Thanks for providing that link, that's what I was talking about. It sounded like something Kyle might be interested in.
Toms' comments about the further come from experience, and surely merit consideration.
One thing I expect (I think someone else said this on another thread) is that a neck-thru Skylark would be a LOT more because set neck is standard; now if you just LOVE the Skylark body, then maybe it's worth that cost, and maybe you'd be just as happy (or even more happy) with another body. Are you SET on the skylark, no need to consider anything else, or are you open to consideration? As I already said, MY vote would be for a Spectrum (which is the guitar equivelent of the/my Europa bass -shapewise); but I think another really AWESOME shape is the Balance K Little Darling omega guitar. Have you seen Bill Panzer's Little Darling guitar? Dude, you HAVE to look at it, if just for the sake of seeing how awesome it is. But be warned, you might just TOTALLY fall in love with it and switch plans (or bodytypes, anyway) on the spot. (Unless, of course, you're totally committed to the Skylark, in which case, more power to you!) If you want to see it, fish around, search for Little Darling and Balance K (Little Darling is the guitar, Balance K is the bass). It's easy to find, and it's an awesome combination of form and function...
About the continuous body/neck woods and the electronics...
first of all, I can't recall the prices for sure; to the best of my recollection, they charges $250 X 2 (per switch) for my 2 custom mid-range switches (I think I got 50% off on the [custom] electronics per special of the month, though). Off course that was 6 years ago. I recall being relieved that the continuous neckwood wasn't as bad as I feared it might be. But I actually had a feeling that they might've chosen to give me a break on it because I was getting a bunch of expensive options, and I'd saved for a long time but was totally strapped and pushed to the limit, and they knew it was really important to me, and they had the confidence to pull it off and to be interested in the challenge. I don't know if this is true or not, but I always thought that they might've given me a little break on that one thing that was real important to me -which was actually a pretty marvelous piece of woodworking. I think they only quoted me $250 for it. I remember that the ebony laminates were at the time quoted as $175 per laminate or 6 for $900 (similar to you, I originally considered 6 purpleheart laminates and 3 ebony laminates, but chose to switch and have more ebony -despite paying an extra $375- and boy am I glad I did!) Of course, ebony is a lot more expensive now. And they did advise me that -while/though they made it perfectly- it was more challenging to make and took more time than they'd figured, and to insure it for basically twice what I'd pay for it, because that's what they'd quote to build another like it, so it might cost a lot... only they could tell you.
Moreover, geez, what a bonehead I am, I DID notice you spec'ed a vermillion body (which is cool, though a little bit heavy (relatively) I think) but it just didn't register when I was envisioning a flame maple neck flowing down to the body. One little thought, just a thought, is to have a 7 piece neck where the very outer laminates are a NARROW little strip of the VERMILLION body... just a narrow strip... that nonetheless flows all the way up into the headstock, one continuous flow of wood top to bottom. I'm talking like an eighth of an inch or so which would be thin and on the side so much that it would only slightly reduce the visibility of you flame maple laminates. This idea would look REALLY cool. Think about all that color in the neck. A central purpleheart strip flanked by ebony flanked by wide flame maple laminates flanked by narrow red vermillion strips that are the same pieces of wood as the body and headstock! Wow!
Anyway, just a thought. The idea you have is great, and surely would look awesome as you've conceived it. Whether this idea grabs you in any way and if so would be worth the extra price... only you can say, of course.
I do have another small yet SIGNIFICANT point to bring to your attention (I know I'm overloading you). The COLOR COMBINATION resulting from the combination of the deep rich red of vermillion and the white/whitish-yellow/yellow of maple are a great color combination, a really nice contrast. Now I know your getting a wineburst finish, so this point is less significant that if you weren't doing that, but you might consider something more contrasty for a pinstripe laminate. This comes from someone who deliberately chose duel mahogony and walnut pinstripes knowing it WOULDN'T contrast and stick out -I wanted subtlety for my application. But -to cut to the chase- in YOUR case, I can't help thinking that it might look a LOT cooler to have a think ebony pinstrip laminate (or some less expensive darker wood substitute, maybe walnut???). I'm picturing your vermillion body and wineburst maple top and back, and I see a DARK BLACK (or BROWN)laminate REALLY dividing and accentuating the colors you've chosen.
One other side comment is that I think your wood choices make for an aethetically attractive and also functional combination. We've already discussed neck woods and sound, and vermillion is know for a smooth, mellow sound that should blend well with the bright warmth, punch, and sustain of the other 3 (neck/body) woods.
I just wanted to say that -in my opinion, the 3 most attractive topwoods for a vermillion body are the flame maple you've chosen (or quilted or birdseye maple) or walnut or buckeye burl. I think maple, walnut, and buckeye burl are the most attractive combinations for topwoods with a vermillion body. I don't recall seeing any of these before, and have always envisioned these as awesome combinations of color. I hope I get a chance to see what it looks like before the wineburst finish is put on!
Regarding the relative widths of your neck laminates, know that the flame maple is perhaps more overtly beautiful than the ebony and purpleheart (and since I've got all 3 in MY neck, I've got at least a little basis for an opinion) but purpleheart is more functional (specifically, it's stronger and has greater sustain) and ebony even more so. So the wider the flame maple laminates are, the less neck mass is ebony and purpleheart (and correspondingly less of their tone and sustain-enhancing properties. I'd recommend (assuming you stick with your stated 5 piece model) equal-width laminates, but recommend that at least 50% of the width of the neck be the ebony/purpleheart core, with ebony being at least 50% of that (preferably a 2 to 1 ratio resulting from 3 equal sized laminates.) Now you spec'd your nut width as 1 3/4; I'd recommend the 3 inner core laminates be a 3rd of an inch, having the outer flame maple laminates being by default/implication 3/8ths of an inch and presumably wider as the neck goes down. But I'd recommend having no less than an inner core of 3 equal pieces each 1/4th on an inch, which would mean the outer flame maple laminates would then each be 1/2 inch. (This sounds like the extreme you'd prefer.) Short version, I recommend your inner core be an inch (3 equal pieces, 2e,1p) but no less than 3/4 inch (3 equal pieces 2e, 1p.)
Again, best of luck with you project, and hope this helps. Yeah, I think you'd really dig the mini eq... I know I do. The Alembic filter and Q function is far more versatile than the standard bass, treble, and mid eq controls in other basses; yet one need not choose between the two; it isn't either/or... one can have both... the best of both worlds. I actually went the full mile and got knobs for my bass and treble controls, but got a custom mid-range quick tone change boost/cut switch, and I have the standard quick tone boost/cut swiches on my Elan Plus. Anyone who has a Europa, Rogue or Distillate with confirm they are incredibly useful (and delightfully simple) complimentary tone-shaping tools that, once you have them, become indespensible. Oh yeah, two other quick thoughts: you could consider a 4 position Q knob (0/4/8/12 db) this is essentially what my does, and its virtually as versatile as a series two); and you might conceivably be interested in a backup battery. I have a built-in backup battery, so I never have to worry about running out. It's funny, I've actually had the batteries die out totally and fail twice, almost no warning, they just ran out of juice, and my sound was dead. And it was no problem, I flipped a switch, and used the alternate battery, and continued, quite pleased that I'd spec'd a backup battery. (And I promptly replaced the other battery.)
Okay that's it. Bye!
