Andyjr1515

[quote name='HowieBass' timestamp='1481736891' post='3194728'] Whenever I see volutes being carved I always wonder how a luthier decides on the shape and size, particularly how large does it have to be to offer enough strength to the neck head transition and where must the 'peak' sit under (the nut?). [/quote] Yes...me too

Lots of sanding still to do, but the volute is broadly shaped: Got visitors over the next couple of days so the progress will slow a tad - it'll give me time to think of what it is I've forgotten to do

For the neck carve, I use: [list] [*]A tiny little bit of the spokeshave - just to take off the corners, really [*]A fine microplane - I use this out of its handle (wearing gloves) to run along the neck length to take off reasonable quantities but in a very controllable fashion [*]A cabinet scraper - this is my tool of preference [*]The plasticard templates cut from Nic's measurements with the profile gauge [/list] The body is clamped to the bench and I work from the headstock end with a cloth against my chest to stop the sharp headstock end digging in! I also use a fine shinto rasp to carve the basic shape at the first fret - leaving it a bit oversize as a datum I like to 'creep up to' the final shape. It really doesn't take that long to get to this stage, although the volute and neck/body join take a little longer: I will still leave it a little oversize, albeit the right shape. I do the final shaping when I can feel what's going on - fully fretted and strings on! This evening I'll see of I can get the volute and neck/body transition done.

It's progressing well. I always make a mental tick when other builders describe a technique and I can think "yes...I do that too!" Example, clamping the fretboard at the sides and not the middle....

[quote name='FuNkShUi' timestamp='1481703933' post='3194349'] Well I’ve definitely worked out the best way for me to go about the application of the metal flake. After initially putting it on top of a layer of Primer, I was happy, but perhaps a little underwhelmed by the depth of the “sparklyness”. I wanted a thicker covering. So I continued to finish the layer of primer and layer of flake on the sides and the wings. It did look good. Buuuuuuuuuut……I still wasn’t happy, and more than that, I had a lot of flake left! So I decided I would do the same again, but this time with a clear layer, and a far less stingy dose of flake. So that’s what I did. I think it looks much better. I did a few things different. Instead of hanging the bass up to dry over night, I only applied the clear coat to one side, then spooned the flake on (with a spoon funnily enough), then let it sit, and dry in the lacquer. This resulted in a far denser application of the flake, and much closer to the look I envisaged. I'm going to do the other side tonight, and once dried I’ll take some more pictures. I’m probably going to need another can of clear sealant because of this, but I don’t mind as I think it will make a substantial difference. [/quote] Sounds like a very measured iterative approach. Such an approach is very likely to produce the result you are after

Great stuff I'll pass your comments onto Pete - he will be delighted that it's gone to such an appreciative new home Andy

With the fretboard now securely glued to the neck, the next job is to carve the neck profile and volute. Here is how it came out of the clamps: With a reminder that what I describe is never 'this is how it should be done', but instead is a description of 'this is how I did it and why'. [list] [*]The reason I attach the fretboard before fitting the frets? Because there can be subtle shape changes when gluing the neck. Doing it first means that I can then sand the fretboard completely straight and radiused before the frets go on [*]The reason I carve the neck profile after fitting the fretboard? Because it is critical to get an absolutely gap-free join....this means huge clamping force with load-spreading cauls. It is almost impossible to get enough clamping force on a curved neck and very difficult indeed to use cauls. [/list] For the neck carve itself, I sent Nic a profile gauge and some instructions to make me a template of his favourite-feeling bass and the key depths and widths. He sent me this back: Although what a bass ACTUALLY feels like is always unique, the idea is to get a familiarity of feel that the player is immediately comfortable with My next job - hopefully tomorrow - is to cut some stiff plasti-card templates of these shapes and then hand-carve the neck to it's final shape. It's most builders favourite job

[quote name='3below' timestamp='1481567345' post='3193353'] Super quality work as always. How do you rate the Veritas pullshave? It looks really useful and I can envisage archtop carving with it. [/quote] I think it's excellent. I bought it with a mind to a carved top archtop and reckon it will be absolutely perfect for the job. It is very much a roughing out tool though - quite difficult to do accurate fine shaves with it, hence the Ibex.

