I'll do a proper introduction in daylight/when my eyes start to open, but the finish is gorgeous, the copper leaf over black stain looks excellent - better than I hoped - and the neck is dee & vine. The flamed maple is flamey and the ebony 'board is dark, and the stainless steel frets are zingy. It is a nice handful too, which always goes down well.
As for the Bigsby, I went for Bigsby's own bridge to match the B5 and it works perfectly - no lack of tuning after many a warble and a wobble, which is a definite bonus.
It may have something to do with my putting a set of Ernie Ball's "Not Even Slinky" 12s - 52 - which feel immense, though I've lowered the action a bit further than I normally would, I must admit. No chance of a rattle that's for sure.
And in a lot of ways, this is something I've wanted to do for a while - a Jazzmaster with a Bigsby, I mean - and it works brilliantly and sounds enormous thru the Ye Olde Peavey Bandit 'Sheffield' I seem to have acquired. (I love the fact that amp has a Thrash button, how cool is that?)
But anyway, it's good to be back and today is officially The Lingering Honey One day...
La la laaaa
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