this was a good 10yrs before Fender intro'd the Jaguar bass. :bassist:
Ok, that makes sense switch to pickup ratio. The Jag is 3s/2pu with the 3rd being series/parallel where yours is treble boost. That's a cool bass there. Is that normal or short scale? It appears standard scale but I can't tell.:cautious:
 
Ok, that makes sense switch to pickup ratio. The Jag is 3s/2pu with the 3rd being series/parallel where yours is treble boost. That's a cool bass there. Is that normal or short scale? It appears standard scale but I can't tell.:cautious:

Full scale. It is a very cool bass all the way around. It has a Jazz-width nut, and an interesting neck profile; V from the nut to a shallow D - I've heard of a V profiles but never played one. I dig it! The D part reminds me of my '93 Fender American Standard neck which I've always loved. I have one more mod/upgrade to do on it - the side dots are printed on (!) so I'm going to install aluminum markers. It's essential a really good bass at its core but they dd a bunch of cheap things as a cost-cutting move. Once I addressed that I'd put it up against any bass costing double what I paid.
 
Most of my sweethearts out for a twirl in the studio.

2012 Ricky
'76 P
'66 Hofner
'65 P (L Series)
'69 P

Not pictured are my Peavey T-40, Peavey Cirrus, Steinberger Spirit (modded with EMGs) and a Fugijen P copy from the '70s.

I do not understand how I've made it this long without a Jazz - never owned one. Trying to rectify asap.

View attachment 4606645


YES. Looked at the grouping and noticed that before reading the end of your post.
Those are precious P's (I have a black '78 Maple). But you deserve one good
vintage Jazz ('66 burst rosewood). I've heard the most incredible tones come
from Bacchus basses. Link Removed
But yeah, I yearn for an early '70's black Maple Jazz. Waiting for the right
opportunity and my Bass Hoarding Personality Disorder (BHPD) - You are not alone. addiction to align. BTW very nice harem.
 
YES. Looked at the grouping and noticed that before reading the end of your post.
Those are precious P's (I have a black '78 Maple). But you deserve one good
vintage Jazz ('66 burst rosewood). I've heard the most incredible tones come
from Bacchus basses. Link Removed
But yeah, I yearn for an early '70's black Maple Jazz. Waiting for the right
opportunity and my Bass Hoarding Personality Disorder (BHPD) - You are not alone. addiction to align. BTW very nice harem.
"BHPD" - that cracked me up. Stage 2 it is.
 
Most of my sweethearts out for a twirl in the studio.

2012 Ricky
'76 P
'66 Hofner
'65 P (L Series)
'69 P

Not pictured are my Peavey T-40, Peavey Cirrus, Steinberger Spirit (modded with EMGs) and a Fugijen P copy from the '70s.

I do not understand how I've made it this long without a Jazz - never owned one. Trying to rectify asap.

View attachment 4606645
sweeet!