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Second Brooks EXB-12-TP *LOST*

#22
Basvarken said:
That black twelve-string bass that I built for Tom Petersson is only half the story.
I built another twelve-string bass for Tom. And they were finished simultaneously.
Both basses were sent off to Tom's address on June 29th.
The black one was delivered four days later.
But the other one (with quilted maple top) still has not been delivered. UPS has lost the package...
I filed a claim for investigation on July 16. But still no sign of the bass to this day!

I am gutted.

I'm still keeping my fingers crossed that it will show up in the UPS warehouse after all.
But if you should ever see this bass for sale, please do contact me.


Here are the pics that I took before I sent it off to the USA

brooks-exb-12-tp-full-1500_orig.jpg
brooks-exb-12-tp-body-1500_orig.jpg
brooks-exb-12-tp-headstock-1500_orig.jpg
brooks-exb-12-tp-bridge-set-1500_orig.jpg
brooks-exb-12-tp-output-jack-1500_orig.jpg

brooks-exb-12-tp-back-1500_orig.jpg
brooks-exb-12-tp-knobs-1500_orig.jpg
brooks-exb-12-tp-neckjoint-1500_orig.jpg
brooks-exb-12-tp-pickup-1500_orig.jpg
brooks-exb-12-tp-custom-built-1500_orig.jpg
brooks-exb-12-tp-headstock-back-1500_orig.jpg

brooks-exb-12-tp-full-diagonal-1500_orig.jpg



Specifications:

- Mahogany body
- Quilted Maple top, bookmatched
- Nine ply laminated Mahogany set neck. Glued in
- Lemon Burst finish. Naturel Mahogany back and sides
- Checkerboard binding
- Ebony fretboard
- Abalone position dots. Aluminium ring in 12th position
- Jumbo frets
- 30 1/2" scale
- Buffalo horn nut
- ETS Custom made twelve string bridge set. Nickel
- Two spokewheel double action trussrods
- Carbon reinforcement strip in the neck
- Gemini Dominator in the neck position. Nickel
- Gemini Devastator in the middle position. Nickel
- Pure Tone output. Nickel
- 3-way pickup selector toggle switch
- Hipshot Ultralite Mini clover bass tuners. Nickel
- Schaller GrandTune guitar tuners. Nickel, Pearloid button
- d'Addario custom strings
- Weight: 4.7 kg

I'll post pics of the build process below.
Click to expand...
What a beautiful bass (again), and a scary story!
You didn't hide an Apple Airtag in this bass like you did with my Brooks, did you?
 
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#25
coryr1000 said:
I have been admiring those basses on your website for a while. I figured they for for Tom because of the "TP" in the model number. Lets hope it finds its rightful owner. Since its a one of a kind it won't be hard to miss if it shows up somewhere.
Click to expand...
Yeah I did that on purpose. I was wondering of anyone would guess the customer. Buy nobody asked me if they were for Tom Petersson ;-)
 
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#32
Basvarken said:
No, it has not been removed. I had to re-organise the site a bit. Because it was getting too crowded. ;-)
So the EXB-12-TP (still) has it's own page.
And that page has two sub-pages; one for the black one.
And indeed one for an off-white one.
That third bass was just ordered by Tom Petersson the day before yesterday.

He is really enthusiastic about the black bass.
Click to expand...
Why does it have to be off-white? Isn't regular white enough? Why must people continue to make everything so complicated!!! If Fender doesn't make it, it doesn't exist!

Listened to the various 12-string bass recordings and found they sounded surprisingly different. In particular, the FV-12 has a nice deep tone for a short-scale, though there were some other 34" scale instruments that had really great sounding low-Es, including the semi-acoustic EXB-12-SA; perhaps part of it is the pickup choice/position? Not sure I'd want to give up that long-scale low note definition for the playability advantage of shorter scale. 34" brings more thunder to the bottom, more definition. I remember asking Hamer about the tonal difference due to scale length and didn't really get it until I had a B12S and B12L to compare.

Getting a bit nerdy here... however, 12-string bass amplification is an art/craft in itself. There's quite a bit of nuance required to split and EQ (and recombine) the signals to get a nice distortion tone with solid lows. Some form of bi-amping is almost necessary, in terms of sending the higher frequencies to a guitar rig and the lower frequencies to a bass rig, or using a pedal like the DP-3X, XB Driver, or Darkglass X series. Going straight into a VT Bass sounds okay, but it helps to use a HPF beforehand so that the mid and high frequencies are overdriven without the lows muddying things up. Tom Petersson and dUg Pinnick are probably the most noteworthy for this approach on 12-string, though Dave Henning from Big Wreck deserves a mention. Dialing things in can take a while, getting a good balance... that and getting all the strings in tune.
 
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#34
12bass said:
Why does it have to be off-white? Isn't regular white enough? Why must people continue to make everything so complicated!!! If Fender doesn't make it, it doesn't exist!

Listened to the various 12-string bass recordings and found they sounded surprisingly different. In particular, the FV-12 has a nice deep tone for a short-scale, though there were some other 34" scale instruments that had really great sounding low-Es, including the semi-acoustic EXB-12-SA; perhaps part of it is the pickup choice/position? Not sure I'd want to give up that long-scale low note definition for the playability advantage of shorter scale. 34" brings more thunder to the bottom, more definition. I remember asking Hamer about the tonal difference due to scale length and didn't really get it until I had a B12S and B12L to compare.

Getting a bit nerdy here... however, 12-string bass amplification is an art/craft in itself. There's quite a bit of nuance required to split and EQ (and recombine) the signals to get a nice distortion tone with solid lows. Some form of bi-amping is almost necessary, in terms of sending the higher frequencies to a guitar rig and the lower frequencies to a bass rig, or using a pedal like the DP-3X, XB Driver, or Darkglass X series. Going straight into a VT Bass sounds okay, but it helps to use a HPF beforehand so that the mid and high frequencies are overdriven without the lows muddying things up. Tom Petersson and dUg Pinnick are probably the most noteworthy for this approach on 12-string, though Dave Henning from Big Wreck deserves a mention. Dialing things in can take a while, getting a good balance... that and getting all the strings in tune.
Click to expand...
Without bi-amping, you can simply split the signal in 2 channels inside the HX Stomp (with a selectable split frequency), and use whatever signal chain for each part of the signal (I never did it with a 12 strings bass but it works well with a 4 strings bass to keep your low frequency clean and add dirt on the upper part of the spectrum).
 
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#35
Yes, pickup placement plays a big role.
Pickup type too of course. The Lace Alumitones sound rather HiFi-ish. Whereas the Thunderbird humbuckers have a more low-mid focus.

Choice of wood plays a role. Mahogany sounds warm. Korina sounds a bit more dense and compact (f that makes sense)

And construction too of course. The semi-hollow 12 -string sounds different from the solid bodied ones.


It all boils down to personal preferences. Since all basses are custom made, there are no two bass guitars the same.

Tom Petersson prefers the two pickups close to each other, straight at the neck. And live he only uses the neck pickup. With the pickup selector switch working as a fancy kill switch of sorts.



On some of my builds I have used two dedicated outputs. One for each pickup. To allow for true bi-amping.
 
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#36
coryr1000 said:
Pickup placement definitely comes into play. Notice that Tom has his pickups closer to the neck than most two pickup basses. The bridge pickup is practically in the middle.
Click to expand...
For sure. There's so much high frequency from the guitar strings that I get why Tom prefers having the pickups closer to the neck. I've never been much of a fan of a bridge pickup on a 12. Have a Q-tuner in the neck position of my TP-12 34" and there's still plenty of chime up top... plus nice deep fundamentals.
 
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