Andyjr1515

[quote name='stearstree1304' timestamp='1495723800' post='3306157'] And its bank holiday weekend too - loads of time to get that lot done!!!! [/quote] Ooooh....never crossed my mind

OK - to some very exciting stuff! The pickup coils have arrived! : Martin Herrick's done a great, great job After a detailed phone discussion and a view of how I will position them, Martin suggested that the windings were progressively increased to balance out the volumes of each string. The poles are also adjustable from the bottom so I will be able to mount them and then fine-tune the cross-string balance : I'll change the earth strap arrangement slightly to allow the coils to be truly separated and all connected wires to be in the bottom shallow chamber but I couldn't be more pleased . Also arrived is John East's tiny MPM02 mixer/pre-amp. Fitting this into the control chamber should be a doddle! : ALSO arrived is some black veneer that will be able to be used to provide a classy witness line between the fretboard and neck. So what that means, my loyal thread followers, is that I now can:[list] [*]Fit the truss rod [*]Glue the witness line veneer to the back of the fretboard [*]Carefully cut the circular chambers in the fretboard back to allow the maximum height of the pickup coils and adjustable slugs to be achieved [*]Glue on the fretboard [*]Carve the neck [*]Fret the fretboard [/list] Watch this space

Thanks for the suggestions, folks. There is the final knockout and unique headstock in progress, very close to the mock up but with just some further evolutionary changes. I won't be revealing it until it starts looking like it will when it's finished. And it isn't going to look like anyone else's... But you're all going to have to wait!

Well this is VERY exciting. Just received the Martin Herrick pickup coils...and they look the absolute dogs whatsits I'll post some pics when I've finished a few domestic chores.....

....and the body profile is based on a Bausch+Lomb Ultra: Trust me, fellas, when this is finished, this isn't going to look like any Ritter or ACG or Alpha or anything else you've ever seen. Mind you, once any of those excellent builders have seen this one in its finished state, you might see clones of [b]this[/b] popping up in [b]their[/b] catalogues in a couple of years time

I have a mockup of the headstock in the white sycamore which makes it look quite different. There are also some subtle changes we've been bouncing around...and, of course, the whole thing will be radiused like the body .... and I've just had an Andyjr1515 inspiration moment! Now, admittedly, the latter might be just wind... Anyway, suffice to say that there are things being tweaked and nudged that will make the finished thing have a look quite of its own. It is Mick's and my own ambition, if we get this right, to be getting the other suppliers copying our designs not the other way round Still, bit of a bummer that Mick didn't want the Fender shape....I think that would have added a certain je ne sais quoi

[quote name='Norris' timestamp='1495573024' post='3305035'] You've derailed your own thread. That's our job! [/quote] You should see me tripping over my own feet... It's an art form

[quote name='owen' timestamp='1495549694' post='3304683'] Don't get me wrong - I only ever play the big letter given the choice! [/quote] [quote name='BigRedX' timestamp='1495549938' post='3304684'] But IME the 5th is what makes it sound so good. If was going to loose a note in a chord it would always be the 3rd because it nearly always sounds out of tune to me, but in this case it's already been replaced by much sweeter sus 4th. [/quote] Now look what I've done

[quote name='mcnach' timestamp='1495542436' post='3304574'] aha, so invisible to radar? [/quote] Yup - Mick will be able to hit the audience with a G9sus4 when they are least expecting it...

Here's a closer shot:

[quote name='TheGreek' timestamp='1495540068' post='3304540'] The beauty of the design is really starting to come through - look at how soft all the surfaces are beginning to look. I just hope that I don't get too precious about it and this doesn't become too beautiful to play. Keep on doing what your doing, Andy.. [/quote] The pickup coil hatch is done and the coils are on their way. Probably shouldn't go for magnetic catches on this one - they are very strong and can feasibly affect the pickup magnets. Not worth the risk... This is the headstock shape we've agreed on. It will be in sycamore, radiused and rounded like the body and probably with a few swifts flying around....

Mick and I are getting close to finalising the headstock shape and in the meantime I've been starting to round the edges: Mick has asked that there are no flat surfaces anywhere so the headstock will also be radiused and rounded. In the meantime I've just head that the custom pickup coils are ready

[quote name='ikay' timestamp='1495473065' post='3304005'] Re #4 - only thing I'd add to this is that the slightly greater string length from the saddle to the tailpiece, and the shallower break angle over the saddles, makes the strings feel a bit more 'compliant' compared with a regular one-piece bridge. Both these factors give the illusion of slightly less tension but in fact it's just down to the geometry and the strings moving ever so slightly more freely over the saddles. The string tension itself is exactly the same as if they were on any other bass of the same scale. [/quote] ^ Yup - spot on

With reference to intonation, Jack is also right where you have a floating bridge! If a bridge is set at EXACTLY the scale length, then what you will generally find is that the notes ring out sharper and sharper as you go up the fretboard. That is because, by pressing the string down to the fret, you are basically doing a string-bend, albeit vertically and not horizontally. The further up the frets you go, the larger the gap is between the string and the frets and therefore the more you are bending the string. Also the thicker the string, the more the bending affects the pitch. So the saddles are actually usually positioned approximately 1 to 3mm further back than the actual scale length To set your bridge in a rough approximation of intonated, position either the bridge or saddles so that G is 1mm longer than the 30.5" scale length and the E is 3mm longer and the other two are relative to those two points. Then tune up to proper pitch, sound the harmonic at the 12th fret and then CAREFULLY fret down (vertical so you are not actually bending the strings horizontally too). If it's the same note, you are intonated. If the fretted note is sharp, move the bridge (if it's all of them) or the saddle (if it's only one or two of them) back a mm and try again. Likewise, if the fretted note is flat, then move the bridge / saddle forward a mm and try again.

