Andyjr1515

Yes - the intonation is always going to be longer than the scale. Easiest way of seeing it is that when you press the string down to the fret, you are effectively bending it down to the fret in just the same way as we bend strings sideways for pitch change. And it will always go sharp. The amount it goes sharp is affected by the string tension and the action height (ie, the amount you are vertically bending). It's never going to go flat. And therefore the saddle is never going to need to be in a position that is shorter than the scale length. On your Fender BBOT - exactly the same

Scrumptious, @scrumpymike

For the bridge, now I have the stop-tail in place, I can fit a couple of strings and get the bridge in exactly the right position both for string-to-fretboard-edge distance and, of course, intonation. For the latter, I wind the top E string saddle fully forward and place that at the scale length and then wind the bottom E fully back and ensure that there are a couple of mm adjustment possible behind the 'normal' offset of around 5mm. This way, if I have a cumulative build error of up to 1mm somewhere, it's still going to fully intonate. And then same process - drill on the drill-press, press the inserts in and pop the bridge on the pegs to make sure it all fits as it should: And finally, another mockup Bit of decorating tomorrow, but might be able to either make a start on the fret levelling or maybe sort the control positions

Didn't get round to the hatch magnets yesterday. Instead, I went for something much more scary! Fitting the stoptail. Now this really is a measure 15 times, drill once. This - and the ToM bridge is even worse - has to be right. I used my little drill press to drill the 11mm holes and then also used the drill press chuck to press them in: I still have to drill the earth wire hole and fit the wire, so will be removing the lower bout insert soon (Tip about removing inserts/bushes, assuming they are open ended - get a bolt of the correct size, screw it in until it bottoms on the body wood at the bottom of the hole, use a spanner to carry on screwing and it will lift the insert gently out). In terms of finding the insert hole from the control chamber with my earth-wire drill bit, I have a cunning plan. Just got to remember what on earth that might have been But, challenges aside, it's starting to look like a guitar: Now that I have the stoptail and tuners in place, I can pop a spare 6th and 1st string on and position the bridge to make sure that it is lined up with the fretboard. Then the last really scary bit after checking the measurements, oh, probably 35 times? - drilling for the bridge inserts

Just downloading Jitsi. For good measure, I'll download Chrome onto my desktop.

Aha - realised my Desktop is still using the older version of Edge. Got the new one on my tablet - I'll try that in a sec

Hi, Richard I'm on Edge but it's telling me that it doesn't recognise the browser I'm on and that I should use Chrome or Firefox. Is there anything I have to tell Edge to do settings-wise?

I decided, once the varnish had fully shrunk after a week's curing, that it did need flattening and then a couple of final coats of varnish applying. While I'm happy with ridges that are following the grain lines, I'm trying to get rid of the ridges that are from accumulated brush strokes and other lumps, bumps and dust buggies but taking care not to get back down to the timber. And I've mentioned it before, but it is worth repeating, that unlike nitro and other 'melting' finishes, with this kind of finish you flatten before the final coat and not after. : I have used here some 1500 grit wet 'n dry used wet and with a sanding block. Almost there. Again, I'm trying to flatten the varnish itself and not get down to the underlying timber - gently does it! : I then give one or two thin gloss coats - here I generally thin the varnish around 5% to ensure that it flows and flattens. This process often takes a few goes. This is after the first go - close but no cigar: While it's a whole lot flatter than before and the lumps, bumps and dust buggies are sorted, the surface finish is a bit bobbly. So it is simply a case of letting it cure a day, then repeating with a very light flattening (usually 2000-2500 grit) and another go...and this whole process repeated as often as needed. Here, patience is your friend - you are only affecting that final couple of coats, so at least one time it's going to be OK! This is better - much flatter than before and decent surface quality that will gloss up nicely with a light polishing in a week or so when it's fully hardened: But it's already hard enough to be worked on, so I can now carry on and finish the build Today's job is going to be fitting the magnets to the control chamber hatch that has also been varnished: And then it's the other dozen or so finishing jobs, final polish and done! Probably by the end of the coming weekend Must chase up Matt and see how he's getting on with pickups for it!

Looking really good

Great

For the control chamber hatch, I take a sheet of paper and run my fingernail round the recess to make a template: Then cut the shape out of the offcut slice I cut a while back a mm or less oversize. And then just use a sanding block to gradually make my way round the recess until I get a clear but close fit: As long as I can keep this flat - which means applying the finish to both sides each time - then this should hold well with magnets, and ditto the trussrod cover. Other jobs done: fret ends rounded; headstock plate started being varnished. I'm quite close to having few enough jobs left to be able to fit the list onto a piece of A4!

Well that's a bit like, after you've let me look at your Aston Martin, you saying, "Hey Andy. I understand you got a new moped recently - can I have a look?" As long as you PROMISE never to show this to Martin... Well...you did ask! Andy

No - I don't think so

Not solid colours, no, I'm afraid. Just stained ones.

