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Because you could is a great excuse and one I hope to use one day. If the sound isn’t there, maybe it could benefit from a pickup rewind?

Taking things up Just saw a video of the Bass Press pédale Soul Press II sound the same ? Anyone ?

It's so ridiculous that it has to be true. Presumably he didn't understand how to use an allen key.

After multiple layers of seafoam green and clear coat I was ready to apply the decals Laser cut the pickguard and engrave the flame logo.fille dit in with white acrylic paint. And mounted all the hardware

Sorry I didn't make it, was feeling knackered after a fairly busy week. I haven't quite got round to attacking the plywood with the circular saw yet, although the battens are cut - does that mean I should cut the panels as originally sized, or would the new panel dimensions work with the old batten dimensions?

The closest would be the 6150 (0.105 x 0.042) Anyway: here's mine. A 1966 P-bass that has been carefully played by the first owner (I'm the 2nd). Not babied, but you notice it came from someone who took care of it. 5MAY66C, pots from week 23 1966 (2nd week of June), and greybobbins from the 19th of September of that year. It's not the best sounding or playing P-bass that had the misfortune of being the subject of my grubby hands. It's very distinctly indistinct, as it's one of the thousands that were spewed out of Fullerton that year. It's not a bad instrument at all, but it's nothing mythical. I dare to argue my American Original '60 is, objectively spoken, the better instrument. The '66 has a thinner neck, which feels a bit more relaxed. But apart from that: It does exactly what you would expect from a P. Then why?!? Because I could. (and because it doesn't have a deadspot on the C#).

Filled the little gaps underneath the frets with a paste of ebony sawdust and titebond. [IMG size="1067x800"]https://www.brooksbassguitars.com/uploads/1/3/3/7/13376708/brooks-tb-12-sf-filling-fret-gaps_orig.jpeg[/IMG] [IMG size="1067x800"]https://www.brooksbassguitars.com/uploads/1/3/3/7/13376708/brooks-tb-12-sf-inlays-done_orig.jpeg[/IMG] And shaped the neck profile some more [IMG size="600x800"]https://www.brooksbassguitars.com/uploads/1/3/3/7/13376708/brooks-tb-12-sf-shaping-neck-profile2_orig.jpeg[/IMG] After I was done with shaping the neck and headstock I glued the body wings to the center piece. Could have left it there and call it the Bo Diddly Bird. But no. Cut out the rough outline prior to routing along the template of the body shape Then routed along the template Voila! It's a Thunderbird Rounded off the edges Routed the controls cavity And the profile for the cover Drilled the holes for the potentiometers And the output hole on the side of the body Routed the pickup cavities Squared the corners with a chisel Made a tummy cut with the shinto rasp Ready for the lacquer process Seafoam Green is a difficult color to catch on camera

I've got a Z3 4 string and I would say that for £400 it's pretty stunning value for money. Plays like a proper bass, sounds like a genuine old Stingray. The only things to note are that the neck is more like a P Bass than a conventional Stingray profile, and that ultimately the price probably puts limitations of the long-term durability of some electronic componants and controls. For £400-ish though it's a great proposition. Were it not for the complicated situation with my haemorrhoids keeping me at home nowadays I would definitely gig my Z3 down the Dog And Duck in preference to my more valuable basses. Sounds just as good as an expensive bass and eliminates any worries about getting damaged or stolen. Mine weighs 9 pound 3oz, so decent managable weight for a Stingray-style bass, too. A very useful and enjoyable instrument.

Prepared the neck blank for glueing up the fretboard. Made these half round cut-outs to make some room for the band saw And after I had cut off the excess at both sides of the neck, I prepared it for the actual glue-up Using a staple to prevent the fretboard from "swimming" sideways when clamped. Fretted the ebony fretboard. No inlays this time Used the trusted method of clamping with strips of inner bicycle tubes: Let it det and dry for a couple of hours. And then started to shape the neck profile. I use several tools for that: shinto rasp, rounded coarse file, scrape steel and strips of sandpaper. Drilled the tuner holes And cut out the headstock shape Drilled the holes for the sidemarkers Glued in the luminlay (glow-in-the-dark) dots.

The neck blank is a nine-ply construction of mahogany/khaya and walnut strips in between. This combination makes it very stiff and consistent already. I started with the reinforcements in the neck. Routed the slot for the carbon strip in the middle Then routed the slots for the two spokewheel truss rods Taped off the edges where the fretboard will sit. And then shaved/planed the part where the body wing will be glued in an angle to have the neck a perfect pitch. And at the other end of the neck I cut off the headstock angle. And planed that nice and smooth As you can see the truss rods taper a bit following the taper of the neck. Narrow at the top nut and wider where the neck meets the body. I glued in little pieces of mahogany where the spokewheel part lies a bit deeper

New Brooks offspring was born last weekend! It's a twelve string bass and we call it: TB-12-SF Specifications: - Khaya Mahogany body wings - Nine ply Khaya Mahogany/Walnut neck. Neck through - Seafoam Green high gloss finish - Ebony fretboard - Luminlay side dot inlays - Jumbo frets - 34" scale - Buffalo horn nut - Three ply black/white/black pickguard - Custom made twelve string bridge set - Two spokewheel double action trussrods - Carbon reinforcement strip in the neck - Lace Alumitone Bass Bars - Controls: Volume Volume Tone - Gotoh GB 350 lightweight bass tuners - Schaller GrandTune octave tuners - Pure Tone Multi Contact jack output - Schaller S-lock strap buttons - d'Addario EXL 170 - 12 strings - Weight: 4.5 kg I'll share the build process in separate posts below.

If the lesson delivers what you have asked for, or if the lesson has addressed an issue the teacher has highlighted (mine was muting when I took lessons - Gareth Morgan - top bloke) then it’s a result. If you find yourself wanting something more, you need to raise the issue. If they then avoid the issue, it’s time to move on.

The first complete dickhead gentleman who I sold it to complained that the action was too low and returned it on that basis ..........

I've had this as an earworm all day and can't for the life of me remember what it's called. I'm fairly sure it must be by some mid-Sixties quintet or bigger band, someone like Herbie Hancock / Wayne Shorter / Joe Henderson / Freddie Hubbard, but I've had a scan of their likely-looking albums on Apple Music and not come up with anything yet. This would be the A section, it does something else after that that I don't recall. Anyone recognise it?

I have this stunning Maruszczyk, which has always looked amazing but now plays amazing thanks to @Manton Customs 🙂

That's Pwopa Tasty!

That bass is so beautiful I actually find it quite upsetting.

And here it is......

My BB2024X (maple board unusually) was one of the best basses I've owned also. Oddly I never gigged it, always picking up Fenders. If I had one now it would probably be staying and doing a lot of gigs 👍

The man whose head expanded - The Fall

I'd be a liar if I said that purple/black colour scheme was my cup of tea, but I'm sure to be in minority (probably of one) on that, and may you both enjoy your new Spectors a lot. More's to the point, I'd be very interested in the fullness of time to hear about any perceived differences in sound and overall feel between these new S.E versions and previous offering with the Caribbean Burst and maple board.

Welcome. Im glad you found the forum. Im sure you'll get some responses about lessons along the way.