Due to an unavoidable disagreement with my hosting company, you will now be able to reach Americanbassist.com here for all your bass guitar and acc. needs and questions-Thanks Alot, Bassman
To Start off this blog here is a little history about Rickenbacker from Rickenbacker.com

Welcome to Rickenbacker.com 12/6/2009

The Earliest Days of the Electric Guitar
The Rickenbacker International Corporation (RIC) grew out of the first company founded for the sole purpose of creating and manufacturing fully electric musical instruments and amplifiers-the Los Angeles-based Electro String Instrument Corporation. Founded in 1931 by Adolph Rickenbacker and George D. Beauchamp, this pioneering firm produced "Rickenbacker Electro Instruments", the first modern electric guitars. RIC's history now spans 78 years in business on the leading edge of music trends that have changed popular culture forever. Played by Hawaiian musicians of the 1930s to jazz bassists of the 1990s, by the Beatles and Byrds to the most-current rock groups on MTV, the ringing sound of Rickenbacker instruments has helped define music as we know it. Never resting on its laurels, RIC continues to ignite and propel the electric guitar's transformation of music by providing today's musicians with the finest instruments available.

It all began in 1920s Los Angeles, a city fast becoming the entertainment capital of the world. Like many of his contemporaries, steel player George Beauchamp (pronounced Beechum) sought a louder, improved guitar. Several inventors had already tried to build louder stringed instruments by adding megaphone-like amplifying horns to them. Beauchamp saw one of these and went looking for someone to build him one, too. His search led to John Dopyera, a violin repairman with a shop fairly close to Beauchamp's L.A. home.

Dopyera and his brother Rudy's first attempt for George sat on a stand; a Victrola horn attached to the bottom and pointed towards the audience. It was a failure, so the Dopyeras then started experiments with thin, cone-like aluminum resonators attached to a guitar bridge and placed inside a metal body. A successful prototype (soon dubbed "the tri-cone") used three of these resonators. Beauchamp, so pleased with the results, suggested forming a manufacturing company with the Dopyeras, who had already started making more guitars in their shop. Setting out to find investors, he took the tri-cone prototype and the Sol Hoopii Trio (a world-famous Hawaiian group) to a lavish party held by his millionaire cousin-in-law, Ted Kleinmeyer. He was so excited about the guitar and the prospects for a new company that he gave Beauchamp a check for $12,000 that night.

Substantial production of the metal-body guitars began almost immediately. Beauchamp, acting as general manager, hired some of the most experienced and competent craftsmen available, including several members of his own family and the Dopyeras. He purchased equipment and located the new factory near Adolph Rickenbacker's tool and die shop. Rickenbacker (known to his friends as Rick) was a highly skilled production engineer with experience in a wide variety of manufacturing techniques. Swiss-born, he was also a relative of WWI flying ace Eddie Rickenbacker. Well equipped to manufacture metal bodies for the Nationals, Adolph owned one of the largest deep-drawing presses on the West Coast and soon carried the title of engineer in the National Company.

Unfortunately, the seeds for an internal dispute within National were planted in the very beginning. By late 1928 the Dopyeras became very disgruntled with the management of company and resources. John Dopyera, who rightfully considered himself an inventor, ironically thought that Beauchamp wasted time experimenting with new ideas. Dopyera and Beauchamp lived in two different worlds and apparently were at odds on every level of personal, business and social interaction. That they could not work together successfully was a foregone conclusion. Another problem was Ted Kleinmeyer, who had inherited a million dollars at 21 and was trying to spend it all before turning 30 (when he would inherit another million). A Roaring '20s party animal, successful losing money faster than he could make it, he started hounding Beauchamp for cash advances from National's till. George's fault was that he could not turn people down, especially his friends and the company's president.

John Dopyera quit and formed the Dobro Corporation, but maintained National stock. The Dopyera brothers would eventually win more in a court settlement. Then Ted Kleinmeyer, nearly broke (and a few years away from the rest of his inheritance), sold his controlling interest in the concern to another Dopyera, brother Louis. In a shakeup that followed, Beauchamp and several other employees were fired. Now George needed a new project and a new company, fast.

Along with others of his day, he had thought about the possibility of an electric guitar for several years and, though not schooled in electronics, had started experimenting as early as 1925 with PA systems and microphones. Early on he made a single-string test guitar out of a 2x4 board and a pickup from a Brunswick electric phonograph. This experiment shaped his thinking and put him on the right path. After leaving National, he began his home experiments in earnest and attended night-school classes in electronics.

By 1930 many people familiar with electricity knew that a metal moving through a magnetic field caused a disturbance that in turn could be translated into an electric current by a nearby coil of wire. Electrical generators and phonograph pickups utilized different applications of this principle. The problem building a guitar pickup was creating a practical way of translating the strings' vibration directly into a current. After many months of trial and error, George developed a pickup that consisted of two horseshoe magnets. The strings passed through these and over a coil, which had six pole pieces concentrating the magnetic field under each string. (Conducting work on his dining room table, he used the motor out of the family washing machine to wind the coil. Paul Barth, who helped Beauchamp, said that they eventually used a sewing machine motor.)

When the pickup seemed to be doing its job, Beauchamp called on Harry Watson, a skilled craftsman who had been National's factory superintendent, to make a wooden neck and body for it. In several hours, carving with small hand tools, a rasp, and a file, the first fully electric guitar took form. It was nicknamed the "Frying Pan," for obvious reasons. Anxious to manufacture it, Beauchamp enlisted his friend Adolph Rickenbacker. With Adolph's help, know-how, ideas, and capital were abundant. The first name of the company was Ro-Pat-In Corporation but was soon changed to Electro String. Adolph became president and George secretary-treasurer. They called the instruments Rickenbackers because it was a famous name (thanks to cousin Eddie) and easier than Beauchamp to pronounce. Paul Barth and Billy Lane, who helped with an early preamplifier design, both had small financial interests in the company as production began in a small rented shop at 6071 S. Western Ave., next to Rickenbacker's tool and die plant. (Rick's other company still made metal parts for National and Dobro guitars and Bakelite plastic products such as Klee-B-Tween toothbrushes, fountain pens, and candle holders.)

Electro String had several obstacles. Timing could not have been worse--1931 heralded the lowest depths of the Great Depression and few people had money to spend on guitars. Musicians resisted at first; they had no experience with electrics and only the most farsighted saw their potential. The Patent Office did not know if the Frying Pan was an electrical device or a musical instrument. What's more, no patent category included both. Many competing companies rushed to get an electric guitar onto the market, too. By 1935 it seemed futile to maintain a legal battle against all of these potential patent infringements.

Hawaiian guitars (lap steels) would be the best known and most accepted 1930s Rickenbackers. Early literature illustrates both 6- and 7-string versions of the Frying Pan. Both had the same cast aluminum construction, compared with the prototype's wood. Over the years (this guitar would be available into the 1950s) two scale lengths would be offered: 22 1/2 inch and 25 inch. Workers stuffed the bodies and necks with newspapers, which today can provide a clue as to the guitar's date of manufacture. Soon after the Frying Pan, several additional steel models were offered, the most popular being the hard-plastic Bakelite Model B, later named Model BD. The earliest examples had a volume control and five decorative chrome cover plates on top. By the late 1930s they had both tone and volume controls and white-enameled metal cover plates. In the 1970s, David Lindley used a Bakelite steel on many recordings with Jackson Browne, proving the integrity of the original design in a modern context. Many players consider these lap steels the finest ever produced.

Electro String's first Spanish (standard) guitar had a flattop hollow body with small F-holes and a slotted-peghead. A bound neck joined at the 14th fret. By the mid-1930s, the concert-sized Ken Roberts Model (named after one of Beauchamp's guitar-playing friends) came out. It had a bound neck that joined the body at the 17th fret, a shaded 2-tone brown top with F-holes, and a Kauffman vibrato tailpiece. In the 1930s and 1940s there were at least two electric arch top models. The SP had a maple body, shaded spruce top, bound rosewood neck with large position markers, and a built-in horseshoe pickup. The Model S-59 sported a blonde finish and a narrow, detachable horseshoe pickup. This so-called "Rickenbacker Electro peerless adjustable pickup unit" was also available as a separate accessory and would attach to most F-hole style arch tops.

Despite the popularity of arch tops, the 1935 Bakelite Model B Spanish guitar made the most history for Rickenbacker. Though not entirely solid (it had thick plastic walls and a detachable Spanish neck), it achieved the desired result-virtual elimination of the acoustic feedback that plagued big-box electrics of the day. It set the stage for all solid body guitars to follow, even though it was difficult to play sitting down on the bandstand. (A Bakelite Spanish the size most guitarists were accustomed to would have been as heavy, literally, as a sack of bowling balls.) A variation of the Bakelite Spanish invented by Doc Kauffman (who would later become Leo Fender's first partner) was the Vibrola Spanish Guitar, an ungainly thing equipped with a motorized vibrato tailpiece. So heavy, it required a stand to hold it up.

