Andyjr1515

[quote name='3below' timestamp='1468959999' post='3094749'] Super skill with the control plate and a nice touch using purfling / strip to take the saw kerf up. I feel the need to bring my 335 type bass to you for some cosmetic fettling in the bridge area. [/quote] Actually, while that is a great tip for the next one (maybe even this one!) it's a bit of an illusion. It is quite a small gap (1.5mm) all round so I painted the edges of the cover and the faces of the rebate strips matt black, then added a couple of locating pins to ensure that the cover was exactly in position with an even gap all round. I did actually think of doing something like you said when I thought I might need to use a thicker router bit for the cut but it cut fine with a thin bit on that particular wood. Not sure I will be able to cut the imbuya with such a small bit so I might ending up using your idea on this one

[quote name='BassBus' timestamp='1468956185' post='3094689'] It's always interesting watching people's builds but for some reason I'm finding this really exciting. Maybe because it is something completely different. [/quote] A pal of mine often says he likes watching the stuff I do (including playing) because I'm always on the very edge of disaster...

Hi, Mike To be honest, it's often a case of getting a decent piece of wood and sawing or thicknesing it down to size. Most specific body blanks are 2" with many guitar and bass bodies being 1.75" thick. Depending on the supplier, you might be able to get them to supply at your preferred thickness. Also local carpenters / joinery shops might do it for a small charge. Personally, I don't think you would notice a body 1/2" narrower on most designs (particularly if it's in the style of rather than a straight copy) and bigger pieces of timber usually get disproportionately expensive. There are two 'Exotic Hardwoods' - not sure which one you mean. Whatever, a two piece body blank set will always be sold as two separate pieces that will need to be squared up, straightened up and glued. Hope this helps!

With the bridge and tailpiece on order, Stuart and I have been discussing the next stages. As we almost certainly now have a fully playable bass in sight, the tasks start moving towards how the bass sounds, now and in the future. The first change is to put in a powered EQ, driving the existing passive pickups. We've decided on the 3-band version of the Seymour Duncan EQ I fitted to my own fretless and Kert's Camphor singlecut. The 3 band has more knobs than ours so is maybe a little less intuitive (or in my terminology, one where an old git like me gets completely lost which knob he's set where ) but Stuart is OK with that and likes the potential extra control over the mids. Also, it means that we have 4 new knobs to simply replace the 4 old ones Assuming the bridge humbucker is splittable, I will route the split via the existing unconnected toggle switch and then feed the output to the EQ. But it is also possible that Stuart in the future may want to upgrade the pickups too. To make all of this reasonably straightforward I'm going to...wait for it.... ...cut a control panel at the back Now, before you all scream "On a semi?????" and "Sacrilege!" and "Put a nasty plastic cover on that beautifully carved back??", I'd better explain that what I am going to attempt is what I did last year on the shaped back of a ES339 6 string: Basically, with a very fine bit, I routed out a complete panel using a template and a guide ring on the router base, then added some strip to act as the rebate: A bit scary, but with enough care and planning, no reason why it shouldn't work fine

I'll post some pics when the bits arrive, but I've got a gold trapeze tailpiece and gold Tune-o-matic style bridge on the way. Not expensive so they will just go in my 'parts' box for another day if no good but I think they are going to do the job very competently and look right on the instrument. The other advantage is that the bushes - although smaller - should fit within the circumference of the existing bush holes. If that all pans out (you never really know until you've got the bits in your hand and try it for real) then it will mean that I can plug the existing bush holes, redrill for the new smaller bushes and fit the bridge without having to have to find new secure places for the new bushes and also have to hide two big holes! There will not be the same problem of the holes distorting as on the original because the only force on the bridge now will be downwards, where the top and bush supports are perfectly strong enough.

