Andyjr1515

Anyone any good with circuits? One of the early Gibson versions with a 4-way rotary is this: The choke/notch filter I'm going to use has 4 inputs - full primary coil, 1/2 primary, full secondary coil, 1/2 secondary. That got me thinking:[list] [*]With the pickup I have and the choke I'm using, I have no idea what it is going to sound like ref the position 4 of neck pickup with choke [*]The only dial I can get hold of is a 6 position [*]I have ordered the 'normal' 3 pole 4 position rotary switch, but also have a 2 pole 6 position switch [*]My thoughts are, is it possible with the 2 pole 6 position rotary - and dispensing with the resistor and extra capacitor (I will have a fairly well matched bridge pickup that will have the same pot and cap values as the neck) - to get three of the four options from the one choke, ie 1= neck only; 2=both ; 3=bridge only; 4=neck with full primary choke; 5=neck with 1/2 primary choke; 6=neck with full secondary choke? [/list] I drew this out and it was so straightforward I'm presuming I've [b]completely[/b] missed something? Ignore the variation at the bottom left hand side - the bridge arrangement would be identical to the neck arrangement top left.

[quote name='White Cloud' timestamp='1475260448' post='3144594'] Just so good, want want WANT! [/quote] Well - for a mere king's ransom....

I had a length of green luminlay in my bits drawer. As Pete already uses that as side dots in his fretlessThumb Tribute, I thought it would be worth putting it in for the side dots of this one. I use a 3mm brad wood drill to drill a hole a couple of mm deep; drop of cyano on the end of the luminlay stick; push in: Then I just cut off flush with a razor saw and tidy up with a single-edged razor blade. Here it is after tidying up: I've got just a small dint to sand out of the back of the neck and at the upper neck join, then it's pretty much ready for the wipe-on varnish coats And now I can't procrastinate any more - got to find the appropriate bits for the varitone selector switch and choke!

We're all waiting (almost) patiently for the finished pics We all have very high expectations based on what we've seen so far

That's looking really good. Looking forward to seeing some detailed pics of the finished bass. Any more details of your methods?

[quote name='3below' timestamp='1475179651' post='3143873'] Quality of pictures sets new higher bar for build accounts In other news Gibson apparently discontinue SG basses and Andyjr now steps up to meet UK demand. [/quote] Thanks

In pictures. Drilled centre hole with 1mm router bit: Then the 6mm brad bit: This left hole in new position and sliver of old dot: Winkled that out and fixed dot in with epoxy mixed with ebony dust: Let dry, sand and: That's better!

Done - I'll post some shots once I'm off the phone to those t***s at vodafone....

No....it's got to be fixed. Now I've looked properly in the daylight, it's more like 1/2mm. What the eye sees is not as much the angle as the doubling of the effect of the gap between the edge of the squiffy dot and the 11th fret and the gap between the edge of the dot and the 12th fret which, of course, becomes a 1mm difference. I will drill a 1mm hole in the correct position in the dot itself, then use that as the guide for the Brad bit, dig out the excess MOP and fill the remaining gap with epoxy mixed with ebony dust. I'm grateful to sblueplanet for pointing it out. It would have been irritating if I hadn't spotted it until the frets had been levelled, polished and ready to go!

[quote name='3below' timestamp='1475128981' post='3143216'] What is the world coming to, 1/4 mm error. Gibson managed much more than that with my SG bass .The bridge alignment was / is out by 2mm at least. How the bass escaped with the obvious uneven string spacing on the neck is anyone's guess. Supertone adjustable saddles sorted that one out. Looking good [/quote] Mmmm....but you know when you're decorating and you spot a bubble in the wallpaper.... Trouble is, now I've seen it it will bug me. I have a spare dot. I won't rush into it, but I think I know how I could re-drill in the correct place and make the fix invisible....

[quote name='sblueplanet' timestamp='1475099171' post='3143134'] I've been looking at the dot inlays on the 12 fret position and they look kinda squint in the pic above. Is it just me? [/quote] Hadn't noticed that but just measured it and yes, you're right. Not as much as it looks on that shot but one of the two dots is about 1/4mm out. Not having a 6mm Forstner bit, I used progressively greater size Brad bits from 3mm to 6mm. I reckon one of them must have caught the edge of the hole and skewed it. In hindsight, I should have come down in bit size not up....the punch hole locations were spot on. I've also since found out that you can actually get a 6mm Forstner - I think it's the smallest obtainable. I probably will leave it be, what with Pete's squiffy eyes an' all . I could set a block in as it's the twelfth position but I think that would look a bit odd

Not much extra progress. Got distracted by a bookshelf that fell off the wall, flinging all the books onto the floor and I fixed it good and proper and it fell off the wall again, flinging all the books onto the floor MrsAndyjr1515 was suitably impressed by my skills and effort as you can imagine What I have done is darkened the body neck through to take out a pinkish hue: ...and scraped off the red dye from the maple veneer under the fretboard:

The fretwire and fretboard dots arrived I used a brad wood drill bit to drill the 6mm holes for the dots. Not the ideal thing to use but the smallest forstner I had was 10mm. Pretty much got away with it - just one bit of chipping on the ebony that was filled with epoxy mixed with ebony dust: It really does work a treat - once sanded it's pretty impossible to work out which fret it was!: For the frets, I'm sure there are better ways of doing them, but the first thing I usually do is make sure the slots are clear and that they are deep enough at the sides where I've radiused the board: I then relieve the top of the slot just a touch with a triangular needle file: I cut the fretwire oversize and buy in coils so it is already at a tighter radius than my fretboard. I put a tiny bead of titebond along the tangs then hammer one side, the other side, then the middle to make sure the tangs lock into the wood. The squeeze-out of glue tells me if the fret's seated properly, but needs wiping off the board with a damp cloth before it sets. Before I trim the ends (I forgot to take a photo so this is already trimmed) I clamp a radius block onto the board to make sure they are fully seated while the titebond cures: And there it is, trimmed ready for edge sanding, board oiling and fret level and polish : As always, thanks for looking, folks

[quote name='Len_derby' timestamp='1474832892' post='3140936'] Shame, because if he didn't want it....... Seriously though I'm looking forward to seeing it and hearing him play it. He's a great player and really makes that fretless you made him sing [/quote] Trust me, Neil....you don't want to hear Pete sing

[quote name='Mykesbass' timestamp='1474790295' post='3140437'] I'd be very surprised if anyone who likes SG/EB3 style basses wouldn't absolutely love that finish. It's simply stunning in the way it captures the old natural, dark mahogany vibe of the originals and adds some amazing, yet completely appropriate figuring. Hope Pete loves it when he sees it. [/quote] Happily he did And more to the point, so did his wife who is paying for it ('special' birthday in Nov) . I've said I'll try a purple or blue tint for the final varnish to see if we can get a touch less red while retaining the figuring on the top but no probs if that doesn't make much difference (and I've got a decent amount of off-cuts to be able to do some trials on). He's also opted for a fully stained back sides and neck too so I can just get on and sort the finishing. I'll probably do the fretting before the final varnish coats so I don't bruise the soft lacquer. It's now time to order the final bits so that I'm not held up waiting for them!

[quote name='Norris' timestamp='1474659944' post='3139751'] Would a coloured lacquer be better? I got some nitrocellulose lacquer rattle cans from Manchester Guitar Tech (name?) and noticed they do a nice range of colours, not badly priced either [/quote] My thinking too, Norris First I'll let Pete see it. In the flesh, even before varnishing, it actually looks quite special. Based on that Pete isn't overly aware that it will have figuring, I think he'll love it. If he still wants a bluish/ purplish tinge, I would probably mix a bit of spirit stain into the final coats of varnish (nitro probably would react). Ref the back, again I probably need Pete's view. I think my preference would be back, sides and neck back to the mahogany, but I could just do the neck (including the through section) Whatever, I'm quite confident now that it's going to look pretty good when it's finished. As I said earlier, this is the point where it always looks mightily dodgy - just like household paintwork before you add the gloss coat

[quote name='Bastav' timestamp='1474636708' post='3139474'] Looking good! Cant wait to see what the colour looks like with some finish [/quote] Well, I have a bit of a conundrum. I'm happy with the look of the top but it's not quite the colour Pete was after. With thinning the stain to show the figuring, it's lost the purple tinge (although please also make allowances for my camera's difficulty accurately showing reds): And the back and sides are more like the colour that Pete is after, but I'M not happy with the look (this time forgive the very early stages of the finishing process ):

[quote name='ColinB' timestamp='1474549782' post='3138731'] Great thread - I love watching this unfold. Errr - couldn't you have stained an off-cut and sent that to Pete for his approval so you wouldn't have this possible problem? Just a thought that I'm sure you've thunk, but I'm curious. [/quote] Well....it's also for my own benefit. The trouble with highly figured coloured woods is that the way the stains react and show is not entirely predictable. Also you absolutely can't judge what they are going to be like until there is some form of final clearcoat on top. I'm using tru-oil almost as a grain filler (it will be ultimately varnished) but it means I can use the early stages to see a fairly representative view of what the stain will look like when it's finished. On a small sample, that is much more difficult. I might be sanding it off anyway (no prob - just acts as an additional grainfill and sand stage) because, although I think I have clinched the colour Pete is after, the saturation level is such that a lot of the figuring is lost. If I lighten the application, on the other hand, it starts moving away from the purple spectrum towards the brighter red which is not - in the absence of seeing the wood I'm using - what Pete was after. In the end, it is likely to be a compromise. My guess is that Pete will LOVE the figuring (he has not seen the wood at all yet), and so it is better that I can show him something I myself think is the nicest option. If he still wants something different then no probs - with this method of staining and finishing it is no great problem at all to sand back to wood and restain. Don't know if any of that made any sense....

Thanks, folks - much appreciated I've done the grain fill (dark stainable Timbermate, mixed thin with some of the ink), then stained with the ink. To anyone starting of on this crazy hobby, this is always the point that it looks worse before it looks better - the words of wisdom are "Don't Panic! Just wait until the finishing coats are going on...it'll be fine!" So much so that I tend not to post pics until at least the first finish coats are on. Having said that, that should be in the next couple of days I've then got to get it to Pete to see if it is purple-tinged enough for him. If not, it'll have to all come off and start again

[quote name='3below' timestamp='1474487838' post='3138402'] Small steps onwards. Headstock shaped and showing very approximate position of machine heads (stuck on with blu tack). The design will work with straight string pull, it is an amalgamation of two basses in my possession. As always after the event I can see minor details that I would do differently next time. The upper 'A' string oak strip should be a bit larger, in keeping with 'd' string piece. However next time I would stick to 5 laminations and not put the extra stripes on headstock (another miscalculation). It is as if I have to make mistakes in order to fix them and the underlying issues in my mind and thus prevent next time. This might be due to needing to do more woodwork [/quote] We all see the tiny stuff on our build that is usually invisible to all others. Case in point, can't even see your concerns when you tell me what I should be looking for. Looks brilliant! Those laminations are extremely well done....

Glued the headstock plate on and did the final shaping: The bass is now ready for grain fill and staining: I'm going to try dark stainable timbermate, watered right down with some of the ink, as a grainfill, then sand it down and stain it before the usual wipe-on varnish. Not my usual method but I'd like to see how it fares done that way (probably a bit more conventional than some of my finishing methods). If it doesn't work too well, I'll sand it back off and do it in a similar fashion to my double-cut (stained, tru-oil slurried and buffed, varnish on top). In the meantime, it's time to buy the fretwire, tuners, pots and strings!

Normal thing by the way....reds and photos and displays. Looking on my iPad, this looks NOTHING like the real life colour. Trust me....it looks OK in real life

[quote name='Andyjr1515' timestamp='1474354159' post='3137255'] Well...the bridge will be almost the last thing I fit so plenty of time still to consider. I spoke at length to a contact who has an EB-3 and he explained the issue with the silks and the extender bar or thru-body remedies. The advantage I have is that I can position the bridge anywhere the saddles will let me. If the G saddle is wound fully forward with a mm just-in-case, the furthest rearward position of the bottom E still can leave enough clearance for the silks...just. I'll ponder a little more and also look at the Hipshot option, 3below Also, 6feet7, if you can locate your extender bar, there's a distinct possibility we might be able to broker a deal if I do go ahead with the Gibson and find that my calls are rubbish.... Thanks for the views, folks...it helps enormously with things like this [/quote] What's the phrase - always have a Plan B? I actually also have a plan C I know the Gibson 3 pointer is ugly and functionally flawed...but it IS at least one visual nod to the original (actually, not quite ref the very original unadjustable bar bridge) on a bass where I've changed almost everything else So the plan is:[list] [*]Start off with the Gibson, positioned as planned with the G saddle fully forward which should - unless D'Addario have change the design of their Chromes - just avoid the silk binding [*]If it needs just that extra bit of space (or maybe/probably in any case) fit the extender bar that 6feet7 is generously sending to me free gratis - what a great forum and a what a great guy [*]If it really is pants to set up and play, order a Hipshot 3 pointer and retro-fit. They have an extra 3/4" at the back, they have adjustable height saddles and they look nicer [/list] Also, good job I checked with Pete about the colour. The colour I was originally going for was the same as my Junior Doublecut: Pete was happy with the depth of colour, but wanted it to be more purple. I tried another ink I already had, a raspberry rather than strawberry shade (the doublecut - also on mahogany - was done with the ink on the left): This gets closer, I think to what he is after: The added advantage is that it is a drawing and calligraphy ink so colour fastness should be pretty much assured...certainly should last Pete out

[quote name='White Cloud' timestamp='1474308947' post='3137017'] Swoon - be still my beating heart. Absolutely fantastic! ...however, is there anything that I can say or do that will make you reconsider fitting the 3 point bridge??? An instrument of this quality deserves better [/quote] Well...the bridge will be almost the last thing I fit so plenty of time still to consider. I spoke at length to a contact who has an EB-3 and he explained the issue with the silks and the extender bar or thru-body remedies. The advantage I have is that I can position the bridge anywhere the saddles will let me. If the G saddle is wound fully forward with a mm just-in-case, the furthest rearward position of the bottom E still can leave enough clearance for the silks...just. I'll ponder a little more and also look at the Hipshot option, 3below Also, 6feet7, if you can locate your extender bar, there's a distinct possibility we might be able to broker a deal if I do go ahead with the Gibson and find that my calls are rubbish.... Thanks for the views, folks...it helps enormously with things like this

For the pickup chambers, I used the forstner bit rough-out and chisels rather than router. Both pickups have generous pickup rings so it doesn't need to be pristine but also, little be little, I'm getting better at sharpening and using chisels! First the roughing-out: Note the control wires chamber routed before I put the top on. Then a tidy up with a couple of sizes of sharp stubby chisels and a mallet: and.....done Tonight I'll be checking with Pete that what he terms as Cherry Red is what I term as Cherry Red and, all being well, I should be able to start initial staining and finishing later this week