It’s no secret that the most revered bass tones on the most revered records come from early Fender Precision Basses. Because of this, manufacturers over the past several decades have made many attempts to bottle that lightning, often adding specific details to meet contemporary popular demands. I’ve personally had the luxury of being surrounded by the classic originals, and over the years I’ve found that it’s difficult to find the perfect instrument. I’d often think to myself, “This would be perfect for me, if. . .” which makes sense, as the electric bass in the 1950s and ’60s was still in its infancy. The beauty of having so many luthiers attempt to reinvent the wheel is that you are able to see their passion and skill come to life, improving some aspects of the great template Clarence Leo Fender laid out for them. In many cases, it’s like when Apple comes out with a product that you didn’t think you needed, until you have it in your life.    Enter New York Bass Works (NYBW), the brainchild of David Segal, gigging bassist, engineer, and lover of vintage basses. I had the pleasure of talking to David about the evolution of his career as a bassist and builder, and I was impressed by his knowledge of what makes these cherished Fenders so sought after, as well as his insight on a granular level. As a gigging bassist, he was also able to zero-in on what limitations they bring. His experience and passion are immediately evident in the RS4-P, NYBW’s modern take on the Precision Bass. My first impression of the bass was comforting. The elegance in design is as much in form as it is function. The shape is familiar yet unique, and rife with details that let you know this machine is not a slap-dash, uninspired P-Bass copy. The slightly elongated horn for balance, pristine finish, easy-access truss rod, and deeper treble-side cutaway (for painless upper-register access) were encouraging. Playing a bass acoustically first is the fastest way to get to know its prowess. You can get a sense of the build quality, resonance, and versatility without plugging it in. The first note I played after unboxing the RS4-P immediately reverberated to my bones and sparked joy. Every note was clear, balanced, and full of life — bringing to mind a bass that has been played religiously for decades. The compound fingerboard radius made for smooth playing and effortless creativity. The balance was perfect, as it floated on my lap. I plugged the bass into a Bergantino Forté D head and NXV 1x12 cabinet, with the EQ flat. To add a bit of color and harmonic content, I turned the amp’s drive contol up slightly, mimicking the flip-tops we’ve all come to love over the years. Holy shit — what a combination! The combination of NYBW’s “59” pickup (engineered over years of trial-and-error to nail the sweet sounds of a ’59 P-Bass that slipped through David’s fingers), the Emerson 250k pots, and NOS caps all work together to make an idea