From the very beginning Electro String developed and sold amplifiers. After all, the instruments worked only in conjunction with them. The first production-model amp was designed and built by a Mr. Van Nest at his L.A. radio shop. Shortly thereafter, Beauchamp and Rickenbacker hired design engineer Ralph Robertson to work on amplifiers. He developed the new circuitry for a line that by 1941 included at least four models. The speaker in the Professional Model was designed by James B. Lansing. Early Rickenbacker amps influenced, among others, Leo Fender who by the early 1940s repaired them at his radio shop in nearby Fullerton, California.

How did Rickenbacker guitars shape the 1930s music industry? Beauchamp had many friends and contacts in the entertainment community and as a result many stars used his instruments. Sol Hoopii and Dick McIntyre, to name just two popular Hawaiian steel guitarists, played Rickenbackers on countless influential recordings. Perry Botkin, who did many recording sessions with Bing Crosby and other Hollywood stars, used one of the few Vibrola Spanish Models. Les Paul owned a Rickenbacker. Electro String even made Harpo Marx an electric harp. A family of Rickenbacker Electro String Instruments was born, all using some variation of the horseshoe-magnet pickup. Besides guitars and mandolins, the company invented fully electric bass viols, violins, cellos and violas. An electric piano prototype sat in the firm's front office for years. Most of these instruments totally disregarded traditional styling. Rickenbacker realized that a fully electric instrument did not have to retain the appearance of its acoustical counterpart. This conceptual jump-the first of several Rickenbacker revolutions-liberated the thinking of designers to come.

By 1940, after fifteen years in the fast lane, Beauchamp became frustrated and disenchanted with the instrument business, partly due to his deteriorating health. His second passion, fishing and designing fishing lures, captured his attention. He patented one that he sought to manufacture; to raise the necessary capital he sold his shares in Electro String to Harold Kinney, Rickenbacker's bookkeeper. Soon after this, Beauchamp went deep sea fishing and had a fatal heart attack. His funeral procession was over two miles long. A true pioneer of electric instruments, he unfortunately did not live to see the electric guitar reach its full potential.

Adolph Rickenbacker had maintained other interests throughout Electro String's short history; he never had as much faith in the guitar business as his partners. Nevertheless, he continued instrument making until 1953 when he sold the company to F.C. Hall, a leading figure in the post-WWII Southern California music business. That sale marked the end of one era and the beginning of another, the dawn of modern Rickenbacker guitars.


© 2009 Rickenbacker International Corporation ® RIC

FENDER® BASS ADJUSTMENT AND CARE
The following setup procedures and specifications are for you Fender bass as equipped with the strings that come on the instrument as standard equipment from the factory. If you plan to change string gauges, you may need to adjust the specs somewhat to compensate for the changes in string sizes. Modifications of the specs may also be made (within limited parameters) to adjust for your individual playing style or application (i.e., how hard you pick, finger, slap, pop or fret the bass).

Note: These are minimum specifications that are meant as a guide; they should not be construed as hard and fast rules, as we realize that every player's subjective requirements often differ.

TOOLS NEEDED
•Set of automotive feeler gauges (.002-.025) (0.05–1 mm)
•6" (150 mm) ruler (with 1/32" and 1/64" increments) (0.5 mm increments)
•Light machine oil (3-in-1, toy locomotive or gun oil)
•Phillips screwdriver
•Electronic tuner
•Wire cutters
•Peg winder
•Polish and cloth
STRINGS
New strings can breathe new life into your bass. Much of the thump and pop you expect from your bass starts right there. For strings to stay in tune, they should be changed regularly. Strings that have lost their integrity (worn where pressed against the fret) or have become oxidised, rusty and dirty will not return to pitch properly. To check if your strings need changing, run a finger underneath the string and feel for dirt, rust or flat spots. If you find any of these, you should change your strings.

Fender offers a variety of bass strings—smooth, vintage-sounding pure-nickel Original Bass 7150s; Super Bass 7250s; bright, snappy Stainless Steel 7350s and others. They are available in long, medium and short scales; taper-wound; and top-loading or string-through-body types

Because of the amount of tension on the neck, it's advisable to replace and tune each new string before removing the next string. After the whole set is changed and tuned, stretch your strings properly by holding them at the first fret and hooking your fingers under each string (one at a time) and then tugging lightly, moving your hand from the bridge to the neck. Re-tune and repeat several times.

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TUNING KEYS
How you wind the strings onto the pegs is very important. Start by loading them through the bridge and then loading them onto the appropriate keys as follows:

Standard keys. Pre-cut each string for the proper length and desired amount of winds. Pull the fourth string 3" (76 mm) past its tuning post and cut it (make sure to pull each string taut). Insert through the eyelet in the tuning key, allowing approximately 1/16" (1.6 mm) of the end to extend through the eyelet, then wind neatly in a downward pattern, being carefull to prevent overlapping. Pull the third string 3 1//2" (89 mm) past its tuning post, cut it, and repeat the winding procedure. Pull the second and first strings 3 1/2" (89 mm) past their tuning posts and cut and wind as noted. For five-string basses, cut the fifth string 3" (76 mm) past its tuning post and repeat the same cutting and winding procedure.

Vintage keys. Pre-cut each string for the proper length and desired amount of winds. Pull the fourth string 4" (102 mm) past its tuning post and cut it (again, make sure to pull each string taut). Insert into the center hole of the tuning key, bend and crimp to a 90° angle, and wind neatly in a downward pattern, being carefull to prevent overlapping. Pull the third string 4 1/2" (114 mm) past its tuning post, cut it, and repeat the winding procedure. Pull the second and first strings 4 1/2" (114 mm) past their tuning posts and cut and wind as noted. For five-string basses, cut the fifth string 3 1/2" (89 mm) past its tuning post and repeat the same cutting and winding procedure.

INTONATION (ROUGHING IT OUT)
You can preset the basic intonation of your bass by taking a tape measure and measuring from the inside of the nut to the center of the 12th fret (the fret wire itself; not the fingerboard). Double that measurement to find the scale length of your bass.

Adjust the first-string bridge saddle to this scale length, measuring from the inside of the nut to the center of the bridge saddle. Now adjust the distance of the second saddle back from the first saddle, using the gauge of the second string as a measurement. For example, if the second string is .060" (1.5 mm), you would move the second-string saddle back .060" (1.5 mm) from the first saddle. Move the third saddle back from the second saddle, using the gauge of the third string as a measurement. Adjust the fourth saddle in the same manner (and fifth if you have a five-string bass).

Note: If you're using a taper-wound fourth string (and fifth if it's a five-string bass), use the actual gauge of the string for your measurement rather than the dimension of the tapered portion of the string.

TRUSS ROD
First, check your tuning. Affix a capo at the first fret and depress the fourth string at the last fret. With a feeler gauge, check the gap between the bottom of the string and the top of the 8th fret—see the spec chart below for the proper gap.

Caution: Because of the amount of string tension on the neck, you should loosen the strings before adjusting the truss rod. After the adjustment is made, re-tune the strings and re-check the gap with the feeler gauge.


Adjustment at headstock (allen wrench): Sight down the edge of the fingerboard from behind the headstock, looking toward the body of the instrument. If the neck is too concave (action too high), turn the truss rod nut clockwise to remove excess relief. If the neck is too convex (strings too close to the fingerboard), turn the truss rod nut counter-clockwise to allow the string tension to pull more relief into the neck. Check your tuning, then re-check the gap with the feeler gauge and re-adjust as needed.

Adjustment at neck joint (phillips screwdriver): Sight down the edge of the fingerboard from behind the body, looking up toward the headstock of the instrument. If the neck is too concave (action too high), turn the truss rod nut clockwise to remove excess relief. If the neck is too convex (strings too close to the fingerboard), turn the truss rod nut counter-clockwise to allow the string tension to pull more relief into the neck. Check your tuning, then re-check the gap with the feeler gauge and re-adjust as needed.

Note: In either case, if you meet excessive resistance when adjusting the truss rod, if your instrument needs constant adjustment, if adjusting the truss rod has no effect on the neck, or if you're simply not comfortable making this type of adjustment yourself, take your instrument to your local Fender Authorized Dealer.

Neck Radius
7.25"
9.5" to 12"
15" to 17" Relief
.014" (0.35 mm)
.012" (0.3 mm)
.010" (0.25 mm)

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ACTION
Players with a light touch can get away with lower action; others need higher action to avoid rattles. First, check tuning. Using a 6" (150 mm) ruler, measure the distance between bottom of strings and top of the 17th fret. Adjust bridge saddles to the height according to the chart below, then re-tune. Experiment with the height until the desired sound and feel is achieved.

