Andyjr1515

[quote name='Myke' timestamp='1432893901' post='2785906'] What do you use to flatten your water stones? [/quote] Hi, Myke I use a Matsunaga stone (the little yellow one on the pic ) As I say, with the sharpening jig, just wet and dry (used wet) on glass works pretty well (600 to 1000 to 2000 grit). I've been wooed by the japanese stones and this is my set-up: ie, a real cheapo 4-sided diamond plate block (I think it was about a tenner), then a 1200 medium waterstone (the terracotta one), polishing to a mirror finish on a 6000 finishing stone (the buff coloured one). To be honest, neither stone has shown any sign of wear at all, but the Matsunaga stone is useful for keeping the surfaces clean. Andy

[quote name='hayman1010' timestamp='1432898736' post='2786004'] Hi there, I have a Hayman 4040 with a neck pocket of about 57mm dont suppose you came across a neck that would slot straight in? Thought I'd ask as the Shergold & Hayman bodies are basically the same. Ricky. [/quote] Hi, Ricky The neck pockets are, of course, usually tapered. Just measured Paul's original neck and it tapers from 56.25 mm where the body joins the neck, to 58 mm at the far dusty end. Not sure where Paul sourced his replacement but am sure he will pick up the thread. Andy

[quote name='alittlebitrobot' timestamp='1432854464' post='2785725'] Great to see more progress. I'm definitely struggling with tool maintenance. I can't seem to get my plane crazy sharp no matter how many educational youtube videos I watch. All I can do with mine is make dust, never a lovely curly shaving. I need somebody who knows their stuff to just come to my house and show me. [/quote] The thing that changed my life was getting the Veritas sharpening jig http://www.axminster.co.uk/veritas-mk-ii-honing-system At nearly £60, it seemed a huge investment at the time, but it is orders of magnitude more effective than the cheapo rigs you can buy. The setting jig squares up the blade and sets the exact length for the required bevel and the wide roller means it is completely stable in use. I got fantastic results just with grades of wet n dry stuck with double sided tape to a piece of float glass, but since additionally invested in a couple of waterstones which literally get it sharp enough to cut the hairs on the back of your hand...

This is probably threaded elsewhere but I couldn't find it...well done bluejay and all others who have put in the time for the page in Bass Guitar Magazine - excellent stuff! Andy

Little by little I'm learning how to sharpen hand tools and how to use them. A Workmate on an uneven patio is a bit rubbish for using a plane, but nevertheless, that's what I was able to use to straighten and flatten the two outer neck sections. I finished off with sandpaper on my trusty aluminium beam, but as much to check that it was flat and even as to actually remove material (a couple of strokes will fill any voids with fine sawdust...a great indicator): I was really chuffed that both sections were rendered flat enough using the jack-plane alone This is dry and lightly clamped: If it doesn't rain tomorrow, I'll glue and clamp it all up ready for the final thicknessing...and that will mean I can then route the body slot.... Andy

[quote name='Rumple' timestamp='1432818655' post='2785273'] Look what just arrived from the US [attachment=192994:SDA.JPG] [/quote] Oooooh - that looks nice

[quote name='FuNkShUi' timestamp='1432811799' post='2785175'] Cracking job Andy Turned out superb!! [/quote] Thanks, FuNkShUi ! The Bubinga bass is making very slow but steady progress, by the way...got a good feeling about it Andy

[quote name='Jonnyboy Rotten' timestamp='1432803075' post='2785060'] Oh my! That is beautiful! Given that it is difficult to get a unique headstock design without it looking weird or peculiar you guys just nailed it! [/quote] Thanks, Jonnyboy Rotten I'm really pleased with it, although can't take much credit for it...it is essentially all Tom's design Andy

[quote name='Matt P' timestamp='1432804178' post='2785074'] I'm not joking about the les paul uke bass, there are strings available that will go to 26" scale and I've always wanted a double cut les paul, I'm still skint though, maybe if I manage to get a few things sold then i'll give you a shout. Matt [/quote] Sounds like fun PM any time Andy

[quote name='Jenny_Innie' timestamp='1432755946' post='2784727'] Yeah. The handle appears to be held on by two "slide in pins". There doesn't appear to be much holding them in. They're a bit of a snug fit, but not massively so. All done and fixed. Yay!!! But I'll be keeping a weather eye on it as I don't want the P Bass to go bouncing down the road. [/quote] As long as they have been pressed or tapped in flush at either side, I would have thought they should hold OK. Same principle as the latch pin on this [url="https://www.youtube.com/watch?v=3TOcarNMWb8"]SKB 'How To' Video[/url]

