Leaderboard

Elixirs. I love them. A set lasts me a year and they come in the gauges I like. I do think they’re well worth the price. I used to avoid noodling on my bass at home because I didn’t want to ‘waste’ my strings!

Today I glued in the MOP blocks. I used West Systems Epoxy which is great, but is a pain if you are only using small quantities, as I normally do. So I've started using medicine syringes to meausre out very small quantities, taken direct from the can. No waste, no scales, no hassle. I use a children's Nurofen syringe for the Resin (half a syringe is 2.5ml) and a Vitabotics one (0.5ml). It really works great, and a vast improvement over the pumps that West Systems sell that only measure out large quantities and leak all over the place. And cost twenty quid... I started off with some rosewood sanding dust (400 grit) but on my test piece I found that it was a bit light. So I added some black powder, in this case Behlen's black furniture powder. It's been sitting on a shelf for years and I've never used it. No idea why I bought it, but this seemed like the ideal time to bring it out. Anyway, I added maybe 20% black to end up with this... Then I syringed on 2.5ml of resin onto the top of the sawdust, mixed it well then added 0.5ml or 205 hardener. Mixed it well for a minute or two, then glued on the blocks... Following @Christine's advice, I just held them in using finger pressure, no clamps or anything. Tomorrow I'll sand, and judgement will follow😲

I've used my router table and trimmed the neck. I must improve my technique here as the router (again) decided to have a little nibble when going across the grain. Nothing major that can't be sorted but annoying all the same. Next task are to put the side dots in and sort the logo inlay thing for the headstock. I'm going to use the same shape logo that I have on the two previous basses of this shape. I'm wasn't entirely sure on whether to use plain ebony or to use a lighter wood with a veneer line around it so I made both to see. First off, I got made a photocopies of a previous spare logo and stuck these to some slices of ebony and a slice of the birds eye maple from the neck. I used a fine saw to cut the bulk of the excess off. I've mounted my Dremel like a mini router table to trim the edges of the logos tight to the photo copy lines. For the lighter coloured one I trimmed it further as this will have veneer glued around the edge. I used superglue to stick two layers around the logo - not the easiest job as the superglue wants to run and the veneer wants to split, but with a bit of patience I ended up with these: I'm going to use the light one with the veneer edge - I think that will look the best when fitted.

Metal Work 101, prototype to production. Steve Soar of ThunderBucker Ranch who makes most of the pickups I use is also collaborates on my bridges and tail pieces. Clockwise from bottom left: Prototo tailpiece from aluminium stock, ThunderBucker supplied nickel silver blank, drilled and polished, NS bridge channel with .020 AL insert. Assembly begins.

Yup - happy with that: What with all the dashing up to Aberdeen and such, have only just ordered the trussrod so can't fit the fretboard and carve the neck yet. Still, plenty more to do in the meantime - not least the final sanding and finishing on the body, which needs to be done in any case before the neck and bridge can be fitted. As always, by the way, thanks for the great feedback

I played a Dimension 4 a while back and liked it so decided to look for a black or red 5'er and have been looking for one in my budget for at least 6 months! I got there in the end though. I mainly use active 5 strings but the Dimension Standard V HH is passive, with a cool voice of it's own. It is strong, yet musical and distinct from Jazzers and Precisions. I love it, as it just talks to me and wants to be played! I'm still in the honeymoon period as you can tell but I'm pretty blown away to be honest. It handles really well for a five stringer too. It is such a shame that these aren't more common. Does anyone else play one of these and if so is it working for you? Note: Mine is like this.

Solid brass cnc machined 5 string high mass bridge, string thru body or top loading option, brass saddles, stainless steel screws.

A lot of the groups had 3 Vox AC30 combos with the vocals doubling through the rhythm amp. And don’t forget the Watkins Copycat sitting on top. Later all sorts of crude home made pa outfits appeared. My dad liberated a whole lot of old ‘music while you work’ speakers from the biscuit factory. Brother gutted the 9”x 4” elliptical drivers and put a whole load into a column, major axis vertically. As you can imagine the distortion was a bit challenging but bro’s finest hour came when the Stones ran Mick Jaggers vocals through them at Reading Town Hall. Jan 1962 I think. As OBBM will no doubt agree, there was neither money or availability around back then. You made a lot of your own kit.

Me too actually. He's probably one of my favourite singers.

Love JB. There's a great CD/stream/download called 'Spirit'. Takes you through a lot of BBC live stuff right through the 70's. Really good, and broad as well. Bass work is, as you'd expect, a lesson from start to finish. I've been working my way through his solo records since I first heard it. Up until that point, I knew about Cream and his early work, but was quite in the dark about how much he'd packed in since. Very eye-opening. I'm a big fan of his 'How's Tricks' album. The title track alone, is sublime.

