What I wanted to achieve in the design of this bass was a good balance of string clarity over the entire range of the fingerboard.

My goal in explaining my design concept is not to put down any other design.

My ears hear the bolt on neck as having a wonderful round tone in the upper register but the lower register seems a little floppy to me, not muddy but not tight and crisp.

The through neck multi lamination construction has a tight crisp low end but an almost brittle bright high end.

I tried to combine the two designs to get a good balance of tone over the whole neck.

The body is constructed very close to the bolt on neck design where as the through neck design has two wings glued to each side of the neck so you see the neck on the front and back of the bass.

Example of my body:
B-009 (7 of 14)

The bolt on neck has the neck bolted to a cut out area on the top of the bass.

My neck is glued into the back of the bass so it acts like a half bolt on half through neck.

1 B-009 B

The bolt on neck is primarily a one piece neck whereas the through neck is usually a multi lamination of different woods.

My neck is a two piece quatersawn neck and is glued into the back of the body.

My bodies are either two piece Swamp Ash, two piece Alder or a one piece mahogany and any of these bodies can have a top of 5A Western Curly Maple of Tazmanian Blackwood top if available or Koa top if available.

I also carved a thumbrest out of the top so the player can anchor their thumb anywhere between the pickups and towards the end of the fretboard but the thumbrest curves away from the end of the fretboard leaving plenty of room for the slap style or playing off the end of the board.

B-006 (1 of 7)

B-002 c

My headstock has a volute carved in the back and a radius on the top of the headstock for added strength.

B-005 (7 of 9)


B-006 (6 of 7)

The side position markers on the fretboard are good size for easy visibilty.

B-004 (8 of 11)

And Optional Ovals in the face of the fingerboard.

B-009 (12 of 14)

Or no Inlays on the face of the fingerboard.

1 B-002 2

Control layout.
Bottom line of controls closest to the end of the fingerboard are the passive controls laid out like a Jazz bass, very familiar.

The top row are the active controls and only work when the switch is in active mode.


Hope you like my design.

Chuck Thornton