Neck Radius String Height Bass Side Treble Side
7.25"
9.5" to 12"
15" to 17" 7/64" (2.8 mm)
6/64" (2.4 mm)
6/64" (2.4 mm) 6/64" (2.4 mm)
5/64" (2 mm)
5/64" (2 mm)

SHIMMING/MICRO-TILT™ ADJUSTMENT
Shimming is a procedure used to adjust the pitch of the neck in relation to the body. A shim is placed in the neck pocket, underneath the butt end of the neck. On many American series guitars, a Micro-Tilt adjustment is offered. It replaces the need for a shim by using a hex screw against a plate installed in the butt end of the neck. The need to adjust the pitch (raising the butt end of the neck in the pocket, thereby pitching the neck back) of the neck occurs in situations where the string height is high and the action adjustment is as low as the adjustment will allow.

To properly shim a neck, the neck must be removed from the neck pocket of the body. A shim approximately 1/4" (6.4 mm) wide by 1 3/4" (44.5 mm) long by .010" (0.25 mm) thick will allow you to raise the action approximately 1/32" (0.8 mm). For guitars with the Micro-Tilt adjustment, loosen the two neck screws on both sides of the adjustment access hole on the neckplate by at least four full turns. Tightening the hex adjustment screw with an 1/8" hex wrench approximately 1/4 turn will allow you to raise the action approximately 1/32". Retighten the neck screws when the adjustment is complete. The pitch of the neck on your guitar has been preset at the factory and in most cases will not need to be adjusted.

Note: If you feel that this adjustment needs to be made and you're not comfortable doing it yourself, take your guitar to your local Fender Authorized Dealer.

PICKUPS
Setting pickups too high can cause a number of unusual occurrences. Depress strings at last fret. Using a 6" (150 mm) ruler, measure the distance from the bottom of the first and fourth strings to top of the pole piece. A good rule of thumb is that the distance should be greatest at the fourth-string neck pickup position and closest at the first-string bridge pickup position. Follow the measurement guidelines from the chart below as starting points. The distance will vary according to the amount of magnetic pull from the pickup.

Note: Larger string gauges need wider vibrational allowances. If you have a five-string bass or are using heavier-gauge strings, your measurements must be increased accordingly.

Bass Side Treble Side
Vintage style 8/64" (3.6 mm) 6/64" (2.4 mm)
Noiseless™ Series 8/64" (3.6 mm) 6/64" (2.4 mm)
Standard "J" or "P" 7/64" (2.8 mm) 5/64" (2 mm)
Special Design Humbuckers 7/64" (2.8 mm) 5/64" (2 mm)

INTONATION (FINE TUNING)
Adjustments should be made after all of the above have been accomplished. Set the pickup selector switch (if your bass has one) in the middle position, and turn the volume and tone controls to their maximum settings. Check tuning. Check each string at the 12th fret, harmonic to fretted note (make sure you are depressing the string evenly to the fret, not the fingerboard). If sharp, lengthen the string by adjusting the saddle back. If flat, shorten the string by moving the saddle forward. Remember, basses are tempered instruments! Re-tune, play and make further adjustments as needed.

ADDITIONAL HINTS
There are a few other things that you can do to optimize your tuning stability that have more to do with playing and tuning habits.

Each time you play your bass, before you do your final tuning, play for a few minutes to allow the strings to warm up. Metal expands when warm and contracts when cool. After you've played a few riffs and done a few slaps and pops, you can then do your final tuning. Remember—with most tuning keys, it's preferable to tune up to pitch. However, with locking tuners, go past the note and tune down to pitch. Finally, wipe the strings, neck and bridge with a lint-free cloth after playing. When transporting or storing your bass, even for short periods, avoid leaving it anyplace you wouldn't feel comfortable yourself.

HG Thor Epoxy Fretless Testimonials:



Forum Speak
Owner's Suggestions
Fretless music uniting the world!! -hgt

"This bass sings!! The fingerboard is absolutely amazing. The sustain and growl from the round wounds at any point on the entire fingerboard are impressive. "Mwah" just oozes from this bass. The action is super low, which is a nice difference from my other basses. It doesn't just sound good, it is a work of art. Harris put many hours into this bass which will translate into many years of enjoyment for me. I highly recommend the services of HG Thor Guitar Lab!! It is well worth the wait!"
Eric Larson: Boston, MA. Owner: FretlessBass.com. 1975 Factory fretless Fender P-Bass

"My god, fabulous work, the best, you may quote me on that - chuck"
Charles Tracy Burge: Kalamazoo, MI (Chuck is a master guitar craftsman and former Designer and Model Maker for Gibson Research and Development)


"Hi Harris,
The parcel arrived safely and I re-attached the neck on the weekend. Your application of the epoxy has made the neck a thing of beauty. The bass plays wonderfully and I can get much lower action than I could previously. Thank you for your all the care and attention you gave to the neck while it was in your workshop."
James Mitchell: Tweedbank, Scotland. Fender Jaco bass.

"Ciao Harris,
I finally got the bass Tuesday. It was an emotional moment when I unwrapped it and immediately played it. After playing for hours I realized that the long waiting was worthwhile. As I was playing I got the sensation that the work you have done was absolutely perfect.
Thanks to you I now have a unique and incredible instrument. The sound is defined and constant all along the fingerboard without changing the typical "Fender sound". The action is exactly what I wanted "very low". The bass acquired a great sustain bringing out the fretless sound "mwah". The sound of the Bartolini 9CBJDL1/S1 pickups is incredible, slightly overwound, boost in the mids, defined, excellent for the fretless solo sound.
The feeling of epoxy under my fingertips is new but very pleasant. Today I am proud to say that I own a Fender Jazz bass of "alta liuteria". I can also demonstrate that it is possible to have a Fender with the perfection of a "Furlanetto Bass".
Thank you for being so professional, for giving a great contribution to the world of music and, most of all, for your availability.
Come and visit Italy soon. I would love to play some music with you. A presto,"
Rocco Monteferrante: Vasto, Italy; circa 1974 Fender Jazz

"Greetings and salutuations Harris...
WOW! THE BASS IS SENSATIONAL!
Your work is unsurpassed and cannot be impeached. You made me happy dude! Peace and good things from Skinny." Check out Skinny's Jaco story!
Skinny Bishop: Mesa, AZ; Fender Roscoe Beck 5, full conversion. Sideman ace-bassist with Greg Allman, Hiram Bullock, Ike Turner, George Benson, etc. More at: Skinny Bishop.com

"Just wanted to drop you a note to let you know I received your neck yesterday. Man, it looks terrific! ...It truly is everything you advertise. The bass has taken on some new qualities it didn't possess; the notes jump out of the bass with clarity they did not have before. The harmonics are stunning, bright and easily slide up the neck. I have spent much more money searching for the right bass and equipment trying to achieve this sound that I got from your work on my neck. I am very pleased and very grateful. Thanks, Harris; really terrific work."
Jon Brant: Rockford, IL; Hot Wire Basic Fretless. Bassist 1981-1988: Cheap Trick. Recording credits: TV shows, jingles and movies including multi-platinum Top Gun. Current performance visibility: The Pairanormals and Grammy award winning musician Micki Free. Owner: Guardian Horse Bedding.

"Awesome job! I will begin using it immediately."
Barry Bays: Cleveland, MS; BarryBays.com. Bassist: Shawn Lane, Mohead, Doug Scarborough, more... 1988 - Present: Instructor in Music, Guitar and Bass, Delta State University, Cleveland, MS.


"This neck is playing wonderfully! Your sanding work not only saved this neck, but brought it to perfection = There are no uneven spots and the radius seems very consistent throughout. I'll stress that the neck is playing great, and much better than before. I setup the trussrod almost straight and it gives a very good low action. I should say first that I've never played before a fretless bass with an epoxied fingerboard. The effect epoxy produces in the sound, for a first timer like me, is amazing: everything is brighter and all details come out clearer. As an instrument, I feel like the bass becomes more sensitive. Vibrato, which is essential in fretless playing, becomes more responsive, as if the rotating movement of the finger upon the string was now better "heard" by the neck.
I now realise that in 22 years or so of bass playing I've never come across a neck so well prepared for playing as this. I've been playing it now for about four hours since yesterday, and it's like I've never played a fretless before and didn't know what a pleasure it can be. Only for this you have dramatically influenced my life. I would really like that great fretless players (like Pino Palladino), you know, really famous ones (not like me) become your customers as well. "
Xavier Padilla: Paris France, Bassist for the Gipsy Kings 2000-2005: Fender Jaco '62 Reissue Jazz Bass, stock fretless. -More of Xavier's thoughts and links to his fine work.