Here is my Fodera Brazilian Hickory Emperor 6 Elite. I know and acknowledge that they're not for everyone but I'm so excited about collecting this instrument. https://fodera.smugmug.com/Newborn-Gallery-Vol-V/Newborn-1810/

A Warwick Dolphin. My GAS for these is transient; I always want one but at times it's stronger for some unknown reason. I will have to get one some day.

I would not get too hung up on labels. Granted, they can be useful in some circumstances. "Jazz" IMO is an "umbrella" name for a vast variety of music which has been constantly evolving since around 1900, and is still doing so. Generally, people have an era preference in this evolution.

Ambient I'll recommend to proceed with *extreme* caution regards WD40 , wear gloves if you try it, and don't blame me if your hands fall off after using it. Though *I* have not encountered any problems, this may or may not be the case with any one else so... if in doubt just buy proper string cleaner or new strings and be done with it! And don't get it near rusty nuts... or drink it. I think that's all the Health and Safety stuff covered then. 👍

I remember playing one that was 3.5kg

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Man that's some movement! Big shame.... I would DEFINITELY email photos etc to Fender UK and copy in your dealer, be up front and say it's over 2 years, but ask them if they would be willing to help. You may then have a spare new neck for it.... I think there is a guy called Matt Davey at Fender UK/Europe...

Tone? Did anyone complain at James Jamerson's lack of tone? Get yourself a set of flatwounds, leave 'em on for 14 years and think of the money you've saved....😕

I’ve found that soaking strings in methylated spirits works far better than boiling them to oblivion.

well I use these at £4.40 a pop, but you may not like the tone, I find them fine for pub gigging, nice and snappy cos they're always new, 10 sets for the price of a set of La bellas? Possibly worth a punt? https://www.thomann.de/gb/harley_benton_valuestrings_bassguitar_medium.htm

Having received this by PM this afternoon, may I congratulate OH and his collaborators for having created a splendid little 'Real Book', even as far as adopting some of the typographic aspects. I've not played through all of the pieces, but they are very well laid out, clear to read, even with my duff eyes, and well chosen as fine pieces to listen to and/or play. Warm thanks for making this, and the mp3's, available at such a bargain price. An enthusiastic 'Thumb's up' from me, then. , followed by a hearty 'Thank you'.

A bit more progress on the neck. Lots, and lots, and lots of tape.... Then on to sanding the radius.... Man I love rosewood. It's just so beautiful to work with. I know the CITES restrictions are for our own good, but every time I think about it I feel genuine sadness. 😢

So Finally got the sander and 10 minutes to myself! I had to drag my Peterson to rehearsal last night, and it reminded me why I need to get this one finished! Also have a gig on Saturday- will I make it? Lots of sanding to do, but I’m looking forward to the results.

It's a massive yes from me. However, just as rock had a 'golden period', for me, jazz did the same. Late 50's to mid-70's. I loved it when it was pushing the boundaries - Coltrane, Miles, Mingus, Albert Ayler.....other day I was jamming with Cannonball Adderley's 'The Black Messiah'. There is so much amazing jazz, but I think perception tends to put a lot of people off....the polite, Pizza Hut stuff. That amazing period of innovation, that's where I like to be. I have enjoyed Marcus Miller's recent records, and Victor Wooten....Stanley Clarke's new album is pretty cool. But I personally don't think they're in the same league as say, 'A Love Supreme'. Same as most, if not all modern rock records don't come close to 'Who's Next'. I'll leave you with this -

I have modelled my sound on the sound JB had on Cozy Powell's Over The Top LP. Bought an Aria SB700 because he endorsed the range (before I knew how all THAT works). Just a lovely musician.

The kit is here! Cant start it till the body is routed, holes filled and painted but it seems quite good, neck joint is tight, neck isn`t a baseball bat which is a bonus. Turns out my pickups are Kent Armstrongs passive Alembic pup and theyv`e supplied me with a wiring diagram for coil tapping etc, may look into that but i`m definitely no electrical genius.

Nowt wrong with that action. A proper "man's" bass right there.

Well those were work in progress pics. I think it turned out a little better in the end. But considering the break was not just one clean snap and had multiple places that needed attention I was pleased. Especially as the break was right over where the truss rod acts! If it was a painted or heavily lacquered finish the repair would be completely invisible. Anyhow glad I could help. And get a very good action to boot.

Well my neck has been fixed! and good. Setup with a low action, plays perfectly. I would just like to thanks Twincam for all his hard work in saving this neck, I'm blown away with his expertise, highly recommend him. Thanks Aidan.

When I was a long haired 20 year old, my main, in fact pretty much only, interests were playing the bass and trying to get young women into bed. Forty years later, as a long haired 60 year old, my main, in fact pretty much only, interests are playing the bass and trying to get the bed to myself so I can get a decent night's sleep.

