Andyjr1515

This ^ On both counts With my unquestioned qualification to an opinion by being a crazy b*****d who will mod pretty much anything with anything: - functionally and sonically, there is nothing wrong with the standard bridge. The Jazz and the Precision aren't world leaders for no reason - yes, a different bridge will look different, it will feel different and it may sound different. Not better, just different - if you have to drill different screw holes, you will almost certainly reduce the resale value of the bass, however fancy a bridge you put on. If you swop to a 'drop-in' bridge and subsequently want to sell, put the original bridge back on and sell the new bridge separately The Gibson three-point bridge is one of the worst designed bits of metal I've ever come across relating to bass guitars. What on earth were they thinking!!!! As @NancyJohnson says, there are improved drop-in one's available. Same advice if you come to sell, though. Put the original one back on and sell the better one with it as an extra or separately. That's my view, anyway

Out came the (not actually) Dremel precision router base and the trusty 1mm bit and let the routing begin! Headstock ones done ready to glue: And the 12th fret ones:

And yes, the maple goes really well. While in general terms I'm not a great fan of tele headstocks, that adds to the quirky vibe of the bass.

Looks great. That pickguard really does set the colour off well

Looking good

Ignoring my former friend's helpful suggestion... Onto the headstock shape. Mike wants a passing nod to the original Rascal - so a Fenderish vibe - but also wanted a three / one arrangement of the tuners. He's supplied me with some very nice looking open-gear Hipshots and those, many of you will know, are reversible so that is no problem. I like to achieve as close to straight as I can with string runs so I always start with a full-size drawing and start with the string runs - which lets me work out the possible positions of the tuners. This is what I came up with as the optimum: I also always double check there won't be any clashing of hardware: Looks fine. That was then transferred to the paddle which let me double check where the swifts will go: And meant I could trace round the ebony ready for routing the chambers when I have decent light again in the morning:

@scrumpymike - look into my eyes. Concentrate and count to ten backwards. Look into my eyes! DON'T EVEN THINK ABOUT IT! Now I am going to click my fingers and then you will wake up and not remember anything that has just happened. Sorted

Next pre-sanding job on the neck is the inlays. I'll be putting dot markers on the board but also a couple of swifts at the 12th fret. I always think Mother of Pearl on a maple board can look a bit wishy-washy - and abalone, etc, can look a bit cheap on an otherwise undecorated instrument. So sticking with the all black theme, I've gone for ebony for the inlays: Now - it does have its own challenges. Because it has a grain - and because the tips are sharp - then it is very easy to accidentally snap off bits, especially when you are doing the fitting. We'll see how it goes There will be a couple of small ones on the board: ...and a couple on the headstock: Next job is sorting the outline for the headstock so I can work out where the inlay routes should go

From the profile gauge measurements that @scrumpymike took of his Rascal neck, I made a plasticard template: I was pretty sure that the new neck was going to be already pretty close to this. And I was right - Difficult to see on the photo, but there is the teeniest bit of asymmetry showing from Mike's measurements from the original Rascal - shallower curve at the treble side - that I will replicate when I sand out the heel-carve marks and sand off the protective finish from the neck and fretboard.

Not sure about the genius bit. Certifiable, certainly

I'll tidy up the heel when I finish the re-profiling, but the bulk removal has been done: Don't worry about the ropey finish on the body, by the way. It's had just a quick rough and ready sealing coat to stop the sanding dust getting into any grain. Once I've finished messing about, I'll be able to give the body a wipe over with a damp cloth to get it all clean and speck-free before putting the final finish on it.

Looks great! The guy demoing it at 1.30 onwards certainly shows its capabilities!

