Andyjr1515

At the same time as I've been getting my head round the project, I've been trying to teach myself how to use Inkscape. To be honest, I've only just gleaned from forum discussions that such a package exists! First of all, this is one of the options for the top wood I may be using: An this below is my first attempt at clipping a photo of the amboyna with the shape designed on the package and overlain with the 25" scale-length component templates taken from a photo of my own Swift Lite prototype. Where I've been able to get the package to cooperate, I've incorporated a couple of Mick @TheGreek 's suggestions and also moved the lower waist back a touch. At this stage it's feasibility stuff so will need refining in any case. To a lot of you CAD afficianados I know this is kids stuff, but I'm well, well chuffed with the package and the results :

Some good lines there, Mick I'll be moving the lower waist back towards the tailstock. I'll repost the pic sometime soon (and explain why I'm moving the waist )

I know - madness! But the oak was a feature shelf that used to be over a large fireplace in the house she grew up in and which her parents lived in all their married lives. So, even with all the reservations about it as a building wood, I'm going to incorporate some in the build. Ideally, it would replace the sapele back - but that might make achieving the weight target impossible. As you know, @Jimothey, from your own builds, it's all about compromises (and trigonometry )

Yes - I know this might result in removal of epaulettes (or worse) but trust me, it'll be worth it because one day - I promise - I'll build some of the same design features into a bass! This project is still in early stages at the moment, but is planned as an evolution of the recently completed 'Swift Lite' below It's a commission from my brother-in-law's partner, Jane. Female and new to guitar, Jane ticks two of the boxes of the type of players I had in mind when I was designing this. Players who might appreciate a guitar that sounds good and looks good but doesn't weigh the equivalent of a sack of coal . Those types of players include: young players; learners; old players; female players; anyone else who has asked the question 'So tell me again...just WHY are guitars so heavy?' Will it be a copy? No But it will be an evolution sharing many of the same design features. This is what I have in mind (actually, with one more tweak to incorporate): Some of the changes, which to be honest are using this new build as a test bed, are simply incorporating my own thoughts and feedback from regular players who've borrowed my own Swift Lite to try out and are just about playability for a lead guitar player. This includes the slightly further back cutaways to allow a full thumb anchor at the top cutaway and full access to bend at the 22nd frets of the lower cutaway. Yes - I know...there are other places they could put their thumb : The other change you can see is that the top horn is longer. My own Swift Lite balances perfectly on the strap - but at 5lbs 14oz is still a touch heavier than planned. The new one is aiming for the original target of 5lbs 8oz max. My logic is that, if mine balances just right, then any lighter might send it out of balance. With the top strap button at the 12th fret, this will balance however light the body ends up. Oh..and this might have some oak in it. Yes - I know....madness on so many levels More details as I crystallise them Andy

Wow....just wow!

Sounds and looks absolutely splendid, @discreet

Oh, and if I wasn't already feeling completely inadequate... ...matching up the grain lines at the back, where no one's going to see it anyway, is just taking the p*ss!

My goodness, Jez, that's a tight join... I agree - the wood with that finish is just right. Andy

Lovely

2 for maple

I like that lots, @Jimothey

I think that looks great @Jimothey Great job!

My preference on these kinds of things tends to be to properly condition the fretboard which darkens it in any case but leave it dark brown. While I love ebony fretboards, I always think dyed ones look a little bit...well, dyed But in reality, this is nothing to do with my preference so whatever you prefer - it's going to look stupendous whatever!

Great job, @Jimothey Looks the business

It's OK - all the resources of that particular honour will probably be used up on me.

Yes - probably

Looking good

This is a great way of clambering up the learning curve First of all, the neck pocket. When you say 'it's not a p-type neck' that could mean a lot of things! If it is off a Fender or Squier or any of the myriad copies of those makes, the likelihood is that most P-bass type bodies will have a neck pocket that is broadly the right shape. You might need to add a bit of veneer to the pocket sides to tighten it up, or sand a touch off the sides to loosen it, but it should be close. If the neck is not from a fender-ish copy of any sort, then it is very much not likely to fit a P-bass type body at all. So first question is - what is the neck off? (Pics?) Next is what the others say above. Basically, the bridge position is determined by the scale length and where the neck is once it's fitted snugly in the neck pocket. So the next question is again the neck - what scale length is it? Just measure from the nut to the 12th fret. Then double it gives your scale length (a P-bass will measure 17" to the 12th fret, giving the 'standard' long scale length of 34") Again, if the neck is 34" scale and is off a Fender-type copy and the body is a P-bass copy, it is likely that the bridge holes will be in the right place. If the neck is not 34" scale, then you would definitely need the bridge in a substantially different place, to the point that it might not even be feasible. If the neck is 34" scale, but not a Fender shaped heel, then the bridge position would be calculated once the neck pocket had been sufficiently modified and the neck position confirmed. Hope that helps Pop a couple of photos of the neck headstock and heel and the nut to 12th fret measurement and we'll be able to give you a better answer

The great thing about building your own guitars is that you lose the fear of changing things A couple of times, friends have gone pale - after agreeing with me that something might be maybe shaped a little differently - when I immediately get out the rasp file and hack into the gleaming beauty, there and then. "Something like that?" I ask, as they sway from the shock. Well - I'm just about to do the same here. Having played this myself over a couple of days, and having just watched someone whose objective opinion I greatly respect play it, I'm going to get the micro-plane rasps out tomorrow and create some sawdust This is what it looks like at the moment: And this is what I think it should look like: Yes - it's subtle but I think it will make a big difference to the playability. In summary - Slightly deeper cutout at the top horn. The contact I watched play is - a bit like me - a lazy-thumb player. That is, his thumb stays in the 'wrap-round' position even when he's playing the higher frets. And when he's playing the highest frets, he anchors his thumb round the cutout. In terms of my own playing (I rarely venture that high playing lead...makes my nose bleed) there is one number where I have to play barre chords with a capo on the 8th fret. It is possible with this guitar as is, but it would be a lot more comfortable with another cm of hand space Slightly deeper cutout on bottom horn. No real benefit to me, but same logic to a 'proper' lead player Slightly further rearward lower waist. This guitar, as is, is GREAT on the strap...but, for me, it's just not quite right played over the knee. I was interested to see exactly the same when my contact played it It will only take 1/2hr to make the changes, but it will then, of course, need refinishing. But that itself is an opportunity because I'm going to give the Gloss version of the Osmo one more go - but applied closer to how it is supposed to be applied than how it's been applied above. This, of course, means a complete strip-down but what the heck - what else am I going to do in the evenings?! Oh...just to add. My contact runs a very successful guitar and music shop and - with me allowing maybe a smidgin of smugness to creep in - I feel obliged to mention that he loved the neck profile and feel. Took a while to get my swollen head through the shop door back onto the street

Interestingly, the CTS pots I've used do have T18 splines. Like you, I was pretty sure they were finer. They have brought out a metric version and more budget versions...maybe that's what I have. Anyway, for the sake of a couple of £'s, I'll probably get the pihut ones too. Again, thanks for the leads

Some amazing sites, Richard. I'm going to give those inserts on the Thonk site a try. I do the old trick of scewing the grub screw into the gap of the split spindle - it should splay the 1/2 mm oversize OK. At 55p each, it's certainly worth a punt. Thanks for the lead - don't think I'd have ever found this myself

That's great info Richard. I will follow the links with great interest

So, with the missing knob arrived, final finished pics As always, thanks for the fantastic support and tips and tricks you have all generously given along the way

Thanks, Kert

Hi @honza992 Ah! I knew I'd seen that somewhere! So it was yours Thanks for the link