Hey H(oly).G(od).,
I received my fretless Steiny back yesterday.
I 've always believed I had invested in the perfect instrument for my requirements and taste and I was right. The original "Brooklyn" set up and fingerboard were perfectly dressed and it was nothing short of amazing. After 24 years of intermittent gigging and recording, it's phenolic composite fingerboard degradation really became a disappointment.
Well I must say that your masterpiece, magical mojo has made this bass at least 40% better than it's original state of glory! I am literally stunned with the perfect quality of your work. Not only are there no dead spots anywhere, there is a consistent quality of sustain all over the neck. Holy Pastorius Almighty! Combined with the neck- through rigidity of the L-1 series and your special Thorified, Kryptonite- impregnated, distilled viking rune, hot sauce epoxy blend, the tone and sustain are ripping large holes in the time- space continuum! Killer job! Worth ever penny! Superior craftsmanship!You are an artist- absolutely perfect!
Can you tell I'm not unhappy?
State of the freaking art, dude!
cheers, jk
John Kilroy: Fine Artist & Fine Art Academy. Steinberger L-1 prototype #7, factory fretless. John Kilroy.com


"Hi Harris
I got the bass yesterday and finally got to unpack and play it earlier today for a little bit. All have to say is that you are a true artist - It's just perfect. It has added a whole new dimension to this instrument - I always thought it sounded a little dark the way it was. This just elevates it a whole different level. I'll be sure to post on TalkBass and give you a great recommendation. I can tell by the level of work you do you take great pride in what you do - and you should because it's just the best.
Thanx so much !!!"
Ed Iglewski Caldwell, NJ: Pensa Suhr, "Dedicated to Jaco" 4 string bolt-on
Owner Laughing Boys Recording Studios


"I sure can confirm all of the above statements concerning the quality of Harris' excellent work. In addition I really appreciate the communication during the work-phase and Harris delivering what he promises."
Hans-Christian Wehmeyer, Berlin (Germany), Fender Jaco Bass


"It plays much better than it ever has, and is extremely responsive. I think the basic tone is also much enhanced, and will continue to improve as the strings mellow a bit. It's interesting how addictive it is to play it... must be some sort of endorphin release or something with each mwah... I really like the rotosounds, and the "liveliness" is awesome. I can't stop playing the thing! I love how it sounds and feels, truly. I am looking it, as you say, as a scientific exploration in search of the perfect fretless sound, and feel very good about the whole thing. I find it fascinating, I have to tell you. I really do wonder how we could explore this phenomenon more scientifically... "
Dr. Charles Limb, Johns Hopkins University otolaryngologist. Alembic Epic 4 string fretless.
"Within the NIH, I'm at the National Institute on Deafness and Other Communication Disorders, which focuses on issues pertinent to hearing. The research is funded via the government directly. In particular, I use functional neuroimaging techniques (functional MRI or positron emission tomography) to study the brain during music perception/production, to try to understand what's happening in the brain during sound perception."
Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation

Very very good! I'm really happy with the bass, and (once more) the neck is nothing less than fantastic. Besides being very good at your craft you have also been a real gentleman to deal with. Very good service.
Lars Tinderholt: Oslo, Norway; Warmoth brazilian rosewood P neck.

"Thanks Harris,
I have to say, after seeing photos of your work I was expecting greatness but when I unpacked my neck it was amazing!! Then the good part - it plays like a dream. Thanks again,"
David Moran: Greenwich, CT, 2006 Fender Jaco Jazz (+ new bone nut).


"First impression...absolute perfection. I've eyballed this thing as close as I can and I can't find a flaw. There isn't the first hint of distortion in a necklong reflection on the fingerboard. The edges are finished perfectly and the back of the neck is satin just like you ordered. I'm very impressed.
Allan Hamilton; HAMBONE CUSTOM BASSES
Snellville, Georgia; Installing neck for Andy Svec, International Bassist, Guam



"Harris, The epoxy fretless conversion you have done for me is beyond any expectation I had. Thank you for giving me back a truly great instrument. I'm just now able to put her down long enough to write you, a day and a half after getting her back!
Your workmanship is the definition of impeccable. In one of our previous communications you said the fretline inlays were "totally factory". I'm sorry to disagree Harris, they are better than factory. You removed the frets perfectly and not a gap or miscut can be seen in the beautiful Maple inlay. The bone nut you made rivals those I've seen on the finest Jazz boxes. The kicker of it all though is the HGT epoxy coating. The application of the coating to the fingerboard, as well as the blend to the lacquer on the neck, is flawless.
I have owned a neck-through, ebony fingerboard fretless instrument for years. It's a fine instrument with fantastic tone but I am here to testify that there is more "wood", more sweetness and more make you wanna holler growl in my bolt-on HGT epoxy fretless conversion than old "Bessie" ever had. The epoxy provides a surface that allows all manner of articulation to speak clearly. The tone is even in all positions and the epoxy surface produces ringing sustain compared to a bare wood fingerboard. Plucking at the neck with the neck pickup favored gives a killer upright bass vibe while plucking down at the bridge with the bridge pickup favored gives......well uh, you know - and let me say I think he would have seriously dug it. With the epoxy I am even able to get a convincing "Yes, I have frets!" tone, something I've never been able to do with the bare wood bass. You have produced a process that I feel provides the ultimate fretless performance. The epoxy coating is not only beautiful to look at, it is a complete, utter joy to play upon as well.
I haven't found the words to thank you properly. Please know my deep appreciation for your artistic skill and that I will treasure this instrument the rest of my days." Best Regards,
Don Wiggins , Scottsdale, AZ. Fender Jazz Bass circa '77, full conversion. Check out Don's uberband: The Groove Merchants.

"I am still EXTREMELY happy with the bass!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
It was nice enough before I sent it to you, but the epoxied fingerboard kicked it up several notches - I don't know that I could go back to bare wood now, seriously. It sounds like no other bass I've ever played, and is "the sound I hear in my head". It allows me to be very expressive and even the tiniest bit of "English" put on the string stands out, vibrato-wise.
Like Mike Lull said when he gave it back to me after the body-refinish: "This thing just sings!!!!".
Over the past few months I've definitely noticed that the physical vibrations the instrument produces when played, and which I feel in my chest when I hold it close to my torso, are in fact much more pronounced than they were prior to the epoxy treatment... esp. on lower notes - like one would experience with a well-made neck-through, maybe an Alembic.
Also: no dead spots. None. Zip. Nada.
The work you did on the restoration of the swan still floors me - the little crescent moon is very. very nice (esp. the 3-D effect of it sitting on top of the fingerboard & under the epoxy - but the swan is the show-stopper.
I don't miss the Jaco at all. I enjoyed it while I had it and it was a good one to play while mine was with you... but I think I am an active-bass kind of guy and, well, I just love my Thor'ed bass. Period. The way it plays, the way it sounds, the way it looks. I don't know what I'd do if something happened to it - probably have to spend a fortune and get a customized Zon fretless...
I took it with me to 2 local music stores last month to try out some small combos and it got several double-takes at both stores - and of course I had to tell the story of it, with emphasis on the H.G. Thor chapter, natch. Like you said, it's a museum piece."
Scott Henderson, Seattle, WA. Custom made fretless neck by Brian Smith (worked for Alembic ~ 70's) on '68 Telecaster bass body reworked extensively by Scott, then Brian; complete pickup/preamp replacement and refinish by Mike Lull of Seattle



"Harris, I would have hit you up sooner, but I haven't been able to put the damn thing down for weeks. When I go back to frets, it's like I have to relearn how to play. The epoxy fretless is incredible!!! Your setup from the shop is superb! I'm amazed at how comfortable I am with this bass in such a small amount of time! Very sonically versatile...I keep finding new and interesting tones with the bass's onboard EQ, and I can get it to sound like everything from upright to slappy funk. I also changed out the flatwounds and put some rounds on it, and it completely changed the tone again. It's all growly and grindy, the way I always thought a bass should sound. This instrument is not a one trick pony.... it's a funk monster!!! The epoxy fretless modification was the best investment I've made to my music in a lot of years!!!! I apologize for not getting back to you sooner...I've been playing a lot of live shows lately and I put the fretless to work right when I got it out of the box. I have played on unlined fretless basses in the past, but I was kind of thrown off by them. The fretlines on this bass really show up well, and my sound is like butter now that I know where I need to be on the neck. You're right about the sliding harmonics...what a trip!!! Your work is unparalleled by anyone else's that I've come across. People ask me about it all the time and I refer them to your website. All I can say is that it is simply amazing!!! Thank you so much for your hard work on my bass, and I certainly hope to do business with you again!"
Eric Daigle, Lake Charles, LA. Warwick JazzMan 5 full conversion



"Harris, I am astounded by the work you did on my bass neck. It is INCREDIBLE! I greatly appreciate your fine craftsmanship. I will be steering people in your direction if ever I hear that they need this type of thing done. I have owned a Pedulla Buzz bass, and other fretless basses, but your work is second to none if you dig what I'm saying! Best Regards,
John P. Inghram: Charleston, WV



"I've had the neck back for a week now and I can tell you that I am delighted with your work. I've already had many compliments on the sound and looks. It is all that I expected, and more. I'm really happy to have sent it all the way to you rather than having the job done here. Thank you,"
Edgar Currie-Clark, Nivelles, Belgium; Fender Jazz factory fretless neck.




