OK, here's my custom P-style bass I designed myself, acted as my own general contractor, and did the electronics work myself. My old left arm and hand injuries have haunted me. So about 10 years ago I set out on a quest for an instrument that I could play more than 20 minutes without cramping up. Nothing commercially worked, of course. Then I stumbled across the Novax site, with links to Sheldon Dingwall. But fanning both ways made it worse, not better. Then I stumbled onto an etching of a 16th century lute called (translated) "Pandora's Box," with a square nut and fanned frets forward. I was off and running. I measured my hand very carefully at rest to arrive at a 1.67 nut width and 2.38 (1/8 narrower than standard) heel. I like the full 34 inch for tone on the low E string, but the 33 1/4 Rick scale for feel on the G string. Under the bridge cover is a repro "bolt stock" bridge cut in two with half of it moved up for the G & D strings, narrowed to 2 1/16 overall spacing for my right hand; crown radius 10 inches; .875 thick @ the 1st fret, C profile with rounded edges. The P position pickup is a Rick HB-1 measuring at @ 14kohms. The J pickup is a DiMarzio UltraJazz neck version to match the narrowed spacing. Since they're wound the same, they sound the same from neck to bridge. The HB-1 is placed proportionally in the position of the GD segment of a traditional P pickup, and the J pickup is between the '60's and '70's position. Notice the angles are different to match what would be the continued fanning of the frets if carried through. The strings are through body, with the G string at a perpendicular angle down from the bridge saddle for maximum sustain and the E string as shallow as possible to retain as much brightness as possible. The alder body was from a no-name bass I was just going to use to whittle on to make sure the neck worked until I could get a better one, then I bumped it against the Am Std P-bass I had at the time. They tone-tapped the same tone, and I got lucky when I got under the paint: real 2-piece alder, well seasoned, not too heavy. A friend routed the pickup routs for me. The neck blank, traditional maple w/ rosewood, came from an east coast wholesale supplier custom turned to my width & thickness, and was fretted by Sheldon Dingwall with Dunlop 50X100 frets so I have a lot to crown over time with wear. The tuners are Hipshot Ultralights, which weigh 1/2 as much as traditional Fender-Schallers, so no neck dive. I shimmed the neck on both sides of the heel for a really tight fit in the neck pocket. The electronics are straightforward Jazz wiring VVT, with a .033 orange drop tone cap and a .01 inline cap to the J pickup to eliminate phasing and comb filtering with both pickups full on. CTS pots, of course. Let's see: there are four actual Fender-brand parts on it: the string tree and the three knobs. I've added bone shims at the nut to eliminate string stretch pulling sharp at the 2nd & 3rd frets. How does it sound? Huge. It's not just deep in the groove, it's digging it deeper. Even though I've played everything from Friday night to Sunday morning, the best way to hear it is my one lucky gig: the last Lawrence Welk Special, "Precious Memories," which was taped a few years ago and airs occasionally on PBS fundraising week. I'm straight into the board with just a touch of compression for broadcast and a slight broad dip of a couple dB at 1.3khz to even out the response of the pickup. The pickguard started out white, and has patina'd nicely. This is my #1, and if anybody is interested, I have a hardtail 2-HB Strat-style guitar to match and another guitar with active minibuckers in the pipeline.