BlueMoon

Lovely story. Thanks for sharing!

Watching this closely, guys!!

Classic and elegant. Indeed, very nice! I like it.

It's a bummer when things like this happen. I feel for you. I salute you for having a go at a cost effective repair. A totally invisible repair will be tough to achieve, because you will know that it is always there! It looks like a repair to a Hohner "cricket bat" bass, which is in Walnut satin stain........correct? If it's a solid colour, you can build up using a layering technique within the depression and then use a final matching coat to bring it up to the same fill level with a final sanding. I've not used PVA as a filler in such cases, so cannot comment specifically on its use. Feathered edges will be easier to mask than a precise repair line, but feathering normally requires blending with the undamaged surrounding surface. I'd understand that you want to try to keep the repair area as small as possible. Switching to another filler is possible as long as there are no adverse interactions between the two systems. (Do a test on a spare piece of wood). Perhaps the most important advice is use many thin layers versus a few thick/fast layers. Good luck.

Better not buy a Rickenbacker then!! Mine buzzed like a beacon and had zero - I mean zero - cavity shielding! Unbelievable on an instrument costing north of 2.5k.......grr, indeed!

Maybe a few clues here: https://www.musicradar.com/news/fender-ceo-andy-mooney-guitar-interview-2022

I bought that album..........and the up-tempo numbers had Alan Tarney's hands all over it. Not sure who it is playing the Wal in this clip though.

Nice job. Well done!!

Another very satisfied EBS Microbass II user here. It's my "Swiss Army Knife" when playing live, especially.

I first discovered Bruce Thomas when he was in Quiver and they joined together with the Sutherland Brothers. A very melodic player, both live and in the studio. It was no surprise to me that he did so well, even if I didn't think EC was up to much, personally. Thanks for sharing @stewblack

Nice. I bet it sings!

I've had a few Japanese Fenders over the years..............never seen a bad one. Consistently good.

Totally agree.

Totally understand.......I have a few projects in that phase!! Grateful you continue to post the highs and lows of your journey! Very helpful for those who are following. In the meantime, I'm busy sourcing components. That's another story, in current times.

Agree. Leave it and enjoy playing it. It's part of the mojo of the instrument, after all.

It's bizarre and maybe more a potential mental barrier than a reality. Nobody wants to be outside of their comfort zone and you'd think that an unlined board would do that, but it can do the opposite. It can push you to use your ears more and not rely so much on having lines as a potential crutch. Sounds like you're already almost there if you don't constantly feel a need to look at your left hand. I switched from double bass to fretted bass guitar and then added fretless basses to the stable, so I came at it from a different direction. All I can say is, take the plunge and grab some personal rehearsal time to work on the intonation and technique. It will come quite quickly and you will feel great about it!!

@GlamBass74 : How did this work out for you? Before I start, I just wanted to gauge how this part went. Did you build it from scratch using independently sourced components and the crossover plan? One potential headache I see is being able to obtain crossover components that are close in specification, but not exact, and then not fully appreciating the impact any differences may have.

Zombie thread alert!! Having ready through this great thread and the similar ones related to cabinet building, I'm about ready (I know - late to the party again) to start sourcing materials to build two single 12" cabinets. Ongoing stocks of some of the components is proving a bit of a challenge over here, as well as rampant inflation, but I am confident that I'll be able to make-do-and-mend if forced to........or wait for resupply, like everybody else. I am looking to build the cabs based on the Faital Pro12PR320 neo drivers and the Celestion CDX1-1425 compression mid range, together with the P Audio P-170 horn. From necessity, my builds will be from first principle, as I am too late for the flat-pack bus and Brexit has got in the way of sourcing a crossover kit. I am fairly competent with woodwork, having made kitchen cabinets and a few bass cabinets in the distant past. I am also fine with soldering and testing etc.; although by no means an electronics expert! I have a Vanderkey LNT212 as a point of reference. I wanted first to thank those who have invested a lot of sweat-equity in seeing this project though, with obviously sucessful results. I also want to double check that the crossover diagrams now in the first post of this thread relate to to the build with the Faital/Celestion drivers? I plan to souce most of the non-woodwork materials from Europe Audio in Rotterdam. From those who have already been down this road can I kindly look to you to give some helpful advice and stimulation as I set forth?

I'm very happy with DiMarzio DP123's. Very warm and superb for fretless, IMO.

Same thing here. I've made some adjustments. It's strange how my Stingray required quite some tightening versus another bass (Leverson Blade), which showed no such need.

I seem remember a short-haired female guitarist who did some instruction. She was low key, but I thought she got the message across well. Is that the same programme, or have I had a brain-fart?

Others with more knowledge will correct me, but I was of the understanding that it was based on a 70s Precision, had US pickups and cost 70k¥ in the local Japanese market at the time of launch. Hence 70PB-70

Heavy clue is in my Basschat name and accompanying picture. I have 5 Moon basses presently, but none with Drop-D attachment however.