[quote name='Grangur' timestamp='1468917986' post='3094230'] I've changed from plarstic to brass on 3 of my W'wicks. I noticed a difference in the tone straight away. Mind you, the 3 I changed had broken tabs at the sides. The open-string sounds with the brass were/are more like the fretted note sound. I do still have a fretless Warwick and I've not yet changed that. I doubt it would be so marked on the fretless. Also, the tabs on that nut aren't yet broken. [/quote] Yes, I agree - for a fretted bass and with no zero fret I think it does make a tangible improvement to tone in the same way as fitting a bone nut to an acoustic guitar absolutely does. With a fretless raised off the board also. With a fretless set to 'strings on the board' or a fretted with a zero fret I'm not sure I would be able to tell the difference, but I still think the brass one is a cut above in quality and usability terms and worth the extra £20 or so

[quote name='Andyjr1515' timestamp='1468917529' post='3094224'] I fitted the plastic one to my own fretless and the thumb tribute I built a few years ago. They are absolutely fine, but I've opted for the brass ones on three builds since. I would defy anyone to detect any difference tonally- especially on fretless if you adjust, as I do, to string contact at the fretboard corner edge. However, the adjustment fit on the brass one just feels a bit slicker. Either are fine, but I would personally choose brass. [/quote] The concept however is superb, whether plastic or brass. I would never ever fit a standard nut nowadays.

I fitted the plastic one to my own fretless and the thumb tribute I built a few years ago. They are absolutely fine, but I've opted for the brass ones on three builds since. I would defy anyone to detect any difference tonally- especially on fretless if you adjust, as I do, to string contact at the fretboard corner edge. However, the adjustment fit on the brass one just feels a bit slicker. Either are fine, but I would personally choose brass.

[quote name='Beer of the Bass' timestamp='1468877246' post='3094042'] An ebony tailpiece like on a Benedetto archtop guitar would look very classy. Lots of work though! [/quote] They are lovely, but Stuart is keen to retain the gold hardware look. I've tracked down just the thing, I think....

[quote name='TheGreek' timestamp='1468862075' post='3093875'] Looking forward to following this thread - love Andy's work so I'm confident that Stuart's going to be happy... [/quote] Thanks, Mick

Onto the bridge. I don't have the specific solution yet, but I can see what the problem and root cause has been. What Stuart reported was that the bridge sat very high and at an angle. It's a slightly unusual stop-tail bridge (German made - not quite sure whose) and you can see here that it's been digging into the body: The cause of that - but not the root cause of the issue - was quite easy to work out - the bushes were very loose in deformed holes. Both bushes just lifted out. You can see the gap between the hole and the bush here: The root cause, I believe, is two-fold. Firstly a design/installation flaw in the bridge itself. The stop tail slots into the bridge: But there is much more distance between the ball end and the bushes than a normal stop tail. With the strings here being angled, there is a significant twisting force on both the bridge and the bushes. Now - although I can't work out how you could install such an arrangement - it is notable that there are a couple of threaded holes at the back of the stop tail that presumably are intended for it to be screwed somehow to the body (as I say, can't imagine how that could ever be done, particularly as the bridge itself has lateral adjustment screws - certainly not possible on this type of bass): The additional root cause can only be seen properly with a dentist's mirror. The stop tail bushes are wider than the central maple block. You can just about see here where the drill used for the bushes holes has caught the side of the block: To ensure the bushes have got something to drill into, there are small maple blocks glued either side. However, with the best will in the world - and that enormous twisting load on the bushes - the holes are likely to distort. You can see gaps in the bush hole sides here: I have yet to find the right hardware, but the solution in theory is:[list] [*]Have the bridge as just that - so that the only force on it is downwards. [*]Install a separate stoptail. However, this can't be a Tune-o-matic or similar, because of the same problem - the bush centres would be wider than the central block [/list] My first thought is to find and install a suitable jazz-type trapeze stop-tail and separate bridge. I'll be doing some internet searching tomorrow

[quote name='W1_Pro' timestamp='1468846814' post='3093714'] The body is indeed imbuya, which is called walnut event though it's not walnut, according to wikipedia (who knew??). [/quote] I stand corrected! It looked like some highly figured NA Black Walnut but it is much browner than walnut when I think about it. It's lovely stuff whatever....

