Andyjr1515

I was with it until the pots went in! Do they still work?? Other than that slight worry, the rest of it is very impressive. Your methods are producing some very natural looking ageing.

And, for the sake of completeness, the third knob:

Those are going to look mighty pretty when they are finished

The third knob is in the clamp gluing but I thought I'd take a photo of the other two in place and in better light: By the way, the horizontal line in the walnut is a natural fissue emanating from the knot you can just see round the corner. It's treated and stable. There's still a lot to do, but I've got to the 'still to do' list stage (presently 14 items and falling) which is always a good sign Andy

Correct - it has a sealing coat but not the final

Back to knobs, two done (haven't put the MoP dot on yet) and one to go. Same method as last time: I use the 6mm i.d. grub-screw inserts sourced from Thonk: Then, having cut the walnut and purpleheart to thickness, first drill the clearance recess in the walnut: Then, without moving the wood or the press-drill, drill a 9.5mm hole: Then use a 25mm plug cutter to cut the knob bottom out: Same plug cutter to cut out a top disc of purpleheart: Glue the top disc to the back. Drill the side hole for access to the grubscrew. Carefully drive in the splined insert and we have a coordinating knob: What do you reckon?

Certainly a european spruce acoustic top. I think I've used it on walnut and mahogany too.

I agree absolutely with @Manton Customs above. Most of the time with 'brickbat' necks it is the shape either side of the central spline that makes most of the difference to the feel and playability. I regularly reshape necks for my own basses and guitars to take them from a 'U' shape, to a 'C' shape and, for my personal preference towards a soft 'V' shape. Also, when I do full builds, although I start with templates, etc, I finalise the final feel of the neck by subtly reshaping the sides either side of the spline by taking a little off, 'air-guitar; playing and then so on until it feels right. So, reiterating @Manton Customs points and adding a few of mine: Be aware any mod like this will destroy the re-sale value of the bass, however much of an improvement it makes. ONLY do it if it is an absolute keeper or has other factors that have already dented severely the value. I think most Arias have a light stain on the neck? If so, bear in mind that you are unlikely to be able to match this colour. Investigate the sticky thread here of basschatters willing to help other basschatters. It is not really something for someone with no experience to do. But, if you are going to do it anyway... Never ever use a router I would say never even use other tools like spokeshaves, etc - they are far too harsh and can take too much of the wrong material off too easily I use nothing more than the humble cheap cabinet scraper. Because this is a 'one off', just buy a cheap set and throw away (recycle) once blunt or when the jobs done: https://www.ebay.co.uk/itm/Carbon-Steel-Cabinet-Scraper-Set-x-2-Rectangular-Scrapers-1-x-Goose-Neck-W8014/113128438340?epid=1475244966&hash=item1a56fafa44:g:e9cAAOSwzlFbPKmu (you can get similar from such as Homebase B&Q etc) The scrapers take tiny, tiny shavings. Means you can creep up very gradually on the shape you want. I personally hold the bass, while sitting down, holding it like a back to front cello. Personally, I do this when the bass is fully strung up so I can turn it round and play it at regular intervals and really feel if I'm getting there. I take long light strokes along the whole length of the neck. I sometimes need to do extra strokes closer to the nut where the curve is often tightened I am scraping away some of the curve between the fretboard /neck joint to the spline - without scraping away the fretboard side OR the spline itself When I have a shape I am happy with, I smooth it off with sandpaper and then refinish So yes, it can be done, but I think the general advice would normally be to sell the bass and buy something that suits better. Hope this helps

Hi, @honza992 ! Sorry for the delay in reponse. I've used it a couple of times and yes, it works, but it is not my favourite. It's easy enough to do: basically, separate the egg white, take out the stringy bits, break it up a bit with a fork and then either just brush it on, or better, slurry it on, then let it dry fully. Then either repeat, or just sand down with very fine paper. What I like about it is that it doesn't tint the wood. What I don't like about it is that it is VERY wet. And that means it raises the grain....and that sometimes makes things worse.

I reckon back both horses. I'll do some walnut/purpleheart knobs but suggest you also see what it looks like with the gold ones when you get the bass home - and no problem if you choose to fit those instead. When you see it in real life you'll see what I mean...

Hmmm....sitting here looking at the body and bridge...well, those knobs could look very good....

What, swifts AND ducks??? Great idea!

Hmmm...or how about walnut AND purple ?

Oh dear. Here we go.

The body probably has one more coat of finish to do and the neck is having its finish applied to seal in the stains and make sure @fleabag doesn't end up with a very funny coloured fretting hand While that's going on, @fleabag and I have been agreeing the decals he wants on the headstock and I've started sorting the electrics. Clearly, the first task is sorting out the pots and switches on the control plate: And I can't believe we'll get through without a torrent of suggestions, but we also have to talk about knobs.

What pickups are you going for?

Hmmm....tricky one. Normally, I favour black hardware. But I keep looking back to your first photo and, well, that chrome does add a crispness to the look. I'm really not sure. I bet that helps a LOT!

Looking good. I've considered that approach for fully hidden through neck in the past - but decided that it was WAY beyond my skill set.... I raise my glass to you, sir

And who can ever resist a quick mock-up

And with the final red spirit stain added. A touch of a deeper colour but definitely in the right spectrum:

So onto the neck staining proper. Not finished but getting there. After sanding and sanding and sanding, there's only one way of knowing whether you've cut down not only the varnish, but also full through the whatever-it-is-they-pre-coat-that-sands-like-wood-but-isn't. And that is to put some stain on. In that my bottom coat will be the red calligraphy ink, that's what I used to check it out. Anything not wood will reject the stain: So back to all the similar patches with more sanding until the stain was able to soak in pretty evenly: Then the purple on top. This is the one that is probably less colour fast, so when it's dry, it will have a red colour-fast spirit stain on top. But even with just the two colours so far, it's beginning to get there: The final red coat will take a bit of the purple out of it and even the colour a little In the meantime, the body finish is getting close. So later this afternoon the final stain coat on the neck and then we are starting to get close to the finishing stages.

I think the clue is in what you say at the beginning - that a few of you had problems. I would say almost certainly it's an issue with the venue. Flourescent lights, dimmer switches and circuits, some pub pumping systems...there are some places that are almost impossible to dehum.

Superb!

Yes - the rosewood fingerboard will tone it down a touch

The body has had its second coat of finishing and is drying. In the meantime, most of the varnish is off the neck. @fleabag wants the neck and headstock to match, as close as practicable, the purpleheart. A number of you know that I generally use inks for staining but some of the purple inks have a less secure colour fastness. Red calligraphy ink, on the other hand is pretty secure - think Lindisfarne Gospels - as are Chestnut spirit stains. So I reckon one part purple and two parts calligraphy red, overlaid once dry with Chestnut red spirit stain should do nicely. It's certainly the right colour!