Well, it's tipping it down and I still have a few hours to decide the least worst option before having to brave the elements to vote...so what better way to lighten my mood than to hack away at @scrumpymike 's neck (yes - bass neck, of course) I'll go into a bit more detail for @durhamboy 's , or anyone else nervous about tackling necks, benefit just in case there are any tips that help. First - and this would not normally need to be done - I took off a little of the bulk at the heel. For this project it needs doing anyway, and the less of the heel I have to sand back when I'm re-tapering the more even the sanding is likely to be. I then used a straight edge to pencil the revised taper - 0mm at the nut up to 1.5mm at the heel. (odd shot because I forgot to photo this!) : To speed up the process a touch and because I have a Shinto rasp file capable of doing this I used the rasp to head towards the line at the heel, where a disproportionate of the bulk lies. Do NOT do this with a conventional woodworking rasp - the metal of the frets will wreck the file. This whole process can be done using just a sanding block and emery cloth - just takes 20 mins or so longer: A couple of tips: - it is worth removing some of this bulk, because when you are sanding the main taper, running your sanding block up the length of the neck, there will be a tendency to over-sand the lower frets due to the heel area having much more wood to remove and needing many more sanding strokes than the thin strip of binding and fret ends further down - whether using a (appropriate) file or a sanding block, ALWAYS sand from the frets to the neck (so right to left in this photo) - NEVER the other way round. That way, the grit of the sandpaper or barbs of the file are always pushing the frets into their slots, not out of them. With the heel bulk reduced (but still not fully up to the pencil line) I then use a standard sanding block and 120 grit emery cloth to bring the whole taper towards the pencil line. I use emery cloth rather than paper because it is much more resistant to tearing from the sharp fret ends. If paper - or standard sandpaper - is all you have, no problem but be prepared to replace it frequently: Some more tips: - Press lightly at the nut end and heavier as the wood width increases towards the heel - check frequently your progress towards the pencil line - again. as you are running the block up the fretboard, either go absolutely parallel, or move the block from fretside to neck. Again, avoid inadvertently putting any pressure on the fret-ends that would push them out of their slots - use pencil or blackboard chalk to mark the areas you DON'T want to sand (in my case the nut and the neck pocket cutaways I'd already chiselled to size above. If the pencil/chalk starts disappearing, then you are at the limit. Here you can see I've gone a bit uneven - you see it against the line and by how much of the original fret bevel I've removed: Again, you can do the following by eye with your sanding block, but as I have a levelling beam, I use that just to ensure that the edge is perfectly straight: And all, done (took about 40 minutes overall), a quick line up check that the string runs are evenly spaced from the fretboard sides at the bass side with my straight edge lined up with the nut slot and the E string bridge saddle: And at the treble side in the G nut slot and saddle: So now I can get on with finishing the heel reshape and the tweaks to the neck profile. I'm pleased with the neck, by the way. When you start sanding and planing to get to see what the timber and frets are like. Pretty good in both cases is my conclusion

A bit the same way at you level fret-ends after a fret job, @Chienmortbb - I'll use a sanding block and emery cloth (80 or 120 grit) and then level it all up with a sanding beam. It's actually not a bad job. It's useful that I can use the chiselled rebates as my datum to sand up to.

You can do a lot with drawings in terms of the geometry and dimensions of basses - especially full-size - but there's nothing that quite substitutes for trying it for real. So another example, maybe, of my slightly unconventional approach. It was clear that the heel of the new neck was wider than the pocket of the Rascal by about 3mm. On the other hand, the nut was narrower - closer to a Jazz at 38mm. My suspicion was that the whole taper of the fretboard probably needed reducing to start at 38mm at the nut and end at a Fender width at the 21st fret. But it's a lot easier to confirm that if you can fit the neck into the pocket, and put the real bridge in position and put a straight edge on it. So it was worth my while to chisel both sides to fit the pocket. And to prove that my ability to chisel has improved from my early wood-massacre days : Nice snug fit... ...meant that I could check the straightness and also place the bridge in the correct place and put a straight edge from the nut to the saddle. And sure enough - to avoid excessive distance between the fretboard edge and the G and E strings at the upper frets, the whole neck wants the taper reducing: You can see here the excess heel area that I will carve to blend with the revised body/neck joint: At the same time I will be tweaking the profile shape to match @scrumpymike 's present Rascal. All basses have their own feel but, hopefully there will be a pleasing familiarity when playing. And aren't I worried that the neck pocket is so much smaller than a 'conventional' bass? Well not really. My mod with the curved plate takes only a teeny bit of pocket away from the original Rascal size and is no smaller that a 6 string electric where the total string tension isn't hugely different. What I will do as a belt and braces, is fit stainless set screws and threaded inserts so it can be bolted up really tight without fear of stripping threads. So it doesn't worry me about it 'clapping hands' in the middle of a performance. Especially as I will be probably at least 180 miles away when if it does that