"Hey Harris, I finally got the neck on the body today, and it sounds amazing. It plays beautifully and sounds even better. This bass finally sounds like a fretless does in my head, and the way a fretless should, plenty of added tone and dimension came through after the epoxy. I can't thank you enough... My fretless stingray has come with me to every session I've done since I've had the neck epoxied... I appreciate the work you've done on my bass, it is amazing and I couldn't ask for better. All my best and thanks,"
Jackson Eppley, AL. Unlined Fretless Music Man Stingray. Bassist: Adelayda; Lava/Atlantic recording artists, Course of Nature; The Dynamites. Nashville studio musician.




"The fingerboard feels great, and I definitively like more the way the bass plays now, every note comes out with a very sweet, strong and defined sound, and as you stated, the satin look works well with rest of the bass. Well, thanks one more time for your great work, ...I will be playing this bass a lot more Saludos y Muchas Gracias!"
Enrique Barberi Monterrey, NL, Mexico. Custom E.L. Barberi bass






Harris,
"Sorry for the delay in your update...I've been playing this awesome instrument any chance I get!! This bass has been transformed from a nice, quality instrument into an unbelievably expressive extension of my creative thought! What a responsive touch! Every note seems to "play itself", to jump out of my brain and slide off the fretboard! I have never in my life played a bass that was so fluid, easy and almost anticipated where my fingers would land. The action is exactly what I had imagined, and the sustain is unbelievably greater! You, Sir, are a Master Luthier. You are single - handedly responsible for pushing me into that next higher phase of musicianship I have so desparately been working towards. Thank you many times over, Harris! I only regret that I have but one more Jazz Bass to send you (if my wife fails to stop me!!). I am incredibly impressed with your work, and I am now on the hunt for another Jazz to send. Greatest Thanks!!"
Rodney MacDowell, San Jose CA: '97 Fender Jazz fretted, Badass III, Hipshot tuners, bone nut.

Greetings Mr. Thor.
"It has been 2 summers since you met me, my 2 sons and my stock American Fender Jazz Bass, all from Upstate in Utica, NY. When I got home with my "new" instrument, it was amazing. I had been out of practicing regularly for about 18 years and have since gotten back into playing with local big bands and friends. My family actually gets annoyed at how much time I want to spend with the bass instead of them. Maybe you need to put a consumer advisory warning to that effect on the back of the neck WARNING: Playing a Thor epoxy treated bass may lead to family/marital problems. Even writing this testimonial is making me want to play. The comments I get on the sound of the bass are always positive. The bass is really tending to take the limelight away from me (ha-ha). I practice constantly. The bass sleeps in the corner next to my bed and every night and morning I have to "steal" time to play it, in between taking care of the kids, house, wife and job. It is so inspiring a sound and feel that I am playing better than I ever did before. I use Rotosound roundwounds on this bass and true to form, your epoxy doesn't wear. And I beat and play the hell out of it. It still looks/plays/sounds great and the sad part is that we may never do business again, at least not on this bass.
My advice to perspective converts to fretless, is DO IT and DO IT RIGHT -- THOR-IT !! "Thoritize" your bass now!! (You like that name? Catchy--huh). PS It seems as though my notes above don't include THANK YOU."
Joe Karwacki, Utica, NY: '2004 American Fender Jazz restored from putty job.



"Harris, The quality of workmanship remains in my eyes outstanding, but what I most want to convey, is my appreciation of the tone. As you know, I've always gone for a "bright" sound, using round-wound strings. What I found, was I had to admit the bass was actually too "bright" after your epoxy work, even for my ears, and I change roto-sound round-wounds every couple of weeks because they go dead to my ear. My solution, was to go to D'Addario half-rounds, the nickel ground-wound strings. The result, is fabulous. The feel of the strings to my fingers is very similar to the round-wounds I've played all my life, and unlike using these strings on my fretted basses, the sustain is outstanding, and more importantly, the classic fretless growl and "mwwwuaa" is much enhanced.
My biggest problem right now, is that I have to learn how to play the instrument that has what I think is the fastest action attainable, as a result of sending the entire bass to you to do both your epoxy magic and the physical setup.
Here's what I would recommend to future customers....send the entire bass. I did, and I'm glad I did.
Thanks again, Harris. The wait and the cost was well worth the result, I couldn't be more satisfied with the quality of your workmanship, and the results, both in terms of playability and in tone. This was truly, money well spent. Please feel free to use my words as testamonial, I would recommend you to any bassist looking to get a truly fine defret.
Finest regards,"

Update, April 2009: "This is two years later, and I'm still 100%, completely satisfied. In my first testimonial I said that I'd had to go to ground-wound strings, as my customary round-wounds were just too bright to my ear, but that's changed, I'm back to round-wounds. Didn't take long, just took a little change in technique. I'm not a working musician, but I put the bass to work about ten to fifteen hours a week, and in two years time there is not even the slightest hint of wear, even with the round-wounds. I was pleased with your work then, and I'm even more pleased today, two years later. I recommend you at every opportunity.
Best regards,"
Erik Miller Lakewood, California. Fender Dimension V fretted bass.



"I really don't know what to say, Great Job!!!! I haven't written lately but, I've been so busy playing "Alexia" (Irvin's name for the bass). Man that bass smokes! I'm so comfortable with it, and it has more tonal variations than I will ever use!... Once again, job Well Done!!"
Irvin Joseph: Naples, Italy



"See? This is why I wanted the HG logo on it! Incredible craftsmanship! Like a dark red mirror. I appreciate the warranty and set up support. That alone separates you from the luthier hacks out there. Based on the product I've received, you are an master craftsman. This goes beyond my expectation, and I'll be directing all inquiries your way. Thank you again!"
Greg Trombo: Altamonte Springs, FL: Ibanez 5 String (Editor's note: Greg is one master craftsman himself when it comes to graphic art!- hgt)



"Dear Harris, Thanks to your incredible epoxy work this formerly useless plank has been turned into an amazingly beautiful sounding fretless bass. I bought this factory fretless unlined Japanese Fender Jazz Bass in 1990 in hope for the tonal beauty of what my ears were used to hear from Jaco Pastorius, especially the Joni Mitchell album "Don Juan's Reckless Daughter" features the sound I was looking for, but by itself my original Fender bass was just plain useless since it neither played nor sounded well - until now. Suddenly with the improved epoxy fingerboard it is all there, all the growl as on the Joni album, now I can hear the "Jericho"-sound from my own fingers. I had made many (mostly cosmetical) upgrades to the bass during the years, but only the epoxy fingerboard did all of the improvement! However, the dark fretlines were a silly idea of mine since you can barely see them, but on the other hand this somehow keeps the clarity of the fretless look, probably the perfect solution for somebody as indecisive as me. Next time however I will go for the lighter fretlines. In any case, I cannot imagine anyone doing this work better than you! Thanks a billion for your amazing work and friendship!
Biggest cheers,
Hartmut Engel, Munich, Germany; MIJ Fender Jazz bass. Mr. Engel is a multi-talented CGI artist and co-ordinator: Engel-Art.com

"Well, congratulations, Mr. Harris. You succeeded in keeping me up all night playing my new fretless, so now I'm struggling to stay awake at work this morning. Even after waking up late this morning, I managed to play the thing a little while longer, making me extra late. I just couldn't put the thing down. I was able to get the action lower than was ever possible before, and still not get a pinched tone. It's amazing how much more responsive the fingerboard feels. It also looks great! I like the uniformed blackness of the ebony. I can't wait to show it off at my church this weekend. I was afraid that I'd have to take some extra time to get reacquainted with playing fretless after not touching one for a few weeks, but all the playing time I'm getting with it is sure to fix that. I'll be sure and send everyone I know your way! Thanks again!"
Jason Sikes, Daphne, AL; Ibanez 5-String GWB-1



"So, here it is! The Japanese fretless! I put the neck on the body of an old acoustic guitar and put two sound posts inside to reinforce the top and to make the back vibrate since I had to reinforce the top's underside with a big, fat piece of wood to mount the neck, the pickup and the bridge. I covered the pick up with 1mm maple to make it look like the bridge of an upright, and put a very long endpin. The sustain with roundwounds is impressive, as well as the partials and the harmonics, but I settled for D'addarios flats, which gives it a very upright sound when unplugged. It's louder than I expected. The epoxy makes the flatwounds come to life. I thought I would be able to practice late at night unplugged, but my wife complained about the volume!! I friend of mine has a $3,000 fretless and my bass sounds better than his! I think he turned 3 tones of green when he heard it! An upright player also tried it and liked it very much. Finally! an electroacoustic upright I can take on the train that won't leave me broke! Thank you Harris!"
Jose Valdes, Matsue, Japan; Ibanez neck on acoustic body


"Hey Harris, WWOOOOOOOOOOOOOO!!!!!!!!! That is awesome, the most beautiful thing I've ever seen. I'm very happy with it, I'll definitely mention you to everyone I know. THANK YOU."
Storm Cindur; Greenfeild, MA; Warwick Thumb bolt on 6 string fretless unlined.