Sounds like a result, Jenny

RickyV may have the answer for you If not, this is what I did to my yucky green RBX270F. Your bass's body (is not guaranteed but) should be of very similar construction: Clearly, this is veneered, but the back is just plain....it will give you an idea of what yours would probably look like if you just stripped and varnished it: I've got a thread somewhere that covers this one as I did it. It covers both the stripping and the veneering. I can track it down if it is of any help? It takes a bit of patience, a bit of graft, a few cheap but important tools and a few important tips and tricks, but it can be done. This was my very first attempt on what used to be a boring red Ibanez: Let me know if you want me to track down the thread. Andy

[quote name='Matt P' timestamp='1432718071' post='2784150'] Maybe in a year or so if he gigs pick up and I need another 5 string as a backup (unless you fancy building a 24"scale solidbody bass uke in the shape of a doublecut Les Paul junior?) Matt [/quote] Now you're talking, Matt...just whittling the mahogany as we speak! Ever tried a Bigsby on a bass uke? Don't worry, I can always burn it off if you don't like it...

OK - finally, finally finished I was doing the final checks and realised that the frets - straight with my initial quick check - in fact weren't terrible level at all. I used my 'crimson guitars' rocker and realised that there was unevenness on quite a few frets down the length of the frets. This is usually where the frets have been hammered rather than pressed in, and hammered without a caul (shaped block). It was a nice morning so I spent an hour over a couple of cups of coffee on the patio, levelling, recrowning and polishing them. For a 'light' job like this, my favoured leveller is this small diamond block: For the bigger jobs, I use a full length straight beam with sandpaper stuck on, but that can be a bit harsh and less easy to control for a smaller job like this. The other thing I do for light crowning, is use the crowning file as a former for fine wet ' dry rather than using the file's actual teeth: Again, if there is not a lot of material to remove, this is a lighter treatment and less likely to overdo it or leave difficult-to-remove file ripples. I start with 600 grit, then 1000, then 2000 and finally with 12000 grit micro-web. On a 6-string, because of the bending, I then finish the very top of the crown to a mirror finish with a japanese water-stone, but it really isn't necessary for a bass: So here it is, finished and ready to ship back to Paul with it's original partner As always, thanks for looking, folks, and thanks for the very encouraging feedback Andy

This is pretty much done. The satin varnish has deepened the stain colour in a pleasing way - no where near as warm orange as the original (which is lovely) but pretty reasonable for a new neck trying not to look it: I popped the bushes in and fitted the tuners: One of the last jobs was to drill the fixing holes. This is always a bit tricky if you don't have the body, but Paul hadn't done it before and I figured the risk of trying it for the first time was probably higher than someone whose done it a number of times doing it 'blind'. It does need special care, mind you. How I did it was first to build a template 'neck pocket' that fitted the old neck: Then check the fit of the new neck...spot on! Next was to cut out a card template and find the old neck screw holes: Use this to mark and drill the holes in the dummy neck pocket: Then double check with the old neck that the holes line up exactly by putting the neck into the dummy pocket and pushing a spike through into the neck screwholes: Then put the new neck into the dummy pocket and drill the pilot holes. Finally, add a bit of soap to the screws and cut the thread: Why, you may ask, is there a 5th hole? Well, after all that care, I still managed to get the first pilot hole in the wrong place... No matter...it's far enough away from the others to be of no concern (phew!) I fitted a nut and, well, sort of done!

[quote name='Matt P' timestamp='1432640284' post='2783427'] I'm really loving this, the cap on the back of the headstock is just beautifully done, I'm now wondering if I can afford to ask you to build me a bass! Matt [/quote] You can always afford to ask . Mind you, the answer might depend on how just crazy a bit of wood you have in YOUR mind

Great feel good story . The bass looks fab....

Warwick Thumb NT. it's round, it's tiny but it has mass and resulting gravitas from the very heavy Bubinga wood

[quote name='sblueplanet' timestamp='1432568852' post='2782761'] Q:Would an endpin jack socket been at all feasible for connecting a cable instead of the jack mount on the front? Just my 2 cents....:-) [/quote] Tom was quite keen to use a Neutrik (I suspect from experience of jacks coming out or failing in important concerts / recordings?). For pure aesthetics, an end-pin al l'acoustic would have worked very well indeed.

