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How do you go back after having something like this?

If you play violin I think you never have to go back. So much flame maple in that space.

I love the look of flame maple but it is less stable or less strong as the grain structure is weakened some by the pattern. And it costs more so being the cheap person I am, I've never paid the $$$ to go flame. I have had several birdseye maple necks though and loved them.
 
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Just been staring at the flame maple neck on my Fender MIJ Ishibashi FSR Traditional II 70s. Seriously, all maple necks should have flame figure from now on!

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Until they start to get grimly and you have to find out how to clean a maple fingerboard.
 
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Fancy figure doesn't automatically equate to great tone.

But luthiers should absolutely use the best maple they can.

I still can't believe how many basses are built with ordinary flatsawn maple fretboards when higher grade quartered maple is just not that much more expensive when you're buying a piece of wood 1/4" thick and 3" wide.
 
If you play violin I think you never have to go back. So much flame maple in that space.

I love the look of flame maple but it is less stable or less strong as the grain structure is weakened some by the pattern. And it costs more so being the cheap person I am, I've never paid the $$$ to go flame. I have had several birdseye maple necks though and loved them.
Never heard that flame maple was less stable. Interesting.

So, more frequent neck adjustments with a flame maple neck?

Cannot see that being an issue with a fingerboard, though, unless it's one piece.


I also prefer ebony fingerboards to any other material almost always. However, in this case with the OP's jazz bass, I think that flame maple is as gorgeous as it is rare for that bass. I've seen countless MIJ blonde jazz basses but have never seen one like that. I'm also on the fence regarding block inlays. But again, in this case (with the low contrast) I think it looks fantastic.
 
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