OK, I finally finished the work on my new Partscaster: The body is from Warmoth - a rosewood top on a swamp-ash thinline body, finished in TruOil; pickups are Fender CS Nocaster, 5-way-superswitch wired according to Deaf Eddie's diagram, Bigsby B16, Wilkinson roller bridge; borrowed the neck off another Partscaster for the moment - it's also from Warmoth, a pau ferro board on a maple neck, SS med. jumbo frets, Graphtec nut, 1-3/4" wide, 10-16" compound radius, Kluson-styled locking tuners. This was the most difficult, problem-ridden build I ever did... -) First I had the wrong body - a very nice thinline from USACG, which, unfortunately, was a couple of mm too long for the B16 to mount correctly (the B16 is VERY finicky when it comes to body dimensions...); so I ordered this one from Warmoth (after making sure it had the correct dimensions - GREAT help from the Warmoth sales people with that, gotta point that out, esp. with all the negativity about Warmoth sales staff on this board here...) -) Everybody always goes on about how easy finishing with TruOil is - well, it is NOT!!! Had to order that stuff from the UK, since I could not find it locally; takes about 5 (and I'm only slightly exaggerating) coats, using the wet-sanding-while-oiling method recommended everywhere, to kind of slightly fill the grain; after that, you can start applying it: with fingers (as recommended), it gets uneven and streaky; with cloth you see even the slightest bit of lint (lint-free-cloth turned out to be an oxymoron); use too much TruOil at a time, and you will get lots of runs; use too little, an it will be soaked up more in some places than in others (so you have shiny patches next to matte ones); and better make sure your environment is completely dust-free, as every little speck of dust WILL magically be attracted by your wet & sticky finish, and stay there for good. Well, after about 20 to 25 very light coats (again: I'm not exaggerating), applied with a sponge (or rather, 5 sponges, as the get unusable after two or three coats), and sanded with 600 grit after every 4 or 5 coats, the finish looks kind of OK - quite nice from a distance, far from perfect close up. -) The B16 and the Wilkinson roller bridge did not fit perfectly together - the holes for the mounting studs sit really close to the back edge of the oval bridge cut-out of the B16 - too close, once the cups for the studs were mounted: the B16 was sitting on top of the rims of those cups; had to dremel the back of the B16 in those places to make it fit... -) I had Warmoth route the neck pocket at an angle (eg. like for a TOM bridge); unfortunately, that angle was still way too small - had to shim (with the thickness of two credit cards) to get a break angle that works; had to screw the bridge post really far out from the cups, so now the whole bridge assembly makes a rocking action when using the Bigsby (will try to correct that, either by making a wooden shim to sit underneath the bridge, or by using some additional nuts on the mounting posts). Here's a pic of what the break angle is like (Looks kinda like the bridge assembly on a jazz box, huh?): WHEW, had to get all of that off my chest.... Now, after I made it all work, here's what the guitar sounds like: Nothing at all like my other Partscaster (see my gallery - solid alder body, Bigsby B5, vintage ashtray bridge). I don't know whether it is the Bigsby/bridge combo, the thinline body, or the Pickups (as I said: CS Nocasters in this one, my other one has slightly overwound LeoSound MudCats - alnico 5 magnets vs. the Nocaster's Alnico 3), but the difference is really huge: This Thinline does have some twang (a little bit of it), but not a traditional Tele twang - more like a Gretsch or Danelectro, or maybe Jazzmaster twang - less in-your-face, less aggressive, less bright, with less attack; it's more of a full, round, sweet sound, lots of harmonic overtones; kind of inbetween twang and chime; a more refined, sweet, sophisticated sound compared to a "real" Teles, raw, punchy attack. Oh, and it does have some characteristics of a semi-acoustic tone (esp. on the neck pickup I can get a woodyness - sorry, can't find a better word - similar to that of my Epi Sheraton). Oh, and it sounds SWEET, in case I didn't mention it! Oh, and about the B16 & Wilkinson roller bridge vs. the B5 & vintage ashtray: as expected (and this was one of the main reasons why I wanted to build this), the action of the B16 is much softer, "wobblier" & less stiff than the B5 - it really feels like Bigsbys on archtop guitars feel - love it; oh, and it stays in tune very well. So, in final conclusion: Do I like how this guitar came out? Yes, I LOVE it! Was it worth all the trouble? Hmmm.... Would I build something like that again (or recommend someone else to try it): No way!!! If you want a Bigsby, and don't want to have to deal with tons of small issues and fixing, by all means use a B5, not a B16!!!