Specs: ~3/4" highly figured bubinga pommelé on ~3/4" swamp ash - from Gallery Hardwoods; chamber in the upper butt Wenge/bubinga 5-piece neck; two graphite rods, ebony fb., small frets - made by Sándor Kovács, aka KSP Guitars ABM 3566B bridge LeFay Rough Crystal soapbars; passive circuit with a twist Adjustable brass nut Hipshot Ultralites Dunlop straplocks Bubinga knobs The neck and the neck pocket was made by a luthier, the rest was made by my Father (he wouldn't let me handle power tools, so I was just there guiding and helping) Thanks-list: Martin Koch's website was quite inspiring - also, many other tutortials, too - see, even I can make a bass! Thanks Larry for the wood! The figure still amazes me (and many others as I see ) I'd also like to thank Sándor Kovács for the neck - nice job, well made. Initially I just wanted to ask the people at ABM to what spacing their bridge is adjustable, as I couldn't find them anywhere in my country; they told me I can order it directly from them. They also sent me the bridge before I even sent them the money Thank you again! I got the p-ups from the ebay.de shop elektronikzubehoer - thanks! Hipshot Ultralites and TruOil from LMII - thank you! My Dad, who actually did most of the things I would also like to thank all the people here who helped me with their ideas, advice, hints, experiences, encouragement. I'd especially like to thank Hambone for all his help; also, Matt of FBB, JP, Geoff, JSPGuitars, Wilser, Jacksonsmen, (and whoever I forgot to add ) Thank you very much guys! And now for the pics: Copper shielding? No skimping on the material here, copper plates! Passive wiring: P-ups -> Vol pots (500k log) and series/parallel switch -> Tone pot (250k) and switch: 44nF, 100nF or takes the tone pot out of the circuit -> Transformator: 500 on the primer, 3000 on the secunder. (This is why all this shielding was necessary). Despite being passive, the output is hotter than the active/active Corvette Oh and the most important part: the why and the how does it sound/play. Being a lefty who likes 6ers in a small European country is not quite a good thing. Might sound funny, but the Corvette 6 was the cheapest lefty 6 available here at the time. The aim with this design was to make a bass that is lighter, balances better and has a clearer, brighter tone, but a bit of growl, too - to add a bit of diversity to the Corvette's tone. The shape was based off the Corvette (I just simply took a pencil and drew it around ), and also inpired by Jerzy Drozd and the NS shape. Even though the neck was (much) heavier than anticipated (I even had to redesign the bass a bit because of it), it now balances very well. Plays nicely, smoother than the Corvette. The neck feels comfortable, though there are still some things to correct (high frets and stuff). And the sound: well, after a few mishaps that were finally corrected yesterday, the short description would be clean, full-bodied highs and versatility. When playing the higher frets, the sound is much fuller than on my other basses. Digging in at the bridge, it gives a nice growl. Sorry, I'm not too good at defining sound. That's about it.