"Harris, the neck arrived safely today. I just put it back on the bass and played for a while, and my initial impression is one of sheer delight. I am extremely pleased with, and indeed awed by the quality of your work.
I wouldn't characterize the tone of the bass as being vastly different in character from what it was before the neck treatment, it's simply much smoother, clearer and more consistent. It's still my bass, only MORE and BETTER. There is no harshness at all to the tone - it's sweet and bell-like, with no unwanted buzzing or rattling even with a very low action. The most striking difference to me is one of playing feel - the bass is incredibly responsive to my touch, to a degree I did not believe possible. The ease with which notes speak is incredible - the response is precise and effortless. The bass practically plays itself. Response and tone is utterly consistent across all strings and down the entire length of the neck. It's literally like playing on glass."
Alan Okey, Troy NY; '89 Kubiki fretless.


"Harris
A quick note to let you know I reassembled the new Guitar Lab epoxied neck to my bass. It came together beautiful. Your setup guide made the adjustment and intonation process easy. You should label this pamphlet "Setup Guide for Dummies". I am thrilled with the physical results as well as the sound. The action is sweet and the intonation is spot on. This is a worthwhile investment. I can't thank you enough!" "
Mike Burns: Auburn, NY; G&L JB2.







"I received the neck on Saturday and couldn't be more pleased with your awesome workmanship! In fact, I ordered a new alder P-Bass body from Warmoth, fully finished, routed and pre-drilled so I know everything is going to line up and look perfect."
Chuck Fuller, Flower Mound, TX; 78 Fender P-bass maple neck.



"Harris. I picked up the neck yesterday. Man this thing is killer. Everything is together. Just a few adjustments with the intonation and this was singing. Thanks once again for your work and excellent communication. I truly appreciate it. Keep up the exceptional work."
Aaron Kravitz, Medway, MA, USA Fender Jazz factory fretless




"Mr. Thor is a true artist. The work he did on my Epiphone Casino is revolutionary. I have never played or heard anything like it. The project is very much a collaboration with clear, concise communications during the whole process. It was a wonderful experience for me to work with someone with such professionalism. I can't wait to have my Fender Jazz bass done next!"
Winston Hung, D.M.D. BOSTON, MA.; Epi Casino guitar full conversion.

Hear a sample sound of this Casino played by HGT through a V-Amp with a JCM 800 setting: Casino.mp3
See the Epi Casino page.

"Hi Harris  Spent the weekend with Don Juan's Reckless Daughter cranked up on the IPod doin' my best Jaco imitation! I'm not Jaco yet without some more practice, but you made the guitar as good as, if not better than, Jaco could have hoped for! I'm running the bass through a Keeley compressor, a bit of Holy Grail reverb into a Mesa Walkabout Scout cab. And, it sounds wonderful. The benefits of the epoxy fingerboard and roundwounds is obvious, particularly the improvement in the articulation of the notes! Of course, that clarity makes it more abundantly clear that I need to practice, but I now have an incentive! BTW: the neck is even more beautiful in person! Thanks again for all the work. A check is in the mail (as of this morning) & you've got a new Guitar Lab reference anytime! Regards,"
Ed Pierce, Mount Laurel, NJ; Fender Jazz factory fretless



"When I found someone who would do the work that Harris Thor does I was ecstatic. Not only did my instrument come out sounding one of a kind , it was done by a true craftsman that I would call a gifted artist. The work was perfect on every aspect of the instrument. All the best to Harris Thor!!!!!"
Brandon Dyer, La Salle, IL: Fender '64 Jazz Reissue Custom Shop Relic fretted bass (HGT: very sweet!)

"I just wanted to say a big "THANK YOU!!". I'd have written earlier but I've been spending a great deal of my spare time with my HG Thor-transformed fretless. What a beautiful voice it has now! I was blown away when I got it back by the appearance of the epoxy and the subtle fretlines but the tone absolutely took my breath away. As good as it sounded with my Carvin nickel roundwounds on it, I took your suggestion and put some Roto (RS665LC) stainless steel rounds on it, which gave me even more of that elusive mwah that I've only heard players like Jaco, Mark Egan, and Pino Palladino achieve. Never in my wildest dreams did I think that I'd have a bass that sounded like that and, now that I've experienced it first hand, I just can't stop playing! Pre-Thor conversion, I used to play 30-45 minutes every other day. Since getting my fretless back from you, I've averaged at least 2 hours/day -- and I want more!!!
This wonderful conversion is worth far more to me than the price I paid for your excellent craftsmanship. It's transformed my playing and given me a whole new appreciation for subtlety and expression in my technique, as I can now hear the articulation so much better. I had mentioned to you that, by necessity, this fretless would be a working bass. Now I'm torn between wanting to show off this work of art and wanting to keep it out of smokey bars! Of course, I'll have to gig with it - something that looks and sounds so incredible just can't be hidden away!
Sorry for all of the gushing but I had to let you know how truly satisfied I am. Without a doubt, this was the best equipment investment I've made in my 33 years of playing bass. Now I have only to enjoy it and live up to the potential of this fine instrument which, oh darn, means I'll have to practice even more!
Thank you so much!"
Regards,
Steve Tracy; Bluegrass, VA; Carvin LB75 5-string fretless unlined. Fretlines installed and tinted.



"Outstanding work. It plays great and I couldn't be happier. Everything seems louder, juicier and brighter with better sustain and easier vibrato. Thanks a ton and I will send pics and an audio sample and a more thorough review at some point but right now I just can't put the bass down ). Cheers,"
Ken Williams, Victoria B.C. Canada, '72 factory fretless P bass



"This bass is now what I had once envisioned in my mind."
JC Alza, NYC, '78 Fender Jazz, full conversion




"Harris- The bass arrived today. Man, I NEVER thought a Fender bass could play like that! VERY nice. The fretboard is beautiful and the strings just want to sing on it. Tons of sustain, the notes seem to jump up to my fingers! The finish on the back of the neck is exactly what I was hoping for. (hgt: The finish sanded off and hard oils applied)Really feels good. I'm used to having to work harder to play it. I'll never go back now... Thank you, a very nice job! And the set-up is superb. I want to send you my Acoustic Fretless (Tacoma Thunderchief) for a fretboard treatment in a couple of weeks. Now, here's a question for you: I have two other basses that need a good set-up. I've not found anyone decent here and I'd like to send them to you... Thanks Again!"
David Yates; West Chester OH; '87 Fender Jazz reissue 4 string factory unlined fretless.





"Hi Harris, Well I finally got a chance to evaluate the neck you did for me. First of all, I think your workmanship is outstanding. How you get the finish so smooth and shiny I guess I'll never know. As for playability, it seems my fingers slide into the right spot much easier than the neck with factory finish. It seemed with that original finish, there was a great deal more friction when sliding around on the neck. Also, the bass seems to have greater sustain and the notes tend to sound more resonant than before. The neck also makes a great mirror for that last bit of pre-performance primping. Thanks for all your hard work and expertise."
Bob Benoit, Midland, MI, Fender Jaco Fretless. (See three part picture on main page)



"Harris, I received my bass yesterday! It is everything I hoped it would be. It's not the same instrument that I sent to you (in a good way)! I can't believe how low the action is- playing is effortless. It now has a luxurious playing feel, almost like an exotic sports car. The sustain and "mwaa" are incredible. The setup you performed on the bass is flawless. I've been playing guitar since the early '80s (and the bass for a shorter time) and I have come to be able to appreciate the fine detail work done by talented luthiers such as you. The bass that I assembled and sent to you came back to me a functional work of art. I can't wait to show the bass to my friend Bill Jackson, one of the best local players. One of his many exploits is playing bass in Aja, an incredible Steely Dan tribute band, which I also do photography for. Check out http://www.ajamusic.net - the photos were all taken by me. Anyway, I love the bass! (Did I mention that?) Thanks again,"
Phil Weiskittel, New Richmond, OH, Warmoth neck/body



"Hi Harris, Hope all is well back East. Finally finished my 5 String Epoxy Fretless. First, Thank You very much for the fine work you performed. You are an Artist."
Mike Thomasetti, Tooele, UT: Fender 5-string neck full conversion, custom bone nut.


"Neck arrived yesterday. It is absolutely fabulous, and I haven't even refined the action yet. It's better than I expected, and I expected it to be great. Thanks for the incredible job. I can't wait to hear it with the band."
Patrick Harman, Santa Cruz, California: Fender vintage '62 reissue from '83.


