LeftyJ

Out with the subtlety then, and in with some hot J-sized buckers! Ignore the broken English, and take a look at the Roswell hot rails.

That looks awesome! I've lusted after these before, and I loved the very yellow one that @wombatboter owned for a while. Do tell me more about the gauge of that B string! That looks HUGE.

Italia Modulo in Belgium: link.

Here's one with a happy ending: Not on Basschat, but I once responded to this ad on Leftybass.com by our own @whynot (no, I didn't actually save that screenshot that long. I just looked it up again ). I was slightly too late, it was already shipped to the USA! It always stuck with me though, I loved the plain look and the sharp contrast between the bright white body, the ultra black phenolic fingerboard, and the white epoxy Roman numeral inlays. I had never laid hands on a Status or any other graphite necked bass before, let alone heard one, but I had decided right there and then that I wanted one. Fast forward 11 years (!), this happened: The seller lived in the USA as a student when he bought it, but had moved back to Israel in the meantime. Again, someone was ahead of me, but still negotiating. Within a few days, I got a message the other potential buyer was no longer interested and we sealed the deal, and I couldn't be happier! It did turn out a fair bit more expensive because of import duties and VAT, but it was worth it. I still love that bass, and play it regularly. It looks even more fantastic in the flesh

As is Jimmy Haslip. And Doyle Bramhall II who played with Clapton and Roger Waters among others is a famous upside-down guitarist. And Richard Dale of course!

Not enough neck screws Turned out cool!

I dunno, I don't see a bass "made out of 12 skateboards". I just see a solid ash body and a regular maple neck with rosewood fingerboard. The only bits that formerly were skateboard are used as a thin top that won't do a whole lot to the tone of the bass ¯\_(ツ)_/¯ Looks cool though, but I agree with @Crawford13: with a clear pickguard, that routing looks like cr@p. I would have opted for a rear-routed body without a pickguard, or with the see-through pickguard with recessed knobs like Atelier Z frequently uses:

Yep! I had an Italia Torino Bass once that was great fun - but weighed a ton. It had a big, solid maple center block that made it really heavy. Sounded huge, was really fun to play (short scale) and was really well-made. The cream finish looked nice too, although I would have preferred a finish that made the cream bindings around the top, back and F-holes pop out more.

I think that model is called CR4. You may find more about it under that nametag

That looks incredible! I especially love all the dark veneers at almost every glue joint, it really adds a touch of class to it. Beautiful bass!

As a lefty I've always had an aversion to black and sunburst basses and guitars as it's often the only colour option we're given. But I'm gradually turning around, and have actually come to love the classic look of black on black on Fender style instruments. It just looks so classy and understated! That JMJ looks lovely with the black guard on

Link or it didn't happen

First off, what an awesome find, and in beautiful condition! Congrats About the date: you might be on to something with the reversing of the date! Here's another '83 JV heel, which clearly shows the manufacturing date: Japanese writing is traditionally vertical, from top to bottom, with the lines read from right to left. However, when the Japanese write horizontal, it is in the same order as English. So this seems like a weird mistake to make!

Zander Zon

*cough* Warwick *cough*

Oh hell yes, I remember that clip well!

I used to be part of a very poppy female-fronted metal band, but we haven't done anything in almost 5 years. When our lead singer had her 4th child, her family life became so demanding she unfortunately had very little time left for our band. She has 5 now, and it's become a fulltime job! And then our lead guitarist left to pursue an academic career in chemistry at Oxford University for 3 years. He now lives in Barcelona and has little desire to come back to the Netherlands unless he can find a good position at a university as a teacher or (assistant) professor. It was fun while it lasted though, and we're still good friends! The 3 remaining members (the other guitarist, the drummer and me) are now more or less permanent substitutes in a doom metal project of our drummer's brother. It's a one-man project, but when he plays live we're the first guys he calls Here's my old band playing live on Dutch national radio a few years ago (2013, just after releasing our first and only album, between 1:00 and 4:00 nighttime so probably for 5 listeners at best ). I play my lefty Warwick Streamer LX5, which has been my main axe for most of my time in that band. I play it through an Ampeg SVP-PRO 19" tube preamp, straight into the mixer. Live, this was usually my setup too. No effects, and if there was an amp on stage I would only use it for personal monitoring. That Ampeg preamp was one of my best bass-related purchases ever, I love it! It's basically the preamp section of the SVT-2 Pro in a 1HE package, with a great built-in DI. In this video I use a pick, but I mostly play fingerstyle. The backing vocals and keys come from our live backing track, we never played live with a real keyboardist.