Before passing this across, Tom and I need to meet and I will:[list] [*]position the neck 'thumbrest' to Tom's natural rest postition [*]scrape, sand and finish the neck to his preferred thickness and profile shape [*]fit his preferred strings and final set up [*]record Tom playing it! I've recorded ME playing it (albeit with the borrowed acoustic strings) but, trust me, that does the bass no favours at all [/list] In the meantime, you'll have to trust me that it plays and sounds just fine, but you can judge for yourselves whether it looks as great as I think it does I'll post some shots and clips when Tom has taken it over, but in the meantime, thanks once more for your interest and very encouraging comments Andy

Final two bits - apart from the final finished shaping of the neck profile to Tom's ideal - was the side markers and the straplocks. Tom opted for the small blue Luminlays positioned at each of the odd fretting positions with double dots on the 11th and 13th but no 12th. The 3mm holes were drilled: ...and the luminlays installed: The straplocks had been another major concern - what about neck dive and how were they going to be able to be fitted to such a thin top horn. Lady Luck provided a solution to the former, and Tom provided a solution to the latter Against ALL of the odds - ultra-slim body, long neck, relatively long headstock, standard tuners - the neck dive is almost none existant. With a slippy strap and hands-off unsupported it starts to dip, but with a normal strap and just the weight of the normal right-hand arm position it sits just fine. So the good news was the top horn straplock could be put in the standard place...but how? Tom's suggestion of the Dunlop recessed straplocks was perfect. Being recessed, there was now plenty of support for the ferrules in spite of the negligible thickness of the horn...perfect So - apart from the final neck fitting - it was finished and ready to be strung up. Tom will be bringing his favoured strings, but to ensure it all held together and played OK, I fitted it with the only strings I had handy that were long enough - some bronze acoustics. Next post, shortly, will publish some finished shots. Andy

[quote name='scojack' timestamp='1432503387' post='2782184'] Can't believe how well this all going (considering )......brilliant [/quote] Thanks, scojack . Nor can I, to be honest....I had hoped for the best but feared the worst....

[quote name='PlungerModerno' timestamp='1432508934' post='2782242'] Interesting thought - it's possible - But I'd imagine it's just the standard size they drilled all the tuner holes to, to fit their biggest tuner - and all the smaller ones with the generous bushings covering the gap! [/quote] Yes - I think it's the most likely reason. Incidentally, I'll post a few photos later today. I'm on the final varnish coats...it's looking good

[quote name='blablas' timestamp='1432396749' post='2781155'] Crowning and polishing the frets, halfway.... Man, I always hate this job, it seems to take forever without any variation! [/quote] Yup - my least favourite job too...

Thanks folks! So - to the headstock. All along, Tom had been asking if a cocobolo plate would be possible on the top AND the bottom of the headstock. Again with an eye of the practicalities and functionality, I was fine with a top plate but really wasn't sure about a bottom plate. The problem is that the maximum depth of the headstock is determined by the height of the tuners to allow enough post to be above the fixing nut for the string windings. I was also still concerned about strength and the probable propensity for this one to neck dive. From an aesthetic point of view, I wasn't sure how a bottom plate could segue into the volute, rising from the bottom of the headstock to the neck. The options for the shape of the headstock could be more flexible. Again, the positions of the tuners are restricted to a certain degree by the need to keep the string runs straight wherever possible, but the specific shape was less critical. I put forward some more or less conventional - but admittedly a little dull - design thoughts Tom put forward some very unconventional - but admittedly much more exciting - alternatives We firmed up on one of Tom's designs and boy am I glad we did! This was Tom's concept: It looked SO MUCH better than any of my own designs and - if the cutout could be angled, top to bottom - simply cried out for a bottom plate as well as a top one... But how was I going to do that, with the volute pulling away from the back of the headstock? It really was another one of these one-step-at-a-time situations. First cut out the outline and see what we had at the back: This was what we then had at the back: OK - so what if I extended the headstock flat area through part of the volute rise? A bit like this: OK - now I have a bit of continuity for the plate, all four tuners on the same level and still have retained the strength of the volute. Time for cocobolo plates, epoxy and clamps! Repeat after me..."you can't have too many clamps!" Add my moniker 3 mother of pearl inlaid swifts.... ...and here's the back... ...route an extra swift into some leftover maple for a trussrod cover, add the tuners and the nut: Love it! Well done, Tom. Excellent demonstration of vision