LeftyJ

"Are you feeling the dad vibes?" Hell yes. Fred Durst looks like the Bad Grandpa from Jackass

Haven't tried it on my S2 Classics, but I'll follow this thread with keen interest

Hi back from the Netherlands

That's lovely! Not even Warwick themselves use these Schaller bridges anymore. All Warwicks, with the exception of the custom shop models, now feature a "fake Warwick Bridge" made to their specifications somewhere in the far east with lower quality standards. These are used on both the Asian-made Rockbass line and the German Pro Series. The custom shop models feature machined brass bridges these days, with eye-watering prices. Very cool find, and at an absolute steal! Lovely bass.

With EMG, 35 simply refers to the width of the housing (3.5") and DC indicates Double Coil. There is indeed a 35JA (without the DC prefix) which is a Jazz style pickup in a soapbar casing. Are the magnets strong enough to be able to feel where in the housing they are, maybe with a small screwdriver?

I've gone straight into my amp for years, but have always loved to tinker with effects pedals at home and have owned several multi-FX to get familiar with various types of effects and their parameters. I've especially always loved drive pedals, but never really used them live. I like the mild tube drive I get from my Ampeg preamp and it's usually been sufficient. Almost two years ago I got a gig with a doom metal band, and wanted to mimic the bass sound from their previous album as closely as possible live so I dusted off my Darkglass B7K and brought that with me on stage and LOVED it. I got loads of positive responses from other musicians too, both in the band itself and from the other bands performing that night. I have since bought a Pedaltrain Nano and a TC Electronic Polytune 3 Noir and added a compressor and a chorus that I already had laying around, and it serves me well! It's powered by a simple 1-Spot and daisy chain, and I'm using EBS patch cables with very flat jack plugs.

Really? It appears to be nowhere near the bridge end of the B string, and it doesn't even appear to align with the B-string. It would also completely defeat the purpose of those Dingwall taperwound strings. Edit: here is a picture to illustrate the above. This is the back of a Z3 5-string, with a different type of bridge that has mounting screws on the back. A ferrule to feed the B-string through the body would have been below that furthest mounting screw, and not so close to the battery cavity. More pics of this particular bass If anything, it looks like one of those recessed Dunlop strap locks but the position seems weird to me so I'm really curious and hope @Bobthedog will chime in

The quality of the current Warwick tuners is a wellknown problem and gets discussed on the Warwick owners Facebook group regularly. If I'm not mistaken, @FDC484950is right about the Hipshots being drop-in replacements. I've seen several people on Facebook succesfully replace their broken tuners with them without issues or modifications. My 2001 Streamer LX still has its stock tuners, and my 2003 Streamer LX5 had its worn gold hardware replaced with original black Warwick hardware in 2013(ish) and they're still going strong, but the tuners don't feel very solid. The 2003 also had a JAN II like your Infinity, but both the guide tabs on the outer edges had broken off or disintegrated so I replaced it with a Tedur JAN III. The 2001 has a brass JAN I. Both are great, but the JAN III is far easier to adjust and has the strings laying slightly closer to the edge of the fretboard, which I like.

That looks absolutely stunning! Very classy. What is the little ferrule below the battery cover on the back of the body?

The Dark Night rises

I love these, and will always associate them with Peter Vink of Dutch bluesrock legends Q65. I mostly know him from his work with Ayreon though. He played one as his main axe for a long time, until he got a Lull and more recently a hideous Bo-el.

