- Jun 30, 2010
- 49,615
- 222,139
- Disclosures
- musician/artist/owner - Gildaxe
Thank you!
- it is a pretty J. The lowdown is this; the body is a '66 refinished in Oly wht (poly) by Marty Bell, the (Plek'd) neck is made to early '66 dot & bound specs by SF luthier Dan Ransom with a beautiful Brazilian rosewood fb, finished by Pat Wilkins. The pops are converted 70's style (Geddy Lee) Fender clovers with the top hump ground off & polished, the pg is a Spitfire, the pu's are Fender PV 74's, it has a Santellan Sounds push-pull series/parallel tone pot (center knob) & harness, bone nut, Fender bent-plate/ribbed saddles bridge and D'Addarrio EXL strings. I wanted an early '66 dot & bound J but they cost a lot of $$$ so I made this one that cost a lot less and plays and sounds better than an actual '66 I played once at the Chicago Music Exchange. The pops were done 13 yrs ago - long before the recent Gotoh's that are the most authentic pops available. (sans Fender stamp) I have a bridge cover for photo-ops but it takes up valuable real-estate when palm-muting so it stays in the case.
It was my mainstay bass for Bond Girl -
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(shameless plug!) 
Seriously, isn't that why a lot of lefties switch-hit on commonly available (righty oriented) kit? I know it's a struggle (one of my sisters is a lefty) but I always felt lefties had an advantage (in a way) because many times they became ambidextrous right? Is this still true? To me that's huge - like being versed in another language.
