Andyjr1515

Both guides look pretty comprehensive to me with only a few nit-picks for either. But it's worth having a reminder about the sequence - because EVERTHING on a bass affects EVERYTHING. The WHAT The recommended sequence is: 1. Check and, if necessary, adjust your trussrod then 2. Check and, if necessary, adjust the string heights then 3. Check and, if necessary, adjust the intonation (For those who are interested) The WHAT and WHY The recommended sequence is: 1. Check and, if necessary, adjust your trussrod The trussrod tension affects the action height. So there is no point in checking your string heights unless and until you are happy with the trussrod setting 2. Check and, if necessary, adjust the string heights Now the truss rod is set, the string heights can be checked and, if necessary, adjusted. Remember that pressing a string down to the fret is exactly the same as sideways bending a string that is already fretted - it will tighten the string and raise the pitch. The amount that the pitch raises is similar in either plane. So a 3mm string height above the fret pressed down to the fret will raise the pitch pretty well as much as a 3mm side bend of the fretted string. 3. Check and, if necessary, adjust the intonation Now that your string heights are set, then you can adjust your intonation. Remember that what is happening when you are fretting at the 12th fret - because of the slight curve in the neck being deepest at the mid point - you are vertically bending that string the maximum amount it will suffer in normal playing. If your string height is, say, 2mm at the 12th, you are bending the string the same as a 2mm sideways string bend. And it will sharpen! And so, to make sure that the bass is still in tune at the 12th fret when the strings are pressed down at the 12th, the saddles need to be moved back a little. And the thicker the string, the more pitch is affected by the bend, the more the saddle tends to be moved back So now we have a bass that is spot on tune with strings open and at the 12th fret. What about the other frets?? Well - remember that the 12th fret is the worst cases in terms of the amount the string is being vertically bent. There are tuning discrepancies up and down the fretboard but, most, are inaudible to, most, listeners. And if that bothers you, just remember my adage that 'the definition of a bass (and guitar) is "a series of compromises held together by hope!" '

I don't know for sure - and don't have a Hipshot here - but having fitted them to a number of my own basses and builds, I think you would have the same problem.

Most of my builds have been neck-through but, when I was asked to build a bolt-on neck or do a major repair, I have always used screwed-in inserts and machine-screws. Whether it adds anything the human ear can pick up is debateable but a tight joint will certainly suffer less string vibration losses than a loose one - and you don't have to worry about stripping threads with proper inserts.

Yes - that's the one I generally use too 👍

Oh - and in my experience all oils are absolutely not much of a muchness. For basses, especially on fingerboards, you have to be sure that it is going to fully set with no finger drag. I've used oils in the past that NEVER set fully hard.

If I can interject here, as well as tinted versions, in the non-tinted Osmo Polyx range there are 4 types from memory, which are various levels of sheen from Matt to Gloss. However, there is another product Osmo produce that is thinner, and probably soaks in a bit more, and can take multiple coats to progressively build up the finish to what I would describe as Satin finish. It's called '1101 Farblos Transparent'. I think that @Jabba_the_gut uses that on his magnificent short scale basses?

Lovely job. Kudos to working with wenge like that. I love the final results when I work with it but it's smelly, splintery and just flipping hard work! But that all said, the very, very best bass neck I have ever played - leaps ahead of anything else I've personally played - was a wenge necked Cort Curbow a mate used to own.

I like this very much Excellent choice of timbers and well executed carve 👍

This is what AI says - although it may have just regurgitated the above discussion 🤣 "Yes, there can be a subtle sonic difference, with individual saddles generally providing a slightly tighter, brighter, or more focused sound, and two strings sharing a single, larger saddle (common on vintage-style bridges) potentially offering a warmer, "ballsier" tone with a more pronounced midrange. The difference is generally minor compared to other factors like string type, pickups, or playing technique, and is largely a matter of personal preference."

Fascinating. In that they are so similar in many respects, I wouldn't have thought it would make that much difference. Just a wild thought - in that the original saddles share two strings each, I wonder if there is some sort of impact from the two sources and characteristics of vibration on each pair. But yes - a surprising result whatever the explanation!

Well, randomly (actually trying each of the options on the label and hearing which suits best with your rig) flipping switches is a perfectly decent way to go. There's no-one else going to be able to tell you how your rig will sound with the various combinations and which of those you personally prefer.

Looks great!

Nice job 👍

Only just caught up with this. Splendid work! 👍

Just a quick question. Have you worked out at all where the actual buzz is happening (ie fretting at 7th and above, ear close to the strings with ear starting over the 8th fret and, while still plucking the string, moving your head/ear up the fretboard to the top)? It's just a hunch, but it is a VERY common occurrence, especially on basses, that the neck 'kinks' from where it meets the body, simply from the physics of the string tension and flexiblity of the neck. Folks talk about ski-jump and get all hot under the collar about shims, etc, but ALL of my many bass and guitar builds over the years have been through-neck and so shims play no part in the discussion or phenomenon. And quite quickly I started routinely adding a progressive fret height reduction from the neck/body attachment point to the end of the fretboard (I think the common term is fall-away). Have a listen up the fretboard as I describe above. My money is that all of the buzzing is actually happening on the higher frets.

Looking forward to seeing this. Jon is a true luthier's luthier...

Oh...and do have a look directly underneath to make sure that there are no cracks showing in the neck - there isn't a huge thickness of neck wood at the bottom of the slot here.

According to the Schecter website (very comprehensive!) the Jeff Loomis JL-7 is fitted with a two-way truss rod. When you talk of a shim, I'm not sure what or where you mean. Basically, with a two way, the trussrod bends independently of the neck and works by bending in the horizontal slot in the neck. As such, yes, there is the tendency for the nut end and the heel end to dig into the bottom of the slot as it tries to straighten the neck. Generally, the neck obliges before it actually damages the wood, but if it is a particularly stiff neck, or if you are trying to adjust with the strings under full tension, it might well. But there doesn't look like it has done structural damage and so, if you are able to get the relief you need, I wouldn't worry about it (but do remember to loosen the strings before you tighten the rod )

Splendid news. It looks great - very pleased it plays OK now too 😊