Lfalex v1.1

Haven't played an NXT, but I have an NS5 CR. Excellent in terms of playability and the EQ is excellent. Does it sound like a DB? Not perhaps as much as you'd like. More like a very mellow giant fretless, but it still has a nice "voice"

Is that some obscure Harry Potter reference? Lots of stick waving in that, too...

I don't think I thought it'd be easy, but it does some things so well. And that tone! It makes me think about what I'm playing. And it makes me consider theory when I haven't got it to hand- thinking about tunings and the like; I thought DBR played "uncrossed" might help me replicate the role of a bass better, but I couldn't tolerate the virtual redundancy of 4 of the strings. Even if it were tuned CGDEABF# , What would the other three do even if tuned in ascending fifths? I think my ideal instrument might be an SB8 (the carbon one) tuned FCGDEABF#, so eight strings, parallel 4ths. At the moment, I'm working on ideas for an adapter plate so I can mount it on the stand from my NS5 CR EUB.. That's what I like about the Stick. It makes me think.

😂 I'm sure that's probably infringed some form of trademark ™

Lots of interesting thoughts and questions coming to the surface! I'll chip in what I've gathered so far! I think the bridge design is a function of the need to cram a lot of strings into a narrow overall width while still offering adjustment for height and intonation. One benefit is that saddle height can be tweaked without tools. It's interesting to note that the Kahler bridge on my Vigier is like a bigger version.. I believe that the Stick should be as flat as possible, and that the action should be as low as possible- both to facilitate ease, speed and fluidity of play. Mine (Rosewood) seems to need very little tweaking. In terms of a stand, I've seen modified cymbal stands used. Maybe a modified NS upright stand would be good. I think I'd try to make a snug-fitting pocket for the belt hook to slot into, so it could be played either way without too much fiddling about. Could the stick be improved upon? I'm not sure! Mass-production would undoubtedly make them cheaper and therefore more accessible, but I get the impression that Emmett has evolved the design considerably over the years due to his own desire to perfect the instrument, and I get the impression he's responded to a lot of feedback from players. As for various playing styles, there are quite a few around that definitely don't adhere to the prescribed method! Tony Levin often turns down the melody side and uses both hands on the bass side (as previously discussed) I gather Mike Oldfield has just used a plectrum as per a regular guitar. Some (apparently) play percussively (slap?!) I find playing "uncrossed" liberating when duplicating regular bass parts as my hands don't collide! I might look into open tunings for the melody side- would a slide work, I wonder?

I couldn't tell it was Railboard from the photos.. I know exactly what you mean about the business with the left hand being entirely familiar (apart from the tuning), while the right hand is somewhat lost! That's one reason I went for Matched Reciprocal tuning.. it felt more familiar on the treble side. I think mine is still running too much relief and that the action is still too high. I think a really good set-up will pay dividends, but I just haven't had the time.. It's not as though it's unplayable.

Heavier? Mine is remarkably light! (Well I think it is!) It never ceases to amaze me how that tone can emanate from something so relatively lightweight. What's yours made of? It looks quite different to mine (in terms of wood)

Well done! You got one! How're you finding it?

That's either the best typo or auto-correct ever! I shall never call them Overwaters again! 🤣

I think the reason for people selling such customs on is that the disappointment factor is enormous. People become very invested (and not just financially) in instruments they specced themselves. When said instrument fails to live up to the hype, they simply can't face any more messing around. They just bite the bullet and move it on. I'd never buy another custom. They've been the most irritating experiences in my playing history, apart from band politics.

I've had two custom builds from highly regarded UK builders. One wasn't built for me, but was purchased after I tried it and liked it. Then I found it had some niggles that irked me, so sold it on at a big loss. The second I ordered. A custom variant on an established design. (Different electrics etc) On paper, it was great. In practice, it was just SO soulless and dull. Initially, it was good, but as time passed, the Sonic niggles came home to roost, plus my sweat ate the fretboard... Maybe I've been spoiled by having owned (and still owning) some lovely basses. That said, I was perfectly happy with a boggo US Fender jazz. It just sat right, felt right played well and sounded ok. I think the thing with custom items is that the builder builds their interpretation of what the customer specifies. As such, they do what they were contracted to do. Those of us with the skill might be better advised to build/assemble their own and then iron out any wrinkles as they go along.

No experience of either, but the Duff must surely have more tonal options. If versatility is what you're after, I guess the Duff is the way to go.

I'd wanted one for years. Then it came about by pure chance that one was available and I jumped at it.

Does this count? Just one big bit of Rosewood.

Thanks. I rather like the look of these. Has many features that I favour; Mid + frequency sweep, series/parallel/single coil switching. Even the aesthetics and construction don't seem too bad, especially at the price.