Beedster

Sad offsky, nice

The necks are pretty heavy given that carbon/graphite is very light, so I'd imagine that whatever it is is substantial, if not in fact simply solid carbon/graphite

After some 'vibrational medicine' are we Sir......?

The Fender Precision 2050 Reissue series: Our Custom Shop, left to their own devices due to everything being done by CNC, developed a time machine, and went 27 years into the future only to discover that the basses we'll be making then are, yes you guessed it, exactly the same as those we're making now albeit with more and more desperate series names. So, we proudly present the Fender 2050 Reissue Precision, which was itself a reissue of our 2023 Precision, albeit at a 1000% markup that we have of course had to pass on to you, our devoted customers' The Fender 2050 Reissue Precision Series

That's proscribed, a rather different thing; bass prescribed, cowbells proscribed 👍

eBay misspellings provide some interesting Fender model names, the Fender Percission, Percussion, and Prescription Basses being all time favourites (although the last has some medical merit of course)

And me 👍

The answer to this is, IMO, how the neck makes you feel when you play it, and that's a function your motivation for the build. My build algorithm in order of importance.... 1: Neck: Dimensions? Wrong profile = wrong neck, there's a certain ratio of depth-width that i like, jazz necks that are too narrow/deep and precision necks that are too wide/shallow are both out 2. Neck: Feel and function, how fast is it, how sticky is it, is it easy to fret, does it play well? Does it make me feel good? 3. Body/neck joint: Is it tight, does the bass sing unplugged when the neck is attached to the body, does it feel tight and stable? 4. Action: how close can I get it to almost zero without shims etc? Will probably never play it that low, but I ned to know the neck is good enough to go there if I wanted to 5. PUPs: is there magic when I plug it in (to one or other Mesa rigs that is)? 6. Circuit; does the roll off work for me, does it give me the tone control I need? So the neck is critical to the first three criteria in importance, and not something I leave to chance, whilst bodies and bridges are not even a factor, which is why I'm happy to put a Warmoth neck on a Squier body with a BBOT bridge) 👍

Pretty much my thinking 👍

So, Warmoth versus Allparts anyone 😀

A slot, luxury, in my day......

Agreed, some great contributions 👍

A good friend of mine who builds highly regarded (and very expensive) guitars was also there. In fact at one time most of Denmark Street's guitar techs (and a couple of shop owners) were MIT graduates

Brings back so many feelings of the time. In 1982 I was hugely fortunate - on the basis of having no A-levels and quite poor O-levels - to be accepted into one of the first Electronic Music Technology Programme (EMIT) which, rather oddly at first sight, was newly offered at the London College of Furniture, the chronological logic being along the lines - teach people to build furniture - teach people to restore furniture - teach people to restore pianos - teach people to build pianos - teach people to build other wooden instruments such as guitars - teach people to record these instruments ergo the EMIT course. The main difference between your story and mine was that in an equivalent small room we had the opposite problem, stinky poo loads of expensive gear including one of the first Fairlights in the country (Trevor Horn at Sarm East just around the corner also had on, so as postcodes go - and perhaps rather appropriately given the genre - E1 was a well endowed area for digital music tech) that almost no-one at the institution knew how to use, I suspect a lot more funding had been thrown at tech than at expertise. Anyway, having until literally weeks before been using cassette machines as above, suddenly I was in a dark room sampling random noises and creating even more random recordings (IIRC one of my colleagues played the national anthem in dog barks which seemed quite radical at the time). But even given the emergent digital tech we had, we were still at heart analogue cassette recording engineers and carried that vibe into the room. It was exciting. And yes, we were often told to turn it down also

This could be relevant

I think you've found the problem 👍

A work of art

Folks, love these tales, thank you. I posted this thread having spent a few days sorting out some recording gear here ahead of some voiceover work I'm doing, and having had to move the important gear to a new location, I realised that in no more than a 4u rackcase and a rucksack I have more gear than I could have dreamt of in the 70's/80s - 8 lovely mic pres and a whole lot of digital processing emulations courtesy of my UAD Apollo x8p, a rather special analogue processor in the shape of an SSL Fusion, and in the Townsend Sphere L22 a mic that can get pretty close to replicating many of the classic mics of the last 50 years. But there's a part of me still wants to do it all with two of these

Our synthesist spent 80% of gigs in a completely different key to the rest of us 😀

Glorious stuff, love the creative approach to setting pitch, are you suggesting that you synths stayed in tune?

Sound? Luxury, in my day….. 😀