OK - what I should portray is, "Of course, I was always pretty sure this was the right solution..." The actual sentiment was, "IT WORKED! IT WORKED!! GOOD HEAVENS - IT ACTUALLY B****Y WORKED!!!!!!" Mrs Andyjr1515 was back so here it is hands-free: Here it is being played with my ridiculously short arms: And does it interfere in the dusty end? No. Here's where the strap sits: ...and here it is in playing position up at the dusty end - there is no interference from the strap whatsoever: Good start, although I'm sure things won't be as smooth as that from now on. Next is sorting the bridge...

[url="http://basschat.co.uk/topic/288555-custom-semi-acoustic-modifications/"]Thread started on the semi-acoustic here[/url] for anyone who might be interested. It's a challenging brief which I'm very excited about

The first job has been to fully understand how the bass has been constructed and take copious measurements. There are some really skillful features in the construction - the carve of the top and bottom solid walnut body panels is stunning, inside and out. However, the long-scale and forward positioning of the bridge is problematic, putting the farthest end of the fretboard literally out of reach for shorta***s like me Mrs Andyjr1515 wasn't in this morning so you'll have to use your imagination with some bad small mirror shots Here it is hanging on the strap on its present strap pins. ...and here's where my fully outstretched arm gets me (I'm 5'7" so not crazily off the median scale): Clearly, moving the bridge back is impossible because then the neck would need to be shortened. Actually, not impossible but highly, highly risky (removal of fretboard; cut, shorten and scarf neck; rejoin; replace truss rod; reglue fretboard). But what about strap pin positions? Here's where the pin is at the moment: Strap pins in this position can be problematic and this one certainly is. I un-hitched the front strap lock and tried a number of positions - practical and impractical - to feel what happened to the CofG, the pull and the settling position of the body. I concluded that a position that [i]might [/i]work was like where a number of acoustics have theirs - at the bottom side of the neck heel: But before I drill a hole in this beautiful piece of wood, could I be a bit more sure? Enter a heavily modified high-tech strap simulation rig (otherwise known as a piece of string): ...and now where do my short arms reach?: Massive difference. Certainly worth a small drill-hole to try it out for real. I'll let you know how it goes

I'm very excited about this project. The challenge is, can a wonderful-but-challenging custom-built semi be turned into / turned back into a fully playable and satisfying bass? It is a stunning bass commissioned a number of years ago by W1_Pro (Stuart) of basschat from what is clearly a master builder but which had some design challenges and has since developed some mechanical issues. Here it is: It has some notable features:[list] [*]The body is fully carved walnut - top and bottom [*]The neck (34") and centre block are one continuous piece of timber, tip to toe [*]It has a double battery compartment in the back although is wired for standard passive at the moment [*]It's quite weighty - 10lbs + [/list] However, there are some real challenges that make it presently pretty unplayable:[list] [*]The bridge, when the strings are fitted, sits high and at a steep angle [*]The sit on the strap is very uncomfortable, neck heavy and makes it extremely difficult to reach the first couple of frets [*]The tonal palette is limited [/list] I have agreed with Stuart that we will tackle the issues in a logical sequence, tackling basic playability and functionality first and then, as we deem each stage successful and worth the cost / risk, move further up the wish list. So, first thing to tackle is that positioning on the strap!

