I'd been wanting to try this bass out for a long time, only having seen it online and/or in magazines. I was scanning through GC's used site, and I saw that a BBNE2 came in at a store near me. So, I made a trip over there, and finally got to play this bass. Well, mixed thoughts on this one. First off, the good points, and they were indeed that. This thing is on the heavier side, but, it balances really well on your lap...very minimal neck dive, if any. The neck was on the fuller/beefier side, and still, it really didn't phase me much, nor did the gloss finished on the back of the neck. That finish really surprised me, as I play satin, so nice job on that part. The ebony board was also solid, with no fret ends sticking out (can be common with how ebony can shrink easily in the dry winter air). Access was no problem at all to the 24 frets, and every note was big and full-sounding, with crystal clarity, and they all sustained quite well. You can see the 5 pieces of laminated wood for the neck, if you look carefully at the black color (reflected under light), where the paint shows ever-so-slightly raised surfaces from the joined pieces. Along with the great sounding pickups, the eq section was POWERFUL...but, tasteful, if that makes sense. I couldn't find a bad sound on this bass, locating pretty much everything from a P to a J-Bass, regardless of what some say it not being able to do. I can see why Nathan East trusts this thing for tone, because it's got studio-clean authority. Anyway, the eq is blend, master volume (yes, after the blend), bass, mid, treble, and a mid-cut switch with a evel knob. That last control is basically a simplified version of Nathan East's old effects box from Yamaha, the NE-1. I have one, and will never sell it. The built-in "magic box" on this bass, is close to effectiveness of the box, but I wasn't thrilled about the set frequency and q point (sweepable on the NE-1 box). The mids on this bass can cut through any band, I would think. About the only eq point that isn't massive-sounding, is the treble. It's certainly more subtle than the mids and bass, but effective. The bass is perhaps too? big...didn't take much to make the speakers fart, so that was used sparingly. The blend was pleasantly predictable, as the bridge pickup could really grunt and burp, with harmonics that shimmered while not sounding brittle. The neck pickup had nice beef, but not totally an actual P-Bass (duh). The J-Bass comparison was almost there, too, or perhaps more (J-Bass on steroids, I think). So yeah, I was curious as to why the blend knob is the closet to the neck, while the volume was closest to the bridge. My only guess, is that Nathan requested the volume to be closest to his fingers, for better access to live volume changes/swells. I actually kind of like this. Okay, yeah, then there's what killed it for me. The fret job wasn't that great (very surprised), as they looked pretty off as I sighted down the neck, even with the bass side being relatively flat. The treble side, I couldn't flatten to save my life, as I think a well-made bass should have a pretty-much equally-flat neck on both sides, or at least, have the same relief on both sides. Totally not the case here, sadly, because this bass, along with bottomed-out saddles, was at the end of the line. I say, sadly, because if this bass could achieve what my Peaveys' necks can, then OH MY GOD, the BBNE2 would crush. All in all, this was a bittersweet experience, because again, the sound and balance were phenomenal, and then there was the neck playability.... I seriously wonder if this one bass was somehow a dud that slipped out of the east? I really can't see a top-tier pro (like Nathan East) accepting something "off" like this. This was a used bass, but it didn't look like it. Thoughts?