Lfalex v1.1

From what I can recall (and it was a while ago), the chassis, which is common to all iterations, is mated to 3 different faceplates, depending upon the application; The combos (with the ventilated sections either side) The AH versions which have their own sleeve The RAH versions which have top- plates and rack mounting ears.

Bongos are Basswood-bodied, and they sound fine. It's actually quite a light, resonant wood, but (like Poplar) it's not very attractive. That's why it gets used for solid finishes.

Have you got the original bolts? I re-used those, and they were fine.

Might it have been an "RAH"? That was a rack- mountable version of some of the AH models.

I did it. Removed the head from my H122smx and built an Mdf sleeve. I also cut the amp cavity off of the resulting cab and because I'd peeled the carpet covering off carefully, it folded straight back over and recovered it. I put a terminal in the back of the cabinet and used it as a shallow 2x10 for many years without trouble. Back to the amp... I used 18mm MDF if memory serves. I cut full-width top and bottom panels, such that the end pieces would be sandwiched between them. I drilled and recessed the holes in the top panel that take the head retaining bolts before I built the enclosure. Lining them up is the most difficult part of the whole job. IIRC, I screwed and glued the head sleeve. I'd already sourced a matching (Penn fabrications) pop-out handle, rubber feet, corner protectors and carpet covering from a Maplin store... shows how long ago it was! I drilled pilot holes for everything, and amazingly it never fell apart. Good bits? It worked. I sold it. It carried on working.. It was easier to transport. The head and cab were a nice match as they were the same width. Cons? If you stood a 2x10 vertically, the head was WAY wider than the cab! And would only stand on top with the addition of extra feet (be mindful of where you position them!) No photos exist, I'm afraid. Any that might have been taken are now lost. I found 2. Both from poor quality live photos. They only show the end result, though.

(As an aside more than anything) Aren't some Musicman pickguards completely foil-lined?

Once you're in there, check the connections between the various sections inside (they're modular for ease of replacement/ manufacturing various models) They're wired together with push-fit spade connectors, so over time and being bounced around, these work loose The culprit in my SMX was the signal lead from preamp to power stage.

Isn't that some sort of heresy you've just uttered? 😉

Both at once- who needs a chorus pedal?

Ah... I tried all the holes (did I just type that in an Internet forum?) Not all at once, because the neck would fall off... If I used the upper rear-most screw, it didn't balance as well. Either of the lower screws caused what you're referencing; The top edge of the body tips away from you. Top front screw doesn't do this as there seems to be more mass slung below it than there is above it, and that prevents the dreaded tipping.

Thunderball. I don't really like Tom Jones that much, but you can hear the commitment.

Hmm. I've taken a moment. Personally, I think I'd have a switch for each pick-up, a master volume and a 3band with a sweepable mid. Hopefully, that's only a single control plus 2 stacks (B/T and Mid/freq) If there's room in the cavity, I'd have a trim-pot for each pickup to set their respective levels so that switching them in/out delivers the pickup balance you want without any nasty jumps in output. You could even have the cavity cover drilled to allow screwdriver access without taking the cover off (an idea nicked from my Hohner B2A, in which the trim pot allows passive/active level matching) This keeps the front face uncluttered, yet allows maximum flexibility. You can experiment with each individual switch to see what options you like best; All off (not sure about this one!) All on 1 2 3 1&2 1&3 2&3 Apologies if I missed any...

Top front neck plate screw position works fine for the bolt-ons. Nothing to stop you drilling a hole (!) for one of the Tokai is a neck-through.

As already posted, modding a bass might not increase its resale value, and will cost you money. However, the experience you gain from doing the work plus the satisfaction you get from (hopefully) improving something is a reward in itself. Equally, tinkering with instruments is one of the best ways to learn what you really do and don't like about a bass. This can prove invaluable when you buy your next one. (See also: invaluable haggling tool when buying a second-hand, sub-par instrument at your local Cash Converters!)

That's a good score for £240. Congrats

Nice work. Ebony is a good choice. I can imagine the R&D process being quite drawn out when the Black Olive and Malteser prototypes failed...

Yep. And Bruce Dickinson also.

IIRC, impedance varies by frequency. I'd not want it to dip too low at any point.

Currently strung with 45,65,85,105 DR Black Beauties. Tuned to DGCF (D standard), primarily because E standard gave the neck too much relief and I couldn't be bothered to tweak the truss rod. Besides, it sounds lovely tuned down, so I left it!

As I'm not gigging or in a band at the moment, I'm getting by nicely with a Nux mighty plug stuck in the back of a Zoom B3. The Nux does the amp modelling and cab IRs, leaving the B3 free for comp, OD and modulation/delay. If I use the Nux alone, I can run from battery power, including playing music from my phone's SD card, for about 3-4 hours. Good for practising on holiday or during power cuts. If I go back to gigging, unless the rest of the band are using IEMs, I guess a backline will be required.

If he's sitting there, it'll have really bad neck dive...

I'd rummage through my screw tub and use the biggest screws that would fit through the bridge plate holes and not be so long as to go right through the body or split it. I'm assuming the bridge didn't come with screws. My Badass II did, but I re-used the original BBOT screws as they were more substantial.

Tony Levin Tony Butler Frank Bello Steve Harris Herbie Flowers Bruce Thomas Graham Maby Sting Brad Houser Les Claypool

I've found the intonation to be more accurate done that way on most of the basses I've worked on (notable exceptions being a Vigier and a MM Bongo) I totally agree about Ovangkol though. My Wenge-necked Fortress is a model citizen by comparison. Shame, because the Infinty has a really nice tone. And it's quite pretty. see

A bit one- sided for me as I own an SB-2 Tribute and have never tried an LB100. The SB-2 is great. It doesn't quite do "that" P-bass tone, though, even with the J turned right down. What it does do is more varied. Do be aware that it's only got 2x volume controls. The way that these can be used to cancel / augment each other is surprisingly varied. Plus it's got the MFD pickups in it, which are superb; quite hot, but full of character. The MFD J is one of the few that I've heard that can hold it's own against the P, or even solo'd. Fit and finish is good, and it's a solidly built and eminently giggable bass.