Hi Honza, Just found the receipt - I used a company called Doug Taylor Metal Finishing who did a nice job. The last plate I had done was £24 - which I think is fair enough for a one off small item. The plates I've made are brass 1.5mm thick. This is what I made - my reasons for making the plates was because I wanted something to follow the curve of the bass as it looks more pleasing, which sounds like where you might be going. I drilled and countersunk the holes in the plates before plating (one plate was made for a piezo only bass with no controls, just a jack socket) Cheers Jez

Correct. Early Spector.

...I've ever heard. Obviously for this style of music but the recording is incredible to my ears. Pekka Pohjola (who I confess to having never heard of before) on Bass. Brilliant playing throughout the whole album. I thought it was a Pbass but from what I can gather he almost always played a Jazz...Hope you all enjoy as much as I have.

Nothing worse than rusty nuts.

Aria Pro ll SB bridges used to be around 16.5 mm back in the 80's. There were probably a lot more than those though.

That`s a really good idea. I use a different bass at home and the thought of a set of strings lasting 2 or 3 times longer on that bass is a good one. I`m sure I can get near the tone I want with coated strings, good call @Dad3353

Spare a thought for those of us who literally had never heard of Joe Dart until this morning! He does seem an extremely capable bass player I look forward to discovering more about him. Favourite recordings, clips, transcriptions anyone?

Thanks a lot man - I'm quite conservative and wanted something understated. As ridiculous as that sounds given it's a Fodera!

Do you really need 'that' tone for practising (or even some rehearsals...)..? Maybe a second bass with a set of, say, Elixirs (good, long-lasting strings...) for home use, and the 'real' bass with the freshest strings for gigs..? The 'gig' strings might last quite a bit longer..? I too, would be reticent in the use of Fast Fret, or any other product of the sort. Clean hands (of course...), and a thorough wipe-down after use would be my routine. Just my tuppence-worth.

I'm still a bit obsessed. I've been following this Irish band called The Ollam because he plays with them occasionally. I watched every video I could of his bass solos from their tour this year

The scheme is for the Kent Armstrongs

Pleasant. The end bit brings to mind incidental music from 60s Dr Who.

Not really... a lot of Jazz falls into the "just because you can doesn't mean you should" category for me.

I like jazz... But especially when it gets weird and atonal with unusual note choices and rhythms. Don't really get on with dinner jazz and smoooooth stuff - that's just a vague hint of jazz for people who don't really like music but can't cope with silence.

PUT IT IN A DUMPSTA!!!!!

Next up, pickups. Guess what's in this beautiful box? Pickups! Yay😁 They're a matched '62 set from House of Tone. Now, I don't like to complain. I chose them because I wanted to use British made artisan pickups. I'm sure they're going to sound great. But if you were a boutique pickup maker wouldn't you spend an hour or two making a template so a nice and neat pickup hole can be routed? Pickups are all slightly different sizes. And the generic templates are rubbish (and I've got plenty of them). Clearly, you must have a drawing in CAD for the moulds to have been made......I don't know....maybe I just expect too much, but I'd happily pay a fiver for a template to save me the couple of hours it'll take to make my own. Anyway I guess the important thing is how they sound.......

Ah - yes....that was in the thread title (it's my age!) OK. My view, for what it's worth. If I had a set of cut inlays to start with (I didn't on @Len_derby 's build so I routed the chambers first and then cut inlays to fit), I would DEFINITELY use @Christine 's method on Page 5 of her excellent thread: The only difference I would personally make is that I would radius the board first because: I'm comfortable with the additional risk of using my precision router base on a curved surface (but it is an extra risk) My router radius rig can be a bit rough on the wood and I would be bothered about losing corners I would cut the fret slots first also, because the position of the blocks vs the slots is absolutely critical - and I always radius before I slot I would be able to see exactly how deep to rout - critical if the inlay is thin. Otherwise it is too easy to lose the sides of a wide inlay as you sand away the ends with the radius block! Illustrating that last point, on my SG build for Pete note that the trapezoidal inlays at the lower frets turn into blocks at the upper frets: That's not how they started! They are trapezoids where the ends have been sanded away!!! More than happy to cover the template approach in more detail than my Swift Lite thread if you want me to, but actually next time (I've been asked to build another one ), I'm going to actually simply use that template to get the right sizes to scribe and then cut my inlays first, and then I'm going to use @Christine 's approach (ie, scribe round the inlay on the fretboard; route the inside area; cut the border with a sharp chisel), albeit with the above differences in terms of doing it post-radius and slotting. Does that make any sense?

Today I spent a bit of time looking at layout and making templates. The bass is going to be 33", so I've reduced the overal size of the body slightly, and because the bridge will be right up againt the edge of the body (to improve balance) I've also re-worked the lower horn a bit to allow access to the upper frets. For the pickups I'm going to stick with traditional positions for both the P and J pickups. For the P that's 84% of the scale length away from the nut, and for the J in the 60s position, 92%. I also prepared the neck blank. It came from David Dyke and it's fantastic. I cut out the neck and thicknessed it down to 20mm and it didn't move a milimetre. Look at this for symmetrical grain.... Tomorrow, neck pocket.......