Tomorrow is going to be full of distractions so I thought I'd crack on today. I have got the profile and thickness measurements of Nic's favourite bass. So first was getting the thickness of the neck right, including the transition between neck and body. I use a pullshave for this kind of work: ...and one of the great revelations in the tools world - the tiny but stunningly effective Ibex plane: This is starting to look right: Truss rod in, cap on and planed down: As a passing nod to Chris Squier's own graphics, I put an 'S' at the end of the fretboard: Then, before tackling the shaping of the neck, this is the time to properly clamp the fretboard. First some location drill holes were put in and a few panel pins to stop the fretboard floating around the neck on top of the wet glue! Then plenty of glue and even more clamps and cauls :

Wow.....that looks really, really good

[quote name='wmsheep' timestamp='1481407243' post='3192153'] Love that headstock design. [/quote] It's an evolution massively enhanced by the input of Tom, Kert and Nic (wwcringe; FuNkShUi; gelfin) Tom pushed for a cut out on his African bass, then Kert and I worked on reflecting the shape of his single cut using the cut out...then this exposed the lamination, and Nic pushed for a further development to reflect the stunning shape of the Mouradian. In the process, I may have stumbled on a 'signature' concept to go with the swifts logo...for which I will, of course claim total credit

[quote name='bassbiscuits' timestamp='1481474970' post='3192536'] Nothing but praise for Andy - he brought a Yamaha bb604 to my house for me to try out, and it was lovely so I bought it! Top bloke, fantastic bass and he even restrung and set up for me. Pleasure doing business fella. [/quote] Thanks, Chris It was good to meet again - and put the face to the name from the last basschat Midlands Bash! Pete our bassist will also be very pleased it's gone to a good home

[quote name='T-Bay' timestamp='1481450339' post='3192301'] One things for sure - it's not 10% of the quality of the one you made! [/quote] Thanks Sounds a bit odd. Does it make that noise when it's actually soldered or when it's just held against the pot? If it's the latter, then try soldering it and see if it is then OK. If it is noisy when soldered, then I'm as bemused as you are...

[quote name='T-Bay' timestamp='1481385170' post='3191947'] Thanks, the rear cover isn't attached to anything other than the body, it's not like a front cover type where the foil acts as an Earth for the pots but it is covered in foil so there must be some reason to do it. Nothing else is connected to it. [/quote] Sorry - when you talked about foil, I assumed it was lining the chamber. Just solder the loose cable to the back of the nearest pot, then

Great to see you there, Neil . Very, very much appreciated

At the back, the mahogany wings will be cream, but with the neck, including the tru-section, left in natural colour. That neck and volute is now just shouting to get carved!

Still a bit of final sanding to do, but this is pretty much the shape: It will be stained a bit darker (closer to the shade of the fretboard) and have a central cream stripe and a couple of inlay swifts, and of course the body will be cream too, but shape-wise this is how it's starting to look:

[quote name='T-Bay' timestamp='1481357447' post='3191679'] Being a single black wire and only being long enough to reach the one pot, I thought the same. There is a small mark on the foil of the rear cover that is in range of the wire but I can't think of any reason anything would be connected to that. As it all works ok it has me a bit stumped. [/quote] Almost certainly it is the bridge grounding wire. The foil is usually/should be grounded by the contact with the pot washers to act as a buzz-bucking electrical cage and so can be used as a grounding point also for the other earth wires. I suspect therefore that that's where it's come from. Best to solder it back on if you can (there or to the back of the nearest pot)

I cut the headstock wings, complete with a strip of rosewood centre splice, from some of the neck offcuts: Then added a mahogany plate and cut and rough-filed the shape: I'll finish sand it in the daylight when I can see what I'm doing

I just had the wink of approval from Nic on the headstock design. Similar concept to Kert's Camphor single-cut, with the cutaway reflecting the shape of the body: The centre will be painted cream, with mahogany either side, a passing nod to Nic's (now gone?) cream Ric. I've also ordered the remaining bits and pieces, including the DiMarzio Model One and, as it's Christmas, I'm treating Nic to a set of Schaller lightweight tuners. They are not as eye-wateringly expensive as the Hipshot ultra-lights but they are definitely the business in looks and at 50% of the weight of standard ones! Still a huge amount to do, but very pleased with the progress on this.

Interesting concept, Owen. I have no thoughts or ideas to contribute, I'm afraid, but very interested to see how this progresses.

Welcome back,Kert. Can't wait