The pictures came from a camera phone, so please excuse to the low resolution.
This is a picture of my uncle Phil with "the foof" during the painting stage. He rigged this device up with a few pieces of wood, some aluminum and a clamp in order to allow the paint to dry properly on the bass. This was the most difficult part of the entire process. It took a lot of work to get this bass to look the way it does now. Preparing the bass for paint was also a difficult process. Most of the work was done by Uncle Phil, but my cousin Phil also helped us a great deal. I also got some sanding in myself.
When the look of the bass started taking shape, Uncle Phil convinced me that the bass needed some cool artwork on the headstock. This is a picture of Ann Marie Nacchio painting the BOC Kronos logo on the headstock. The finished headstock looks like this...
Way Cool.
Here's Uncle Phil Soldering. I bought a pre-wired Bartolini wiring harness, but of course with me and my instruments, nothing is ever that simple. Uncle Phil had to make a few adjustments to get everything to fit the right way. And by the way, watching him solder is like watching a brain surgeon. He's really really good at it.
After all the stuff we put this bass through, namely the painting process, we were relieved to find that everything still fit into place. Even after a few coats of paint. At this point I was really starting to get excited about playing this thing!
Finally! It's all put together and it plays, looks, and sounds fantastic. There was a lot of spit, sweat, and elbow grease put into modifying this bass, but the outcome is amazing, and makes it all worth it.
This is my cousin Phil who also helped out a lot in making the Foof. He's taking it for a test drive.
(Photo by Kira Dwyer)
This is me playing "The FOOF" during a Blue Oyster Cult show in Tacoma, WA.
So that's it. I have to extend my deepest thanks to Uncle Phil, Cousin Phil, and Ann Marie for their hard work in turning the FOOF into an ass kicking machine.