Kiwi

PEEK (composite) fingerboard - no charge MOP or abalone dots - no charge Luminay side dots - free for the first batch of orders (normally £10) fretless - free for the first batch of orders (normally £60 for lined, £45 for unlined) Block inlays - £65 Wood fingerboard (Indian rosewood, salvaged Indian ebony, or African wenge) - £75 other woods may be available on request. Figured wood fingerboards (e.g. flamed or birdseye figuring) - £POA depending on availability

Hey Roger, I would have to investigate what prepaid duty options are available with the courier given the tariff situation. @thevintagebassist have you had any thoughts about options e.g. wooden fingerboard?

Have you checked how many files you've uploaded? You might be hitting the buffer for storage.

Update time: Necks are built and now just waiting for the logo decals before the final coats.

@Al Krow is this the correct thread?

Wow, that would be something! If I can sell 24 necks before next August, it'll set things up nicely for the following 12 months

About 6-8 weeks to get to the point where the website can be started, depending on build time for the sample necks

Haha, I suspect the reality may not live up to the hype! I will share the story about the origins at some point but at the moment it's too early and there are certain confidences I have to respect until order volume hits a certain level of consistency. Nothing dodgy, it's just that when business partners see volume, it can help provide them with some certainty that I'm not going to waste their time. Then I can formalise some key business and logistic arrangements. Once I have samples of the 5 initial neck types (JB4, PB4, SR4N, SR5N and headless 4/5) then I'll get a website set up. Once that goal is realised, I can start working on promotion in earnest. For now, the PB4 and SR4N moulds will be next after the SR5N and I'll need to test fit all the models to check measurements are within acceptable tolerances (and this could involve further development if not quite on point despite best efforts). The neck I'm looking forward to the most is the SR5N. The Musicman Cutlass basses I owned more or less set the bar for tone and a five string version of one of those, with an adjustable neck, would be something exciting for me.

"Dust. Anyone? No? Dust. Anyone? No? Dust. Anyone? No? High in fat or low in fat?" "That's right, it's low in fat which means you can eat as much dust cake as you like! And we all like a bit of cake, don't we? I know I do..."

Update: All five necks have been constructed. They are being prep sanded this weekend. Clear coating will begin this week.

Most of the time its about surviving the night with as few screw ups as possible.

It's nice to feel someone understands that situation! His songs are like progressive blues, more than the blues most of us would be familiar with.

Hate depping, was traumatised by a stressful experience sitting in with a blues band that played Robben Ford songs. They weren't straight forward I-IV-V songs, they had sudden key changes, stops and starts and changes in time signature. I had two weeks to learn 14 songs along with all the little details that they contained and barely managed to keep it together. Didn't manage to screw up enough to stop the rest of the band from playing or miss a key but it was a struggle. The band were really kind but I'm no Lee Sklar sitting in with Toto.

If your 89 SR4 has a birdseye maple neck, they're fairly sought after due to coming from a time when EB was trying to re-establish the brand and when they weren't being charged any more for figured maple neck blanks compared to plain maple. Not sure if that helps you reach a decision one way or the other but it comes from a good period...unlike the pre-sale-to-EB early 80's rays which were a bit of a crap shoot for body woods.

Update: This weekend the mould for a SR5 neck with a 42mm wide nut will be constructed. Neck heel will be 68.7mm wide @ 21 fret and 28.4mm deep. Initially the neck is for myself, a sample for marketing so it'll feature some custom options such as inlays, rosewood fingerboard and maybeeeeee fingerboard binding. No fretboard extension though because of the capstan truss rod adjustment.

Yes, exactly.

The mould has been made and the first layers are being put down...I would share a photo of the first neck in a vacuum bag but it's not pretty.

Well, baby steps for now. We are still establishing but none of it would be possible without the trust of those who put deposits down for the first batch of necks. So Im incredibly grateful for their support. I'll find a way of better recognising them at some point.

Thanks for the mention!

Weve got a set of measurements now and will begin the mould making this week.

I'm a teacher, I have to manage no end of annoyances with near heroic levels of self control. Repeated bad aim at the urinals for example ("Stand closer! They will not bite you.") and a lack of familiarity with western toilets ("We don't squat on them. We sit. Yes, sit! ... Well don't use them then."). Bass stuff is a walk in the park by comparison.

I would expect the weight of JB4 and SR4N string necks to be relatively close to one another.

I need a set of measurements from a 4 string jazz bass neck just to check against the 3D model. Can anyone provide widths at nut, 12th fret and20th fret? Likewise depth of neck at nut, 12th fret and end of the neck heel? Also length of heel to the start of the shoulder?

It's a difficult question to answer without speculating. A hollow monocoque neck (like the design of Auerswald) can be made strong enough to resist string tension without core material or truss rod. But hollow construction can introduce resonancy peaks. which may or may not be welcome. Those peaks can be also managed by choice of core material or the use of outboard eq. The more solid (and denser) the material, the less pronounced the peaks are and the more easily an instrument can adapt to different musical situations and sit in the mix. But solid necks do tend to weigh a bit more. There is a school of thought amongst luthiers with very traditional approaches that a guitar neck has to be just stiff enough to resist string tention, and if it's too stiff it will reduce midrange and warmth. I've realised over the years that basses featuring multi laminated necks tend to sound very similar to one another once there are more than 7 laminations. Status experimented with different core materials and (I think) their Stealth II basses had epoxy foam in their monocoque construction to dampen certain resonances in addition to fingerboard choice and selected weave orientation. One thing I've noticed with my Status bass is that it still sounds like a Status regardless of what electronics are installed! Yes! That's the reason why wooden fingerboards are an option. They provide some dampening of the higher frequencies. Plus it's possible to investigate wood options for dampening properties more than strength so mahogany, padauk, alder and other softer hardwood species can be potentially considered too.

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