"Dear Harris,
The Music Man neck arrived today - what absolutely beautiful work you do! Thanks so much!"
Peace,"
Mike Falcone, San Diego, California: Music Man Sterling neck, full conversion.



"I really appreciate everything that you have done for me, and I wish you all the best. You are truely a legendary Luthier, and your professionalism is second to none! Thanks for the great work...it looks/feels/sounds great! thanks a whole lot!"
Andres Jaramillo

"The neck is awesome!! Better than I imagined. U DA MAN!!
Thanks a million!!! You did a GREAT job."
Frank Speer, Little Falls, New Jersey: Dean Jeff Berlin, full conversion.



"I received my neck today... all I can say is OHHHH WOW!!! The inserts and the tissue paper are a great touch. ... overall, it's a great job. Thanks! Now if I can just get the time to finish refinishing the body I will have a 1st class bass again!"
Thom Wright, Vallejo, California: 1972 Fender Jazz, full conversion.


"The bass arrived, and it is awesome! I played it unplugged right when I got it, and it looks great and sounds even better. You did a great job."
Kirby Wilson , Salt Lake City Utah: Fender American Deluxe Jazz bass, full conversion.


"That bass is simply incredible now. I just gave it a 2 hr. work out, and words cannot describe how pleased I am. I don't ever remember playing a bass that sounded this good. The tone is amazing. Simply amazing. The action is dead on perfect. You should be very proud of yourself for offering such an amazing service. I'm speechless, I'm so happy. YEA !!!!!!!!!!!!! Thank you Jesus, for HG Thor. He is the man !!!!!!!!!!"
Andy Gibson, Dallas TX, Syme custom bass.



"Hi Harris... the Jazz arrived safely on Monday, and I've been playing it. Looks great, sounds great. I'm having a hard time getting used to doing the cello-type vibrato rather than the usual string bends, but other than that, I'm completely satisfied. I may switch to the Rotosound Solo Bass SM55's once these Fenders get cooked, just to protect the epoxy job all the more. You did a great job on getting those body scratches out! The setup is also nice, exactly what I was looking for. Thanks a lot. I have your cards, and will be sure to pass them to all interested parties. Your work is as promised, and then some. Everyone who's seen it has marveled at the beautiful appearance of the fingerboard. Once I explain the procedure and its purpose, they are even more impressed."
kindest regards,
Chris Marcum, Dayton, OH: Fender Mexican Jazz, stock fretless.



"...I am very satisfied with your work and would recommend you with no hesitation or reserves. The strings are great, nice and light with just the amount of brightness that I like (GHS Ground Roundwounds). That's a nice info sheet you enclosed too; and the tissue paper wrap around the strings is also a nice touch. I really appreciate the extra mile you go to."
John Douds, PA: Carvin XB 76 (6-String fretless neck through)



"Already there is more punch, power and sustain than before! Its easier to play - more slippery without being wet. The upright tone is precisely what I'm looking for."
Mark Tomeo, Riverdale, PA, '99 Fender Jazz factory fretless.





"It arrived in perfect shape. It sounds great and the set-up is unbelievable! Thank you very, very much. I do have another fretless bass that I would love to send you for setup. Its a Gary Willis Signature Ibanez 5-string... Thanks again for the terrific work"
John Ross, CA: Fender Jazz factory fretless
Hear John playing this bass: John Ross.mp3



"Dear Harris. Here is evidence that the bass is being put to good use. Man its great! I honestly was never quite satisfied with its tone until now. Several folks inquired about its sound after this show. It sings! This is one of my 3 bands- Nervous System
Thanks again, Bill"
Bill Stevens, Columbia, SC, Fender 2000 Fretless Jazz

Increase website traffic with free website links, improve search engine rankings, and page rank.




"I played the fretless at band practice yesterday. I had a song in mind for it, and in drop D tuning, it worked very well! The guys liked it, and they'd never experienced a fretless sound before in a band. We also free-jammed on a blues lick that I just started throwing out in between songs, too. Played that for about 5 minutes, a lot of fun! The bass is so sweet, now. You took my mediocre bass and made it stellar. Thanks again.
Joseph "Jody" Jordan: Knoxville TN, Yamaha BB350F

History
Orville Gibson (born 1856, Chateaugay, New York) started making mandolins in Kalamazoo, Michigan, United States. The mandolins were distinctive in that they featured a carved, arched solid wood top and back and bent wood sides. Prior to this, mandolins had a flat solid wood top and a bowl-like back (similar to a lute) made of multiple strips of wood. These bowl-back mandolins were very fragile and unstable. Disdainful of the shape, Orville Gibson characterized them as "potato bugs". Gibson's innovation made a distinctive, darker-sounding mandolin that was easier to manufacture in large numbers. Orville Gibson's mandolin design, with its single-pieced carved sides and a single-pieced neck, was patented in 1898; it would be the only innovation he patented. Orville Gibson died in 1918 from a tumor in his left scrotum.[2]

1902–1950
In 1908 Gibson Mandolin-Guitar Mfg. Co, Ltd. was incorporated to market the instruments. Initially, the company produced only Orville Gibson's original designs. Aware of changing trends, the company hired designer Lloyd Loar in 1919 to create newer instruments. During the 1920s Gibson was responsible for many innovations in guitar and mandolin design. In 1922, the Gibson F5 mandolin model was introduced. That particular model later became known as the ultimate bluegrass mandolin. Gibson soon became the leading manufacturer of archtop guitars, particularly the L-5 model, also a Loar design. Loar left the company in 1924.[3]

In the 1930s, Gibson began exploring the concept of an electric guitar. In 1936 they introduced their first "Electric Spanish" model, the ES-150. Other companies were producing electric guitars but the Gibson is generally recognized as the first commercially successful electric guitar. Other instruments were also "electrified"; such as steel guitars, banjos and mandolins.

During World War II, instrument manufacturing basically stopped at Gibson due to shortages of wood and metal. Only a few instruments were made with whatever parts were at hand. Gibson did war production instead, making wood parts for various military needs. Such shortages continued for a few years after the war and the only notable change occurred in 1946 when the Gibson name on the instrument headstock changed from a cursive script to the block style used to this day. This is seen at the head of the information block at top.

The ES-175 was introduced in 1949. The model has seen some variations over the years but it is still in production.


1996 Gibson Les Paul Studio Limited Edition Gem Series Topaz[edit] Gibson and Ted McCarty
In 1948, Gibson hired music industry veteran, Ted McCarty. He was promoted to company president in 1950. During his tenure (1950–1966), Gibson greatly expanded and diversified its line of instruments. The first notable addition was the "Les Paul" guitar. McCarty was well aware of the strong sales of the Fender Telecaster. In 1950, Gibson decided to make a solid-body guitar of its own according to its own design philosophy . This, despite the fact many other guitar manufacturers were contemptuous of the concept of a solid-body guitar. Designed by the guitarist Les Paul, the first solid body guitar, called the "Les Paul", was released in 1952. The "Les Paul" was offered in several models, including the Custom, the Standard, the Special and the Junior.[4]

In the mid-50s, the Thinline series was produced. Many guitarists did not like the bulk of a full size archtop and wanted a thinner guitar. The first to be produced was the Byrdland. The first Byrdlands were slim, custom built, L-5 models for guitarists Billy Byrd and Hank Garland. Later, a shorter neck was added. Other guitarists who tried Gibson samples liked the idea and the model went into production. Other models such as the ES-350T and the ES-225T were introduced as less costly alternatives.[5]

In 1958, Gibson introduced the ES-335T model. Similar in size to the hollow-body Thinlines, the ES-335 family had a solid center giving the string tone a longer sustain.

In the late 50s, McCarty was aware the Gibson was perceived as a "conservative" company, generally making traditionally shaped instruments. He decided to change that. In 1958, Gibson produced two new designs; the eccentrically-shaped Explorer and Flying V. Surprisingly, these "modernistic" guitars did not sell initially. It was only in the late 60s and early 70s when the two guitars were reintroduced to the market that they sold very well. The Firebird, in the early 60s, was a reprise of the modernistic idea; though less extreme.

In the 1950s, Gibson also produced the Tune-o-matic bridge system and its version of the humbucking pickup.

In 1961 the body design of the "Les Paul" was changed, due to the demand for a double-cutaway body design.[6] Les Paul did not care for the new body style and let his endorsement lapse, and the new body design then became known as the SG (for "solid guitar"). The "Les Paul" returned to the Gibson catalogue in 1968 due to the influence of players such as Keith Richards, Eric Clapton and Peter Green. Both the "Les Paul" and the SG later became very popular with hard rock and heavy metal guitarists; Jimmy Page of Led Zeppelin, the twin-lead line-up of Scott Gorham and Brian Robertson of Thin Lizzy, Duane Allman, Slash of Guns N' Roses and Velvet Revolver, and Ace Frehley of Kiss are known for their preference for a Les Paul. Pete Townshend of The Who, Angus Young of AC/DC, Frank Zappa of Mothers of Invention, Adrian Smith of Iron Maiden, Robby Krieger of The Doors and Tony Iommi of Black Sabbath, and Joe Solo are some of the better-known SG players.

