Doctor J

I already clarified it above but just to make sure... It does matter. If you only slacken the strings, you've still got the truss rod pulling the opposite way and as prone to temperature contraction as the strings, so you can do more harm than good if not careful.

I'm suggesting if you slacken one you should slacken the other, since they are designed to counteract the forces each other applies. Without string tension, the taut truss rod will arch the neck back unopposed and still be as prone to temperature induced constriction as the strings would have been. Personally, I would leave it as is.

The non-reverse Thunderbird is a thing of cruel deformity

The neck and truss rod will expand and contract, too. Without the tension of the strings to work against, leaving the truss rod at tension is probably not a great idea.

Sweet - Live at the Rainbow 1973 The Who - Live at Leeds Judas Priest - Unleashed in the East James - Getting Away With It... Live Black Sabbath - Asbury Hall, NJ 1975 Soundgarden - Live from the Artist's Den E.S.T. Symphony Ronnie Scott's Quintet - Never Pat a Burning Dog Morbid Angel - Entangled in Chaos The Fall - Last Night at the Palais

He was pretty thick, too, that guy.

Made even creepier because it looks like the Wong section and the Dirty Loops section were filmed separately. There's something about Dirty Loops which just doesn't work for me and I'm not sure why. They're incredible musicians but it just won't click.

You need to use rehearsals to weed this bad habit out of him. Devise your setlist with songs in clusters, where you go from one song into the next without a break between them. For example, start your set with three songs - bang bang bang one into the next. Then pause to talk to the crowd. Then another two songs - bang bang, etc. Rehearse the songs in those clusters and time your rehearsals. Know how long it takes to play your set, to the minute. If he can't change his tone enough by clicking on a pedal, adjusting his volume or tone or changing pickup, then he needs to find a tone which works for all of the songs in that cluster. Your audience came to hear music, not pregnant pauses, not tuning, not jokes or banter, especially not some lad faffing around with knobs and switches. Never forget that a live show is a performance, not just playing songs. It starts the second you take to the stage and doesn't end until you leave it. Everything, what the audience sees and hears between those two points, is your band's performance.

He sounds like Morrissey. Oh, wait, just read the end of the ad. He also sounds like Morrissey, I see.

Get a Badass (or Omega) and file the string slots wherever you want them. The screw holes will line up with a Fender bridge so no extra holes, at least.

It's something I'm thinking of doing to my own one. It's a slightly later model without the control plate and the jack is already side-mounted. The control plate is class, though, it would be a shame to mess around with that look, but a side jack offers some room to play around with controls and free up some switches to be repurposed. Also, it must be noted, there aren't many people who pick up a L-2000 and quickly think "This is all fine, but couldn't it be even more tonally flexible?" so a doff of the cap in your direction is due 😂

You might have room to move the output jack to the side, move the bass and treble pots down one and put in a pickup blend knob, then make pickup selector and series/parallel switches into separate inner/serial/outer switches for each pickup.

...you'd be King of the World!!!

Purely aesthetically, the necks need to be swapped. Black and maple is a winner, as is 3TSB with rosewood. Maple fretboards paired with 3TSB just doesn't work for me.

Great work. Very well done.

Hmmm... it wasn't the best thread I've ever visited on holiday but still worthy of a positive review on Trip Advisor. 3 out of 5 from me, which is a recommendation.

Very nice. I used to have a Mayones BE4 Exotic, which was pretty much the same bass minus the gloss - Schaller hardware and MEC electronics too. A very nice bass and a genuine steal for a little over 200 quid.

Gently tap the top of the pickup with a screwdriver while it's plugged in. When you're tapping over one of the magnet blades, you'll know it. From what I could find, these are the coil setups they use in the 35DC shell.

Ah well.

Don't put the idea in his head, he'd go with a hologram of himself!

Nice. There's something very pleasing about laying your hands on something you've been interested in for a very long time. Those horns have a touch of old Ibanez RB about them. It's a tasteful design, I hope you enjoy it.

I understand phone anxiety very well, but the answer really is just a quick and good-natured phone call. Status aren't known for letting down customers, I'm sure, whatever the delay is, they'll sort it for you.

Thank you very much @Nicko, very kind of you to say 🙂

Thanks all, great show from everyone 👍🏻

I used to have a 1980 RS924 which shared the body and neck shape with this. Negatives: heavy and no forearm contours Positives: Immeasurably better build quality than the 70's Fender I had, great tone, intelligent design, high quality hardware, sounded great, set up and played really well too. I sold it for €650. As an instrument, excluding all the jibba jabba we get caught up in when talking about instruments, I felt it was worth more than that. They weren't playing games in Japan in this era. These are properly excellent basses. If you can get this one, even though it has been modded, for £200, do it today.