Never give up. Besides, there's still plenty of time for me to f*** it up yet

I will have to a modicum - the neck is sitting on top at the moment because it is a touch wider than the pocket. I'll have a peep tomorrow to see if it is best to tweak the neck or the pocket as I will, in any case, be carving the neck heel to blend in with the upper-fret access cutaway

And we have a neck! Looks decent And certainly it is the right length and the right number of frets Quite a bit to do on it in terms of reshaping the profile, sorting the headstock shape etc, etc, but at least I can now also start to finalise the bridge and scratchplate shape and positioning too.

Personally, I don't think 19 frets is a major limiter for the great majority of players. I would actually say the same on a 6-string electric, but particularly on a bass the number of folks who ACTUALLY play those very top notes is relatively small (although I'm aware the fear of 'but what if I DID want to play those notes?' affect us paranoid players too. And I say that because it is unquestionably because I don't have a 24-fret bass that I, personally, suck at bass ) I like some of the features you're building into this. I'll be watching this one

I agree. The back will be too if the Camphor comes out anything like Kert's singlecut!

The good news is that the neck has got to Nottingham! The bad news is that I have now had to pay the customs, etc … but actually, at £28, that was better than I was expecting So - in that I have to do further coats anyway, I've started looking at the black stain options and am in discussion with @scrumpymike whether he wants me to try a black/grey burst or just go with black. The stain is working quite well - I'm using Chestnut Spirit Stain. This is after a couple of coats. It would have more and the finish will also further darken it but - for notoriously difficult black staining - it's an encouraging start: One of the curiosities of black stain, particularly on Alder, is that the grain shows lighter than the surrounding wood - when using any other colour, the grain will always show darker than the surrounding wood. And the old trick of sanding down and reapplying doesn't work when black is the actual stain. This first coat shows what I mean: The reasons become clear once you start thinking about it. One for the family gatherings when the conversations go quiet over the Christmas period.

I started by drilling with a forstner bit to get the basic datum: Then chiselled out the excess and squared the back end: Then fitted the inserts. The centre space where there wasn't a cutaway is a bit narrower than the four original cutaways. Having said that, not the squarest or most even job but 70% of this is going to be covered by the bridge - and it's all going to be stained black with the rest of the body anyway Then a quick block-plane and sand and this is basically how it will look, albeit everything trans-black: I will now do the full sanding down to eliminate any dings and dints but can't do anything else until the super-slick UK customs and parcel machinery (literally) delivers the goods

Well, after taking already 3 times as long as it took the neck to cross the whole of the US on multiple flights and then across the Atlantic to UK, there is just a hint now that it might make the last 150 miles before Christmas. Then I am expecting 20% VAT, 15%ish Customs and, probably a £30 handling charge by Parcelforce for the privilege of them passing the payment across to HM Gov. Well come Brexit, when presumably this will be the norm for buying stuff from Europe too, then brace yourselves folks! But - it does mean that I can start the prep for finishing the body. No point in actually starting the staining, etc, because the pocket and heel may yet need modifying, but I can get it to the stage where that is ready to be done. One of the jobs is to fill those odd cutouts that are below the original Rascal bridge. Trouble is, they are going to poke out in front of the new bridge. I could use filler, but, with a stained finish that is going to show - and not in a good way. So I'm going to add some walnut inserts: I'll add a middle one too to turn the angled line into a 'feature': I'll see you in a few hours

Luminlays on the bass side would be easier - unless you are specifically going to the WOW factor (and there's nothing wrong with that ) Why would channelling the bass side be worse than channelling the treble side? Also, have you played much fretless @jebroad ? I find the dots on the fret position (and yes - still 3,5,7,9 etc) rather than in the middle much easier to use on an unmarked board - and if you need LED's I'm assuming that even if it was a lined board you aren't going to be able to see them in the dark? I like your final full size drawing shape, by the way

OK - thanks Yes - what you are considering will help because it will pull the top of bass body closer into your chest. As I mentioned earlier, the button screw should be OK there.