The 70s to today
Between 1974 and 1984 production of Gibson guitars was shifted from Kalamazoo to Nashville, Tennessee. The Gibson Guitar Corp. was within three weeks of going out of business before it was bought by Henry E. Juszkiewicz, David H. Berryman, and Gary A. Zebrowski in January 1986.[7] The survival and success of Gibson today is largely attributed to this change in ownership. Currently, Juszkiewicz stands as CEO and Berryman as president of the company. More recently new production plants have been opened in Southern and rural areas, such as Memphis, Tennessee as well as Bozeman, Montana. The Memphis facility is used for semi-hollow and custom shop instruments, while the Bozeman facility is dedicated to acoustic instruments.

In 1994, Gibson CEO Henry Juszkiewicz first heard about the SmartWood program while attending the Rainforest Alliance’s annual gala concert. He reasoned that, by establishing relationships with environmentally farsighted operations, Gibson could secure a sustainable timber supply, thereby ensuring its guitar building future.

Four years later (1998), Gibson had revealed the fruits of those relationships with the Les Paul SmartWood Exotics[8]. The new line consisted of six guitars featuring tops fashioned from unusual, "smartly" harvested tropical woods. Each guitar listed for $1299 new, and in the spirit of philanthropy, Gibson donated a portion of the profits from the SmartWood guitar sales to the Rainforest Alliance.

Today, one model of Gibson guitars (Robot Guitar) can tune itself in less than 10 seconds using robotic technology developed by Gibson and Tronical GmbH.[9][10] While the product was advertised in the American—United States—popular press as a "world's first" similar—some external—systems have been in use for decades for example to tune guitars made by Fender Musical Instruments Corporation and Washburn Guitars.[citation needed]

Since 2007 the Gibson Guitar Corporation has teamed up with Music Saves Lives and donated several guitars to be designed by various artists (Mike Onclay, Ryan Seaman, Cory Burke, Josh Kenyon, Colby Nichols, Andrew Holder, Sara Antoinette Martin), signed by bands (Bad Religion, Pennywise, Coheed and Cambria, Reel Big Fish, NoFx, Bouncing Souls, Thrice, Katy Perry, Meg and Dia, Jacks Mannequin) and then auctioned off to support the non-profit.

In mid 2009 after multiple layoffs that reduced gibsons workforce by nearly 20% [11], rumors swirled around the music industry that Peavey was in talks to buy Gibson[12]. The rumors have since been denied by Henry Juszkiewicz,[13] but Gibson continues to be affected by the 2009 economic downturn, as well as customer complaints[14], many questionable business practices, and failures of many new models including the Darkfire[15], Reverse V, and many others.

Subsidiary companies

A Gibson Invader. The Invader was manufactured during the 1980's and is now discontinued.Many other instrument manufacturers are owned by Gibson including Kramer, Steinberger, Tobias and Valley Arts Guitar.[16] It is now a brand used by Gibson-Baldwin Musical Education, which sells various student guitars under different brand names. In 2007, Gibson purchased Canadian guitar manufacturer Garrison Guitars;[17] as of 2009, the acoustic guitars from the Gibson Songmaker Series are manufactured in the old Garrison plant in St. John's, Newfoundland.[18]

Heritage Guitars
Another related company is Heritage Guitars—an independent guitar company founded by former Gibson employees after Gibson's relocation from Kalamazoo to Nashville. The company set up their factory in Gibson's former Kalamazoo premises, and manufactures handmade guitars that are very similar to the Gibson originals.

Unauthorized copies
On multiple occasions, Gibson has sought legal action against other guitar manufacturers who implement similar body styles in their designs. The first such action was against Ibanez, which had fabricated near-identical (in looks) copies of the Les Paul. This 1977 lawsuit was not over Ibanez's copy of the Les Paul's body shape, but instead for their use of Gibson's 'open book' headstock shape (even though Ibanez had redesigned their headstock to be a near-identical copy of a Guild headstock in 1976). More recently, Gibson sued PRS Guitars, forcing them to stop making their Singlecut model, which is much less similar to the Les Paul in appearance. The lawsuit against PRS was unsuccessful, however. In 2005, the United States Court of Appeals for the Sixth Circuit reversed the lower court decision and ordered the dismissal of Gibson's suit against PRS. The decision also immediately vacated the injunction prohibiting the sale and production of PRS’s Singlecut Guitar. Paul Reed Smith Guitars announced that it would immediately resume production of its Singlecut guitars. Guild is another brand that made copies of Gibsons. Aside from the above-mentioned companies, there have been countless others producing unofficial Les Paul copies, including among others Tokai, Stellar and new-comer Myaxe, a company based in Changle, China. Manufacturers of the Les Paul clones refuse to call their guitars copies such as in the case of Myaxe [19], which says theirs were an innovation of the solid bodies. Myaxe do not say what these innovations were.

Forgeries can generally be identified quite easily upon close inspection. The most prominent identifier pertaining to Chinese Gibson Les Paul forgeries is in the truss rod cover being affixed to the headstock of the forged guitar with three screws whereas an authentic Gibson guitar employs two.

Bluegrass

Gibson Showcase, Opry Mills Mall. Nashville, TNAll of Gibson's American made bluegrass instruments (such as the banjo, mandolin and the Dobro) are manufactured at the "Gibson Showcase" at Opry Mills Mall in Nashville. The factory is open to the public and also houses a store selling the full line of Gibson products. The adjacent Gibson Showcase live music venue and restaurant was a colossal failure and sits empty and unused at Opry Mills Mall since 2007.

Gibson serial numbers
In 1975, Gibson standardized the serial number system that is still in use today. An eight digit (or 9 digit after July 2005) number on the back shows the date on which the instrument was produced, where it was produced and its order of production that day (e.g. first instrument stamped that day, second, third, fourth etc). The serial numbers are deciphered using the following system:

YDDDYRRR

YY is the production year

DDD is the day of the year the guitar was stamped

RRR is the production order/plant designation number

Production order/plant designation numbers numbers are as follows:

001-499 Kalamazoo, Michigan (1975-1984)

500-999 Nashville, Tennessee (1975-1990)

001-299 Bozeman, Montana (after 1989)

300-999 Nashville, Tennessee (after 1990)

For example, the serial number 90992487 means that the instrument was produced on the 99th day of 1992 (Wednesday 8 April) in Nashville, TN and that it was the 487th instrument stamped that day.

In July 2005 Gibson introduced a 9 digit serial number system. The system is largely the same as the 8 digit system used before, however the 6th digit now represents the batch number. The first 5 and last 3 digits remain the same.

An exception is the year 1994, Gibson's Centennial Year: Many 1994 serial numbers start with "94", followed by a 6-digit production number.

Description--The new 2009 BTB basses feature gorgeous mahogany body/poplar burl tops (BTB775PBCN, BTB776PBAM) and mahogany body/figured maple top (BTB570MFMCN, BTB575MFMTOR), Ibanez exclusive Bartolini MK-2 pickups, plus the neck-thru construction and deeper cutaways that provide the huge tones, sustain and upper fret accessibility that BTB players have come to love.

Features
The BTB770PBs feature Bartolini(R) MK-2 pickups, specially designed for Ibanez by Bill Bartolini.

The BTB770PBs cutaways are deep enough that moving around on the massive 5-piece maple/bubinga 35 inch scale thru-neck becomes easy.
Technical Info
Specifications
Neck Material: 5-piece Maple/ Bubinga

Neck Type: BTB6 thru-neck

Body: Mahogany body/ Poplar Burl top

Frets: Medium frets

Fingerboard: Rosewood

Inlay: Abalone dot inlay

Bridge: Mono-Rail II bridge

NeckPU: Bartolini(R) MK2-6-F

BridgePU: Bartolini(R) MK2-6-R

EQ: BARTOLINI(R) MK-2 (BTB)

HW Color: CK

Finishes: AM

Neck Dimensions
Scale/Length: 889mm/35 in.
a: Width at Nut 54mm
b: Width Last Fret 85mm
c: Thickness 1st Fret 20mm
d: Thickness 12th Fret 22mm

Radius: 1000mm

Pickups
Bridge Pickup
Name: BARTOLINI(R) MK2
Model No: MK2-6-R
Construction: Humbucking/Passive
Magnet: Ceramic
Description: Six-string version of MK2-4-R. Coil construction for warm tone and superior dynamics.

Neck Pickup
Name: BARTOLINI(R) MK2
Model No: MK2-6-F
Construction: Humbucking/Passive
Magnet: Ceramic
Description: Six-string version of MK2-4-F. Coil construction for warm tone and superior dynamics.