[quote name='Mykesbass' timestamp='1468780459' post='3093284'] That is a pretty piece of mahogany - not seen such a stripy piece before! Silly question, will it be quite as noticeable when all the carving and varnishing is finished? [/quote] I slightly misread the question, Mykesbass . No - I think most, though not all, of the grain pattern will be indistinct once it's cherry red. Mind you, you never know - it's one of the things that makes this crazy hobby exciting

[quote name='Mykesbass' timestamp='1468780459' post='3093284'] That is a pretty piece of mahogany - not seen such a stripy piece before! Silly question, will it be quite as noticeable when all the carving and varnishing is finished? [/quote] Happily, Pete - the mate I'm building this for - isn't a purist. He does want me to go for a cherry red, but beyond that he is happy for me to add as much or as little AJR craziness as I like. One of the reasons I'm going for the infamous three point bridge is that it's one of the few focal points that give a nod to JB's original (or ONE of his originals at least ) and therefore leaves me a bit more freedom to go wayward in other areas... Many of you will have seen this before, also built for Pete, but this was my interpretation of what a six string electric SG should have been like if only the designers had been as mentally flawed as I am... Not everyone's cup of tea, but Pete likes it

[quote name='3below' timestamp='1468784034' post='3093314'] Currently owning an SG bass and thinking a long scale version would be rather nice I have given some thought to the neck dive issue. My thoughts were move the bridge as far back as possible and possibly lengthen the body slightly. A few inches gained this way would certainly help with the balance in addition to lightweight tuners etc. Even with the timber cut as shown in the pictures there is some length gain still available. Look forward to seeing the build [/quote] Yes, I agree - a fully rearward bridge is a must. The best example of that is the Cort Curbow - looks and feels like a short scale and is, in fact, the full 34" Interestingly, this is one of the issues faced with the semi-acoustic (ie the other new project just started). The bridge placement and resulting neck placement actually makes it pretty impossible to reach the first fret...

[quote name='White Cloud' timestamp='1468776727' post='3093246'] Looking forward to this, love the design of the EB basses. Are you absolutely sure about utilising the three point bridge though? Worst bit of guitar hardware of all time IMO. [/quote] Yes, I know...but it does add the proper period look. Slightly, OK marginally, more functional than the non intonated earlier bar types, though

With a Les Paul six string refinish out of the way, I'm getting my head round two more projects. The first, more about later, is a lovely custom built semi-acoustic that needs some mods, including bridge, electrics including a powered EQ and a removable back plate. The second, a longer-term project is a long-scale version in the style of one of Jack Bruce's EB3 SGs for our old-gits-band's bassist. This one doesn't need to be finished until November, but I've started to get my head around it, particularly in that his wife is funding it for a significant birthday and wants to know how much financial pain he is sending her way this time! The body will be pretty much per the SG six string I built for him a while back, but all mahogany. And guess what I have got in my shed from a speculative purchase a couple of years ago? : Plenty of time to think through the final spec while I tackle the semi-acoustic but initial thoughts are: Through neck Chambered body Wenge veneer demarcation between top and bottom Lightweight tuners to counteract the long neck / light body Varitone Gibson 3 Point Bridge DiMarzio neck and minihumbucker bridge p/ups Can't wait! These two projects will be the first in my new rudimentary but better than the patio in the rain indoor work area!

I might have mis remembered this, but I think last time I wanted to print full size using a standard printer, I created a PDF file, then scaled it up and then told it to print on A4 with join markers. You end up with loads of sheets of paper, but basically just trim and line up using the join markers and sellotape from the back. Alternative is to get Prontoprint or similar to print it onto A0 paper. Anyone else got any thoughts?

[quote name='gelfin' timestamp='1468707371' post='3092857'] Saw and played this at the Cardiff Bass BAsh today. Have to say it is awesome. In feel, playability and sound. I think I want one. [/quote]

There are some lovely timbers in this build. Can't wait to see the finished bass

[quote name='Beer of the Bass' timestamp='1468609379' post='3092176'] I get the impression that Danish oil varies between brands, but it doesn't seem to get that sheen on it as readily as Tru-oil does. A further derailment; that walnut guitar in the first post is lovely! I've got a nice plank of walnut leaning in the corner waiting to be something, I just can't decide what yet... [/quote] In my view, walnut was what tru-oil was invented for