The LPJT has a single, massive humbucker with a coil tap plus a single tone control, which tells you pretty much everything you need to know about the tone range. Of course, that’s exactly how a lot of instrument potentiometers used to work back then. The vintage aesthetic goes as far as the set neck joint, rarely seen these days, and the two plastic tone and volume controls, numbered one through 10.Ī minor complaint is that they feel a touch insubstantial, given the cost of the bass, and also that most of their effect suddenly rolls on after you reach eight. Instead, it’s a relaxed shade of cherry that allows the feel of the lumber grain to come through. The body itself is authentically retro Gibson describe it as having a ‘worn’ finish, but this shouldn’t be construed as meaning relic-ed or with chunks taken out of the paint. ![]() As for the bridge, this is a weighty unit anchored to the mahogany body with three chunky bolts, as opposed to the usual tiny screws that you instantly lose behind the sofa when you take them out. Those tuners may look like the machine heads from that cheap bass you had at school, but they’re deceptive smooth, silky Hipshot units, they move fast and feel solid.
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