Lovely! I dig the Clover too, how do you like it?

Some are more equal than others I don't know about Klos' process, but I do know they have a fair bit of experience with building carbon instruments. This is their first bass design, but they've been building all-carbon acoustic travel guitars and ukuleles for about 5 years. Their site mentions they outsource the manufacturing of many parts to suppliers in USA, Canada, China, Korea, and Brazil, but doesn't state which ones. I wonder if that includes any carbon parts! Some of their higher-end acoustics (the ukuleles at least) appear to be a one-piece mold, their cheaper acoustics have wooden necks bolt-on to a carbon body shell.

Came here to post exactly this. They look very similar.

At the Jackson (a.k.a. Fender) Custom Shop I'm afraid . I don't think Jackson ever made lefty 5's in their regular range. I'm based in the Netherlands, so it's difficult / near impossible for me to join in any swapping / borrowing / lending activities. It does sound like fun though! I have to admit, I've never really had trouble finding basses I like. There were a few that I actively searched for that took me a while: it took me over 4 years until I finally managed to source an Ibanez Musician. And of course, as the saying goes: when it rains, it pours. So I found two. And bought them both . In most cases though, I ended up with basses I didn't even know I wanted. I have a few standard search words on a couple of advertising sites, and check them almost daily, which will often ignite spontaneous GAS attacks. I never knew I wanted a lefty Status Graphite, and now it's my main axe

I love Xerath! Too bad they disbanded in 2017, the 3 albums I have from them are all awesome. Djenty, orchestral, and pretty intense.

It looks like an 8 bit Stingray. Weird!

Most guitar gigbags will be fine. Do check whether the insides will suit the two bottom strap buttons. Not every gigbag will be tough enough in those spots, most will just have a sturdier section in the middle for a strap button in the regular center position. I very happily use the Mono M80 Classic electric guitar gigbag for my S2 Classics. It was about twice your budget though. It was by far the most I've ever paid for a gigbag, but then again my S2's are very dear to me and weren't exactly cheap too, so I like them to be well-protected

This! We had a workaround for this with my band, where we built a small 3HE rack unit that would mount on the bottom half of a drum seat, with a laptop on top running a DAW with a clicktrack and a backing track with all the keys to our songs (we recorded synths and a Hammond on our album, but didn't gig with a live keyboardist). In the rack were a 19" signal splitter, 4 wireless in-ear transmitters (and one wired headphone for our drummer) and a very basic 19" 8-channel USB mixer which controlled the master output levels to each of our IEM transmitters. We plugged all our outputs into that system, and from the splitterbox we ran our signals to the FOH engineer. Our drummer controlled the backing tracks. This setup unfortunately meant there was no easy way for us to adjust our individual mixes during the gig (this had to be done in a software mixer on the laptop). Depending on the size of the stage our system allowed for two scenario's for the use of the system: All of us used the monitoring system, were able to hear the clicktrack and our pre-set monitoring mix. All tracks started with a countdown, so no need for our drummer to signal; Only our drummer used the system, and the rest of us used our amps or the venue's own monitors. Our drummer would set the tempo with 4 taps before each song, and would softly keep tapping during sections with no drums. This worked very well for us, and has served us well for several years