bloke_zero

Pretty cool looking - yeah, like the spacing - would be interested to see a basic knob twiddling video to hear the diff

Hmm, yeah - I see what you mean @Andyjr1515 - from the pictures you can't actually see if there is an over hanging fret as we only see the front and back but not the side. If there is an over hang like: Then there is not going to be any problem with intonation as the neck will be in the right place.

I'd not be confident to say this - you could measure the fret and check to see if there is enough play in the saddles? Apologies - I'd not really clocked this aspect of it earlier. I'd wonder if you might not have to move the bridge towards the neck/nut and that would then expose the old screw holes for the bridge. Hopefully someone with more experience will be along!?

The finishing and shaping question is the one for me. What is the thickness of the neck? Are you comfortable reshaping it? I've found cheaper unfinished necks are often a bit chunky. Finishing, I'd use true oil or crimson finishing oil or lacquer - I have done both and the true oil feels nicer to me.

I would have thought the main advantage of maple over card was that it wouldn't compress as easily and you can taper it with sandpaper. Easy to get some maple samples from people selling veneers, then you can cut it the right shape and create the taper. I think that a good tight contact/fit is important for the neck pocket.

Nice! Nothing like a real luthier made neck. And I really rate the MJT stuff. And I also like the GZR - I felt like it had about the right voicing - mid forward without being harsh - classic P tone. Sounds to me like you've all the right stuff lined up!

I'd not even thought of that. Makes me think that good right hand mute technique probably helps with that too.

The understanding I came to is that everything that goes into the bass makes up the tone, though clearly somethings will influence the tone more than others. I would go further and say: that the closer to great tone you get from the basics (technique, pickup placement, pickup, preamp, strings, setup, neck/body connection) then things that might be considered secondary e.g. neck facing, body wood, bridge (in no particular order) will have a more important effect. I mean, who cares what the bridge is if the bass pickup is in a bass with a terrible preamp? It won't make any appreciable difference, but on an Alembic where everything else is well considered and beautifully made, then the bridge might play a part in making the instrument really sing.

That makes sense and chimes with my understanding

I've tried a bunch, badass, babicz full contact, hipshot aluminium and a couple of stingray ones. I think there is a clear difference in how it feels to play - whether that translates into much sound wise I don't know. I didn't really like the babicz or the aluminum - I think the idea there is to transfer resonance to the body as much as possible. I liked the badass as it makes it feel a bit tighter and more resonant in the right register? Though as noted that might be placebo. I think it's also worth noting that the BBOT bridge has it's pros - feels like a good balance between body transfer and resonance - I'd say it's my favorite!

I'm going to see him in November - I'll report back if he's rockin the sock.

Are we talking about the same thing? Both the GR-300 and GR33b are early 80's? This is pretty interesting - https://www.premierguitar.com/side-by-side-roland-vb-99-and-gr-33b-bass-synthesizers

Oh cool! I had a good go with a GR-300 that a friend loaned me (the guitar version of this). It's fundamentally different from later guitar synths as it derives the pitch directly from the pickup output, so it doesn't 'track' the pitch and then play something, it automatically generates a 'synth' sound from the input and you can then vary the pitch and pass through a filter. On the guitar version the tracking was instant and flawless, through it sounds like the bass version had some issues with tracking the open E & A? (https://www.joness.com/gr300/GR-33B.htm) You have a really interesting and unique instrument there! I'd say that if the sound is intermittent then it's very likely the switch as the synth portion pretty much just works as it's derived from the pickup output (though as noted the pitch tracking might be a bit off on the open notes). I do know a guy that works on vintage synths if you identify issues with the synth part.

That is a lovely thing! Good choice.

I've done this - I think it works pretty well. Doesn't quite have that P growl, but has a full modern sound. I should record it!

Nice - I love the Kramer aluminium neck - very solid fundamental. I saw one of these 5000's that was double P - dream bass!

I was going to say it looked like aluminium under plating. I've got a hipshot: https://www.allparts.uk.com/products/hipshot-top-load-or-through-the-body-bass-bridge?variant=660408693 that I never really knew what to make of. I guess the idea is that it is more neutral and connects to the body better? I find myself preferring more solid metals. They say: https://ksmguitars.com/faq/

Yes, and the headstock seems further back if you know what I mean? Might be just my eyes. To promote better break angle over nut?

Nice! Are you using a metal last underneath when doing the letter stamping?

Hawt!

I had to look it up: https://www.wood-database.com/wood-articles/differences-between-hard-maple-and-soft-maple/ - seems like its probably denser than basswood

I was in the studio with someone and they had me listen to a late 70's live recording and he was going into raptures of the mustang bass sound, which to me sounded much like you describe. Sort of muddy. I guess it's a thing! Not for me though - glad you had a good result!