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To second Beedster's excellent points... As someone who has bought a neck without tuners (funnily enough exactly the same neck as you are selling - lovely neck if you like em chunky, ) I would not do it again as it is indeed a pain and quite an expense to get it sorted and even after measuring the holes I had to add some plumbers tape to get them to fit snugly. Even if you stick some bog standard ones on, it makes it something someone can use straight away and wait until they find better tuners if they want.

This would be a lot of fun to play live

It Wasn’t Me - Shaggy

Blame it on the Boogie - Jackson 5

Oh man you are looking sooo good, I hope you have more photos of yours!

Bang and blame - REM

Bang Bang (my baby shot me down) - Nancy sinatra

Ive found cheaper wall hangers do the job just fine mechanically but the rubber/foam can stain necks and leave very stubborn residue, that is all I'd be cautious of

Love me two times. The Doors

I got it last year. It is really good but I do find that it really smears the transients of a hit. So I have kinda stopped using it because I found that it makes whole kits sound lifeless when all the close mics have Silencer on, so I end up reaching for a sample or transient designer when I would rather not to beef things back up. THR Debleed does the same function but is better because there is a look ahead function so more of the original transient comes through. Though it is very much a Silencer rip off. https://thraudio.com/products/debleed/ For blatant ‘cheating’ try Acon Digital. Remix for £26. It is an ‘AI’ plugin that identifies snare (or Tom, kick, hi hat etc) hits, and you can essentially just reduce cymbal bleed without ruining the drum transients. https://www.pluginboutique.com/product/3-Studio-Tools/72-Utility/11190-Remix Acon Digital also do their own gate called Debleed for £50 but the remix plugin does the same and is cheaper. I am sorry to say I have spent more time mixing drums in the last year than playing bass.

I find with mics it's not just the source but the speakers/desk you put them through. If the speakers are weak around a high crossover point then they won't play nicely with a mic that has a presence lift in that same region. The first time I put an SM58 through actually good PA years ago was eye-/ear-opening. Now I mostly have Shures because they are safe and between SM57/SM58/Beta 58/SM86 there's enough to cover most preferences. I also think there's a place for the cardioid SM58 in a time when most mics are super/hypercardioid. Problem with the latter is the bass proximity effect is just too much; a lot of singers I can't use eg a Beta 58 on because of this. Interested to try the e935 as a cardioid, but I never liked the scratchiness of the e835. Another issue that works against SM58s apart from fakes is that they don't die per se, but they can degrade, so if you've only used old knackered ones you view them dimly. My own favourite live is the SM86. Not as famous as its dynamic sibling but it's great - lots of the good points of the 58 with the added clarity of a condenser. I greatly prefer this to most dynamics on a good female vocalist and on my own rather weak voice.

Good Morning Good Morning - Beatles

Rise & Shine - The Cardigans

This video turned up on YouTube yesterday. A good 45-minute watch... "Often Imitated, Never Duplicated: The Richard Tee Story".

Got to be honest, most of the information shared is way over my head 😄 I never knew it would be so difficult to fit new pickups 😄 Is there a stereo output jack you can order separately that would fix the issue? If so, please share a link

Get Up, Stand Up - Bob Marley