Vintage bridge saddles adjustable ribbed. Rustic but effective.
Channel width (45mm at nut almost) gloss classy, correct thickness.
20 frets thin.
Settings "plug and play" is known: one volume, one tone, a microphone, a sound!
I love the handle off the P-Bass, more space is better I feel, for walking, chromatic descents. The varnish is a treat, this bass really has the "mojo"!
Nothing to say, the body shape is well worked and fairly light weight! It's perfect!
Access to acute correct, this technicality is laughable, it is not there to do hands tapping at 9!
The sound is achieved very simply: it does everything thoroughly! You can cut the tone for the most serious way felted Beatles.
The frank and direct this instrument is its major asset (a problem for others).
I tested a lot of low mid-range in recent years in view of its 60/70 very marked by the use of sets of strings spun dishes. After a Warwick Corvette, a G & L L-2000, two U.S. and Mex Jazz Bass, a Yamaha BB, I have assembled a first Precision history test the timbre of the instrument: black solid alder body, Mighty Mite neck, Seymour SPB-1, chrome cover on the mic and go! It was a revelation, the whole rhythm was taken by the insolence of micro fat split! So naturally I set my heart on a Fender bass that incorporated the characteristics of low I meeting, namely: a large maple neck and radius almost flat, a single microphone "splitted coil" that "thump" (severe pounding, what!) a body in the tradition of early Fender and color that dazzles the single "Fiesta Red".
For sounds, you should know that I try to stick to sound as blues-rock-soul funk oldschool: Led Zep, Pink Floyd, Hendrix & Noel Redding, James Jamerson, Wilton Felder, Chic, Kool and the first Bar- Kays, all that is Stax Volta, as well as newer groups like CAKE or even the group behind Amy Winehouse! All these groups have in common bass combo + vintage typed Flatwound (set of string-net flat).
I play consistently enough on a 100w Ashdown at home, repeating on Hartke (beurk!), Ampeg, Peavey ... Suffice to say that whether an amp in the same vein rather an Ampeg with three buttons: bass, mids, treble, send it weighed!
Finally, the game is excellent on the finger but it also shines with a pick. The original microphone is quite honest, in fact as much as my SPB-1.
I met her yesterday on the side of Pigalle, she had a little pink thigh (red, whatever)! I tried, I was chilled ... I imagined the consequences of such a carnal madness: my banker who wants my skin, the package of pasta with salt. Gerard advised me to "think about it, sleep on it". In fact, I had already acquired three quarters!
I returned the next day, decided (with its disadvantages, to achieve reselling stuff for pay) and I cracked.
There is nothing I hate about this bass: it was the branch and direct sound, no frills. I use no effects, I hate complex equalizers. That's why I think a combo Ampeg marry beautifully to turn in bars (my target cover band). No frills, it is not in his Jazz Bass "dug" and medium: the research for her in the side is in serious serious accuracy. It's heavy and "woody."
I would do this choice: the neck is wonderful, the beautiful colors and varnishes. I must say it is a surprise, a huge surprise for the Jazz Bass 60 'disappointed me a lot. I also tried the new P-Bass "New Mexico standard" maple fingerboard: nothing to finish level, even if both are successful. I prefer the classic gloss lacquer 50.
The price / quality ratio is excellent (as it is between 680 and 800 €), many of us proclaim it over a lot of her fellow yankee made 80km across the border!
It is said that the violin is American and assembled in Mexico. TBC!