Lfalex v1.1

IIRC, the necks on the US-made NS Designs EUBs have a laminated CF neck- a layer of CF, layer of wood veneer alternating. The outer is veneer, giving the desired look, but there's no reason not to finish on a CF laminate. I don't know what the core is. Wooden would be easier to implement on a small production scale. Might have to be careful with the fibre orientation if a truss-rod is used, but otherwise it seems a valid alternative.

That was the one I thought of...

Doesn't look promising. The usual suspects (Modulus, Bogart, Basslab and Zon) all seem to produce necks specifically for their own basses. All I could find was a S/H Moses neck on Reverb. There's definitely a niche in the marketplace for someone to manufacture P, J and Stingray replacement necks.

Ibanez EDC710. Basically ATK electrics in an Ergodyne body. Coil switching works nicely; 2 (hum-cancelled) single coil modes, one with a moderately "vintage" tone, and the full-fat parallel mode make it more versatile, too. Warwick Fortress Masterman; crazy 2x2 EQ (2 bands per coil) make them very tonally flexible. Maybe too much so. Warwick Streamer Pro M. All of the above will be second hand.

Quite. Spector and Musicman would be my immediate thoughts.

If you run everything fully open all the time, why not take the lot out? No vol, no tone?

Doesn't Steve Harris (Iron Maiden) use a light dusting of talc on his fingers to stop this issue. He uses flats. I do not. Unless its on an EUB or something else without frets.

That bridge p/u looks unusual... Do the 9 polepieces act together like a blade?Tell me more!

Saw this was "Bass of the Week" on No Treble. Nice example of Mr Walsh's handiwork..

"De-Relicing"?

I've seen some necks that are properly screwed.....

Not very! I have 3 neck- through instruments and 2 deep-set-neck instruments. I've had no issues with damage or adjustability. I was merely repeating what others had cited as reasons that they wouldn't buy one..

No reason. Other than perhaps cost or concern (as previously mentioned) about repairability should the neck be mortally damaged.

That's me screwed in perpetuity, then. 🤣 Back OT, I've been "fired" for far less than the guitarist in the OP was let go for, so I'd not be too concerned.

I do understand the appeal of neck-through basses. I own one, and it's marvelous. But how much of that comes from the construction and how much from the materials and the rest, I couldn't say. It does sustain superbly, but sustain isn't all about duration, it's also the quality of the sustain. Live, it's not as obvious. More so on recordings.

I've had them all. Bolt on Neck Through Set neck. Not sure what @itu means with his #4. But I'll add monocoque- only moulded basses need apply; Status Streamline and BassLab instruments, for example. In any case, I've never found the construction method to be the characteristic that determines my choice of instrument. I don't struggle with upper-fret access, and I get up there quite a bit. Comfort and ergonomics are determined more by design. Tone more by the electronics package, Pickup placement and hardware. I've Googled the SD Curlees. I get it now.

When I was gigging/ rehearsing, I used to use an Ampeg SVP-pro like the one in Prowla's second picture. Had it in a 4u rack with a Korg tuner and a QSC PLX1202 (bridged for maximum effect) I always used to end up in 5- piece bands with hard-hitting drummers and 2 noisy guitarists. It'd be more controllable if everyone turned down, but you know how it is. The QSC was my commitment to mutually-assured-deafness. Everyone would tell at me to turn down, so I did. As lond as they did, too. Pros- Power! (If you want it) Flexibility Choice of mixing & matching pre/power amps Some have features that heads may not have (extra channels, bridgeability, HFpass filters, limiters) Cons- Size Weight Complexity Cost

If the combo is something like a 7215, then it's equivalent cab, the 1153, is only a couple of litres smaller in terms of volume- it's the same height and width, maybe 50mm shallower. Same driver (I think), but shorter ports. IF the amp section can do 280/300w into a 4 Ohm load, a driver swap would liberate more power, as the original driver is an 8 Ohm item. Means you couldn't use an extension cab, though.

At home? Whatever's out (I rotate them) Rehearsal? Whatever's most appropriate to what we're rehearsing. Writing? Something that inspires me and is light and comfortable when I'm seated- Ibanez EDA900 all the way. Studio? Frequently the Vigier. Records well. Live? I'd use the SB-2 Tribute or my S/H Warwick Fortress MasterMan 5 "beater".

I kind of did this a while ago with the original strings still on my Hohner B2A V. They're about 2 decades old, and are, of course DBE. I could have ordered some Hotwires from Status, but instead dug out my Ultrasonic cleaner, filled it with stainless steel cleaner from a spray bottle, coiled the strings and did them one at a time for 2x3 minutes. They came out spotty brown rather than solid brown (MMMmmm!) And the cleaning fluid looked like a tramp's urine sample! Put them back on, and they sound and feel acceptably good. If only I'd cleaned them after only one decade, not two, then the corrosion might not have been so bad...

Most of mine have been mentioned, but anyway... Oxygene 2 & 4, First Rendezvous and Equinoxe 5 - Jean Michel Jarre. Fanfare for the common man ELP (Well, Aaron Copland) Axel F- Harold Faltermeyer Orion 1&2 - Metallica Frankenstein- Edgar Winters (and even more so, the Overkill cover) Apache - The Shadows Let there be drums - Sandy Nelson On the Rebound - Floyd Kramer Unsquare Dance - Dave Brubeck Most but not all of these have had a single released. Can't say how well they did, though. And I'm tempted to add Crime of the Century by Supertramp, but it does have just the one verse at the beginning 😔 Edit- I've deliberately avoided theme tunes and non-orchestral film scores or I'd be typing all day.

Options? Bridge replacement, which may require that the recesses for the original be filled in. Cut the string posts down- removing material from the bottom to allow them to sit lower. File the string slots deeper to the same effect. Make / Have some shorter posts made. If you've access to a brass rod, a hacksaw, some files, a vice and some taps/dies then it might be a DIY project. I think I'd like the last option best, as it's reversible if you keep the original components. In any event, its all a bit of a faff. Hope you manage to find a sensible solution. (There's a guy on TB with the same issue- see if you can find the thread and see what he did..)

According to some other bass site, yes. The barrels/domes DO screw up and down to allow height adjustment. You'd hope they'd allow sufficient adjustment to permit correct string height for everything from a high C to the various designs of low B string on the market. Somewhat Similar designs are used on later Chapman Sticks and Vigier Series III with Kahler Bridges. Some people don't like them as the grooves only align correctly once every 180° and that this limits the precision with which the height may be adjusted. Conversely, it allows precise alignment for the angle of the string in the plane in which it nominally vibrates, and they're more impervious to unwanted sideways motion than BBOT Fender bridges or similar. To adjust the bridge, slacken the string in question, lift it gently clear of the slot, and screw it in or out to set the desired height. Note how many turns you made in case you wish to re-set it to its current state for any reason. Re-tune the string and I guess it's time to re-do the intonation... Looks like there's a locking screw you loosen, slide the saddle by hand and re-tighten. The image I found wasn't that clear in this respect, though.

Likewise. I'm fond of his description of himself as being "A poor writer with lots of good ideas" (Runs off to listen to Black Blade, Veteran of the Psychic Wars and The Great Sun Jester...)