Hi. I've attached a picture of my new bass (same jpeg I attached to a thread last week before I had a chance to play the bass, so if you've seen it already, don't bother!). --------------------- The specs, again: Body- Curly maple Top- Uniquely figured curly flame maple Neck- One piece quartersawn hard maple Fingerboard- hard maple(24 fret) Nut- Graph Tech Truss Rod- Single (two way adj.) stainless steel Bridge- Hipshot A style brass (adj. spacing .720-center to center) -black Tuners- Hipshot Ultralite- black Pickups- Bartolini- P25 Quadcoil -with selector switch to cut coils. Electronics- Bartolini NTMB ( blend, mid./push-pull/mid. boost, bass/treb., master vol./push-pull/passive mode.) Strings- DR Low Rider- gauge 45 65 85 105 125 Color- Green to Indigo burst edge -------------------------- Anyway, a review: this bass is quite versatile, due to the Bartolini electronics. Its best sound, IMO, is the bridge pickup soloed without coils cut, all controls flat -- it gets the exact sound of Alanis Morrisette's "You Oughta Know", which I believe was played by Flea on a Musicman. So this bass can be super-aggressive and honk-y. The coolest thing about this setting is that the bridge pu gets enough bass even without boosting the bass control, which is unusual IME. With the neck pu soloed, the sound is deep and fairly-full, although not as round as that of a Roscoe I AB'ed it with -- this bass just "wants" to be more aggressive, I think. I really like the sound of this pu with the coil-cut engaged, and the low-mids boosted. Or you can leave everything else flat, and boost the treble a tad, which gives a more P-bass-like sound. BTW, this bass RULES for slapping: total attack, but with total clarity. Also, because the action is low with no buzzing, it's very easy to execute fast slap runs. Negatives: The bass weighs a ton, although it definitely balances well -- the neck is super-thin & light, and the headstock is small, with light tuners. So I can deal. . . Also, the passive volume level of the Barts is pretty low, so I had to crank up the preamp volume pot inside the cavity, but that means one can't really switch back & forth betw. the active & passive sounds, because there's a big volume difference. Similarly, the coil-cut switch causes a big volume drop, although not as big as that betw. active & passive. On the other hand, any of these sounds -- active or passive, coils cut or not, bridge or neck pu -- is so fine and enjoyable, one could easily play a whole cover-band gig without needing to do any switching. So this is a beautifully-crafted (PHENOMENAL fretwork, I forgot to tell ya) bass, with a TIGHT B, fancy electronics, a look I love, and lots'a tones, with a couple of tiny caveats. I'm happy.