I agree with Jack's answers above. I think your confusion is probably between string length and scale length - easily done. The scale length - 30" on your Mustang and 30.5" on your violin bass - is the distance from the nut to the bridge saddles, and nothing to do with how much string is behind the saddle. The string tension, for a given set of strings, will be the same as any other 30.5" scale bass, although a tiny bit higher than any 30" scale bass. Different designs of basses then have different ways of securing the strings - some attached to the bridge assembly itself (such as a Fender P-bass) where the ball ends are very close to the saddles and some with a string retaining stop bar some distance behind (think Warwick or a semi-acoustic jazz design). Neither affects the scale length or string tension. Hope that helps

For me, it's Tru Oil slurry and buffed everytime. Basically you apply a couple of coats, allowed to soak in and dry. Then apply the oil with fine grade wet n dry (400 or 800 grit), using the oil as the wet. This creates a wood / oil slurry that fills the pores and grain. Within a few minutes, wipe it all off, back down to the wood and let it dry. Repeat this step and let it dry overnight. Repeat the step, but now not only wipe the slurry off, but vigorously buff it up to a dry shine. Let it fully dry and then one more buff for good measure. If you've missed a bit that isn't silky smooth to the touch, just repeat the final step. As Grangur says, let the rags dry laid out to avoid risk of spontaneous combustion and also best to wear latex or nitrile gloves - it's a messy job and some people are sensitive to the oil. The result will be a super-silky smooth neck that still feels like wood. Wonderful!

[quote name='owen' timestamp='1495460356' post='3303882'] You know, fancy dan wood tops are all well and good, but when you can follow the grain all the way round an instrument - that is where it is at! [/quote]

The basic body carve pretty much done - just need to check with Mick how rounded he wants the lower horn. Lots of sanding to do but here's how it's looking: I talked about there being a drop-away after the 24th fret to at least provide a modicum of playing clearance from the bass's top. This is what I meant: I've also deepened the control chamber and now know I can get a battery in and a cover on! So that and the pickup cover are shortly due on the list. I can't carve the neck until the fretboard's on and I can't glue the fretboard on until I have the coils, that are being made at this very moment, so the covers are probably next on the 'to-do' list Oh - and Mick and I are crystallising the design thoughts of the headstock...

[quote name='JPJ' timestamp='1495360004' post='3303173'] I've got to admit that I didn't like the original concept. I'm a 'dyed in the wool' Fender shaped bass type of guy, who prefers big slabs of wood. But this is shaping up (no pun intended) to be something really special. I love how the flame in the body wing wood has 'popped' as you've carved away the excess material, and the whole thing is a testament to your woodworking skills. One question though, how is the overall weight now you've done most of the wood removal and how is the balance? [/quote] Thanks, JPJ I must add the hardware so I've got for a better estimate, but at the moment it's sitting at around 5lb 4oz for all the wooden bits. That will reduce a tad with the carving of the neck then plus the tuner block and pickups, etc. Balance wise, it's OK at the moment and the headstock equipment will be very light indeed so I suspect it will be fine. Difficult to know exactly where it will hang in terms of arm reach but, again, I have high hopes that it will be good

The carve continues. I don't know if everyone else is the same but, after sorting a basic concept out and the absolute functional positions, I carve on the basis of removing what doesn't seem to belong and what creates the illusion I am attempting. It's a slow process and this is probably half way through time-wise... so another couple of days for the basic carve. What I am trying to do is to create the illusion of the 'contact lens' without compromising the functional needs of the controls, neck and pickup provisions. Here is is so far end on: Mick doesn't want the edges to be sharp so the tip won't be much narrower than this, However, on the left hand side I will increase the under-scoop and bring the top radius just a touch closer to the fretboard. The right hand side is scooped more once you get past the chamber, but I'm leaving the back flat until I've safely got all the electronics and cover confirmed to fit OK. So there is a bit of artistic licence going on. Nevertheless, even though it will be even closer when finished, the radius does actually visually look compatible on the top: ... and it already is starting to look sleek and contact lensy: Also, the neck carve will transform the look. Maybe it's familiarity with the shape on my part and me now starting to see in wood what I've broadly had sitting in my head for the past few months - but don't you agree that there is an undeniable elegance creeping in here?

Thanks, folks. It means a great deal

That's really good news, Nic . Thanks for posting. Andy

Beautiful....

Softly, softly, catchee monkey,

OK - couldn't wait until tomorrow Back carve has started: