Andyjr1515

[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

If anyone is wondering how Pete will reach the top fret... The original EB-3 was a 20 fret bass at 30.5" scale. This one is 22 frets at 34" scale and with the bridge set rearward to reduce neck dive. Although you can actually quite easily reach the 21st fret, the extra two frets were really put there so that the gap between the bridge and neck pickup could be proportionately close (although probably won't make any perceptible sonic difference) but that visually the neck pickup remained close to the end of the fretboard for at least a passing nod to the look of the original. Luckily Pete rarely tries to reach the 22nd fret on his present basses...

[quote name='TheGreek' timestamp='1474289817' post='3136827'] Lovely looking bass - more great work Andy....obviously Mrs R doesn't read this forum otherwise your voice may just get one octave higher... [/quote] Hi, Mick....I have to watch out for the eye in the back of her head, though.....

Major domestic duty backlog is back under control and we've had our few days away in beautiful but very, very wet Florence so there should be nothing stopping me now other than the normal distractions and infirmities Yesterday managed to finish off the headstock plate - gluing in the inlays with z-epoxy mixed with fine ebony sanding dust: It makes the bass start looking like a bass:

[quote name='JPJ' timestamp='1474027483' post='3135082'] At the rate you are progressing with this build I'd have thought Swift's were more appropriate than Swallows? Lovely work by the way, can't wait until I have time to get back to building stuff myself. [/quote] ...which is just as well as they are swifts I'd better put that down as 'must get better at drawing', then

[quote name='PlungerModerno' timestamp='1473795072' post='3133226'] Niiiiiice I think the Headstock will look great, and will work better with straight string pulls. P.S. Just seen the latest post . . . Hope you have mapped out the clearance between the tuner pegs & those inlays. P.S.P.S. I assume you have! [/quote] Happily, yes. They're fine

While MrsAndyjr1515 was busy preparing her next set of spells, I sneaked out and did a bit more... I pencilled out and jeweller's sawed out a trio of swifts: Then laid them out and pencilled round them on the ebony: Then got as far as setting the router depth before I was called to stir the cauldron... Oh well....it'll have to wait until Sunday

[quote name='W1_Pro' timestamp='1473775616' post='3133022'] So, having got back to the UK at the weekend, I finally got to play the bass. I really am over the moon with it. The bass plays beautifully and sounds great. The neck repair and the handy addition of the control cavity cover have been done very well indeed. It was, essentially, a paperweight before Andy worked on it. Now I can't put it down. Sincere thanks for doing this Andy. I cannot recommend your work enough. [/quote] Thanks, Stuart - means a lot

Slow progress this week - many domestic duties to fulfil and no building likely until the end of the weekend. Mind you, I can still snatch the odd moment to plan the next bit The headstock will have an ebony headplate and I will add the swifts logo before I cut it to shape and attach it. It's a familiar shape but slightly modded to make sure I can maintain straight string runs:

No idea what it is, but it's a very pretty piece of wood, Bastav

Excellent work, 3below I also basically do the neck profiles by eye and feel. I actually rough out with a spokeshave first but pretty quickly move onto the humble scraper. Much more controllable and, as you say, it really doesn't take long. The bit where I'm a bit unconventional is that I do the final, final scraping once the bass is finished and all strung up. Then I can really feel whether it plays comfortably. I'm very impressed with your build - top notch

Thanks, folks Very much appreciated I spent most of today sorting out my new-found cellar space. Having said that, the provision of a proper workbench that's also not on the back patio means that an hour before tea this evening allowed me to:[list] [*]slim down some neck offcut to 12.5mm [*]add a sliver of the wenge veneer [*]glue as wings to the headstock [*]plane and rasp down to size (allowing for a 3mm ebony headstock plate) [/list] Here are the wings in place: That's one job ticked off the finish list

[quote name='Beer of the Bass' timestamp='1473537108' post='3131120'] I like the veneer pinstripe under the fingerboard. I've seen it on fancy banjo necks, but not on a bass. [/quote] Thanks I thought I'd created a new 'feature' when I did this on the acoustic build I did last year. Then I met Jez (Jabba_the_Gut) at the bass bash and realised the he does it on all of his basses. His are masterful too...I'm pretty sure the stripe carries on under the nut and headstock. Wonderful stuff Jez - got a photo or two to show everyone?

[quote name='Paul S' timestamp='1473532191' post='3131070'] Is this your best yet, Andy? I am transfixed... [/quote] You are most kind, Paul While every build gets some aspect a little bit better than the previous one ( this one definitely is the best for half decent gap-free joints !) but I think Kert's (FuNkShUi) camphor single cut will take some beating