Not indoors, certainly, however many windows are open. As I've said in another thread, this is no time to end up in A&E with a serious respiratory problem...

Superb and utterly professional job I took the time to fully read through the thread rather than dip in and out and every aspect - starting with your own judgement, @rk7 , that playing this bass was more important to you than leaving it in its original form to the stunning quality of work - fills me with awe and admiration. Best modification job I've ever seen and, in my view, the only one I have seen that breaks the rule I always caution enquirers that "all mods reduce resale value". I have no doubt in my own mind that this has actually enhanced the value, not that this matters as it's clearly and rightly a keeper. Over coffee, I'm going to read the whole thing again, if not simply for the perfection of that heel recarve!

That is one of the funniest quotes I've read this year

Actually, great advice. The rough side of brown packing paper is also fantastic as a slightly rougher 'flour paper'.

You are all very kind In terms of yesterday's activities, first thing I did was drill the tuner holes. Matt was happy with the compromise of strings bending at the nut to retain a more traditional headstock shape. I always draw headstocks full-size and only when I physically have the tuners at hand! Been there, done that! I then started the treatment of the neck. I will be using the Tru-oil slurry-and-buff method - fabulous for necks - but recently I've started using Danish Oil rather than Tru-oil (although I still use Tru-oil for the bodies). Reason is that I've found that over extended playing, the tru-oil necks sometimes get a bit grain-furry where they are most regularly used. All it needs is a quick rub down with some micro-web or similar to sort it, but I've found that decent Danish Oil applied in the same way gives the same organic silky smooth result, but appears - certainly on the ones I've done this way - to be just a touch longer lasting before you need to re-buff. The main thing I have found with both, though, is that the wood needs to have absorbed a decent amount of oil before the slurry and buff starts. I usually apply at least two generous coats of oil to soak in and fully dry first: And this is how it is this morning, dry and ready for the slurry and buff process to begin - probably starting with 400 grit emery to be applying the Danish Oil with. This is broadly the colour it will now stay at: Again, the light stripe of the maple veneer is subtle but really adds to the look of the fretboard join. I think @Jabba_the_gut 's builds were the first ones I saw using such thin veneer for demarcation - my previous ones used to be much thicker - so a nod of thanks to letting me pilfer that little gem : I'm pleased with the heel - it is the great, great advantage of through-necks, particularly with slim bodies, in spite of some of the challenges of doing them. Matt should find this very nice to play. Oh - and even with the tuners fitted and no body hardware...it balances! Phew!

Yes - that was sort of my logic on Pete's piccolo bass, which has the vertical actually at the first fret! He'd never heard of multi-scale and I didn't tell him until quite well into the build that is WAS multi-scale I guessed that he would be less frightened by it so much if the bottom frets looked normal-ish. In the event, he took to it like a duck to water, even at the dusty end...

Me neither! I've done two multi-scales and they are both quite different to each other

Thanks for the comments and feedback, folks...however Covid-lockdown-cabin-fever-hallucinatory they sometimes get . I'm going to let this cure for another day or two before I make the final judgement on whether the next stage is to polish (which will be after a week or two of curing) or a final 2000 grit flattening and a couple of final, final coats. The reason for that judgement (and I have to make it every time I do gloss this way) is that you can't - in fact you mustn't - buff this type of poly varnished finish as you would with, say, nitro spray. The reason is that each application of nitro and similar, melt into the previous dry coats. This type of poly varnish doesn't. Each cured layer is a distinct layer. So if you buff - cutting through layers, you expose the under layers and you can get unsightly contour marks. But you can polish a poly varnish done this way. The polishing works on the final coat - it smooths minor lumps and bumps, dust buggies, light brush ridges. It needs to be rock hard before you do that otherwise even this risks cutting through to underneath layers. Either way, I can get on with finishing the rest of it, because if I do a final flattening and a couple of light top coats, it needs at least a week hardening first anyway. It's very close though and so this may not need anything more than the final polish. This is always a decent test: I never worry about the finish sinking into the grain - I think that actually enhances the organic feel - but there are a couple of non-grain lumps and bumps that - again - may polish out or might need flattening. But, whatever, this is going to end up as eyecatching as I had hoped at the beginning The obligatory mockups So while that's curing, next focus is oil and buffing the neck, levelling and crowning the frets and positioning and fitting the tuners

Second coat and the back is there. I know that if I put another coat on it will get worse and not better: The top...hmmm...close: There's a couple of small (and inconspicuous) areas where it will probably polish up when it's fully hardened. While I could do another coat, I don't actually want it to end up too thick. I'll have a look in the morning when it will be hard enough to handle properly so I can see where the light catches it and decide then

The first coat of Ronseal is on: With the way I do varnishing, it's sort of done when it's done. Might be next coat, might take 5 or 6!

Ah - got it. I hadn't picked up it was 2 basses They look good.