I'm a bit obsessed with preamps too, but I don't use more than one at a time. I own and have owned several preamps, both 19" rack-based and pedals. I currently own the EBS MicroBass II, Darkglass B7K (not the Ultra - and I strictly use it as an OD pedal. I feel the B7K Ultra is much more useful as a preamp because of the added footswitch to operate the distortion and bypass separately), an SWR Grand Prix (Grand Pre, get it? ), the Ampeg SVP-CL and the Ampeg SVP-PRO. The latter is the core of my current rehearsal and live rig. On stage it goes straight into the FOH, in our rehearsal space it goes into the power amp in of my EBS HD350 and through an EBS ProLine 4x10. I generally don't really like graphic equalizers, but I love this preamp! It's the preamp section of the all-tube SVT 2 Pro. I have also owned a Hartke VXL Bass Attack (my first venture into preamp pedals, and a great one at that!) and some modelling stuff I didn't get along with very well. The MicroBass II was my main tone tool for a long time when I was in a coverband, I must have owned it for over 15 years now. I still like it, but don't really use it anymore.

Gibson once put competition stripes on their Tom Delonge signature ES, parallel to the strings: I like the Fender-style competition stripes on the Höfner a lot more than I thought I would! Looks very cool.

I hate it, but I love it Sad to see it beyond repair, but really cool plan and I look forward to the finished result!

As a lefty, I very rarely find anything lefty at all in a music store, let alone a bass that trumps my main axes. That said, I did visit a few Lefty Bass Days held by Leftybass.com at CMS Music in Duisburg, Germany and they had some excellent lefty basses there. One that still haunts me was a LeFay Herr Schwarz 5-string I played there in 2012. Literally almost everything about that bass was custom made for or by LeFay. No two control knobs were the same size, they went from large to small but very subtly and hardly noticable. The pickups were custom made for LeFay. The neck profile was like no other I've ever held: wide, thin and flat, and just the most comfortable 5-string neck I've ever played. The body was beautifully sculpted too. I own some fabulous basses, but that thing blew them all out of the water. The only thing that wasn't really for me was the rotary pickup selector switch instead of a pan pot or two volumes + coil switching on the bridge humbucker.

Right? Sire still does them though: Thomann

I loved my RS924, but it was the heaviest bass I've ever owned (it even beats my MC924's), and it has a very substantial neck. The one OP posted looks like a heavily modded RS824: replaced pickups, passive contols removed and replaced with a 3-band EQ, refinished, and rerouted for a larger bridge pickup at one point. Could still be a cool player, and at that asking price it seems very cool.

Those look like glue joints to me, where the wings join the through-neck. Very common when the top is glued before the wings are joined to the neck. I had a Human Base that was constructed that way too.

Let's see some of that S2 of yours! 😎

Wow, that's insane. I paid roughly the same for both my S2 Classics, but those are both very plain with a solid finish, no fancy woods, and bolt-on necks. This fretless one was pretty much top spec!

Wow, after finishing the neck that flame really pops! Beautiful piece of maple. This is turning out great!

Lovely! Why the battery rout though, when it's going to have passive controls? Are the Overwater pickups active?

I use an EBS NeoDrome 12-150 at home. It's a bit overkill really, but I love it. And it feels right at home in rehearsal spaces and at small gigs too. It doesn't have a cooling fan at all. At 14 kg it isn't particularly light due to the heavy plywood housing, but it's tough as nails and sounds great. At €450 used (but in brand new condition) mine wasn't exactly expensive either. You can sometimes find the regular Drome 12 (without neodynium speaker) for even less, and there's the Drome Classic too that's even more affordable because it's made in China. That one doesn't have a tweeter though, which is normally a major part of EBS's clean fullrange sound!

When I started playing 20 years ago, a lot of stuff I'd love to own now was still much more affordable. The hype around Wal wasn't as crazy as it is now, Warwick was still fairly affordable (a new German Corvette Standard for 600 euros! They charge at least twice that now. I won't even start about used prices), you could still buy a USA Fender under 1000 euros new (almost doubled now), and Fender's shortscale endeavours weren't as hyped up as they are now and therefore very affordable. I would have looked for a cool Wal Mk1, a Warwick Streamer Stage 1 5-string and a cheap lefty Fender Musicmaster or (rare as a lefty) Mustang.

Spot on I think!