Andyjr1515

Yes - stunning result. Sooooo much better than the original!

Looks fantastic, Dolando

[quote name='Dolando' timestamp='1391339533' post='2355865'] I need a little help on some electronics. I've wired up my switch for series/single/parallel switching using a standard DPDT on/on/on switch[i] (picture attached of how i've wired it)[/i], since I've got an on/on/on slide switch that i intend to have sticking out the control cover, so I can switch sounds without removing the cover. This is the switch I've got; [url="http://s917.photobucket.com/user/DolanCustomGuitars/media/Warmoth%20Gecko%20Build/D3049611-1F61-4658-BF2D-438F0859E1D8_zpsl2y7fuc2.jpg.html"][/url] [url="http://s917.photobucket.com/user/DolanCustomGuitars/media/Warmoth%20Gecko%20Build/50721990-CD44-4182-8C6A-10435C06A5A9_zpsifhd7i5w.jpg.html"][/url] My issue is, this has 8 lugs and the current switch has 6, so not sure which ones I should ignore, so if anyone has a wiring diagram or can explain how this should be done then that would be great. Thanks [/quote] Hi Dolando Are you just wanting a two position arrangement but just happen to have a three position switch ? If so, wire it up exactly the same just ignoring the top pair of lugs ( this will switch one end and middle) or are you trying for options with all three positions? Andy

Looks great !

[quote name='Dolando' timestamp='1389717481' post='2337175'] That would be top. I'm trying to keep this slick and hide what I can. I think that would be just about wide enough, I'll have to make sure when I get home. Thanks, [/quote] PM me if that would fit. I can get it in the post to you on Friday when I'm back home. Andy

How wide is the control cavity? I've got hold of some 100x450x3mm mahogany panels to tidy up some of mine. I have much more than I need - if they're any good to you you are welcome to one for free

I've just started building one....same sentiment !

That looks absolutely beautiful :-)

[quote name='EliasMooseblaster' timestamp='1389096343' post='2329770'] 'afternoon all, Apologies if this one's been covered before, but if I'm honest, it was hard to know what to search for! Is there likely to be any discernible difference in output between a wound and an unwound electric guitar string of the same (or comparable) thickness? I only ask because my guitar's "G" seems to be quiet in comparison to the rest of the strings, most noticeably when playing clean. I recently upgraded the pickups, and although everything sounds better generally, I can still hear the difference in volume. I can't say for certain, but I'm sure I only noticed this problem after moving up a gauge to playing 12s, which typically come with a wound 3rd string, whereas the 11s I was on before were always unwound. (And daft secondary question: presumably I can fix this simply by moving the "G" polepiece up a notch?) [/quote] Not a daft question at all - yes...just raise the screw on the pickup a tad. 3rd strings are notorious for never quite sounding right. The advantage of an electric over an acoustic is that you are able to balance the volume of the individual strings

[quote name='Dolando' timestamp='1388964955' post='2328319'] The bass is complete and it's sounding awesome! Pics to follow. One other thing, when intonating it, I had to take the saddles as far back as they would go to get it intonation right. Am I doing something wrong, or is this normal for a 35" scale? [/quote] Hurry up with the pics! The WIP shots look great!!! As long it has actually intonated OK, don't worry about the saddles being fully back. If you haven't quite got enough movement, lowering the action a tad (if that is poss) will help a bit. Andy

[quote name='tedmanzie' timestamp='1389174486' post='2330795'] that's my worry! stewmac is working on a flat body ding, whereas mine is on the round bit of the horn so i expect this is more tricky. . . [/quote] To be honest, I would start with nail varnish only and see how you get on. Then you can use a nail varnish buffing pad to smooth it out and polish it up. I think you will find superglue a bit tricky to smooth it down without digging into the surrounding finish. The horn isn't a high wear area so it should be plenty tough enough.

Nail varnish is much easier to blend in and sand down, but it does shrink. Cyano doesn't shrink much, but is as hard as nails (the metal kind!) and more difficult to sand down without catching the surrounding, softer, area. Probably horses for courses...

[quote name='Lord Sausage' timestamp='1386253618' post='2297751'] Right i've bloody done it. Painted and clear coated. It's Inca Silver. Just waiting for decal for headstock and flatting and buffing gear to show up from Rothko and Frost, then at the end of the month i'll do all that and stick it together. hopefully it will be done mid Jan. Here's some probably rubbish pics. [attachment=149904:20131205_140756.jpg] [attachment=149905:20131205_140829.jpg] [attachment=149906:20131205_140846.jpg] [attachment=149907:20131205_140859.jpg] It's not the perfect paint job but i'm very happy as it's my first go and i'm usually sh*t at stuff like this. [/quote] Looks much much better than my first attempt! This is looking very good. By the way, don't worry too much about the plywood - I had an Epiphone Les Paul Junior 6 string which, when I pimped it, realised was plywood. One of the best sounding guitars I've ever owned! Andy

[quote name='Chris Sharman' timestamp='1386448136' post='2300339'] That looks gorgeous! I am now looking at my RBX370 and twitching.....(....flame maple.....transparent red lacquer.......) I need to lie down now. [/quote] Funny you should mention that combination... This was a full build I did recently for our band's bassist (yes - I know it's a 6-string but he's a bit odd like that). This one is actually a maple top rather than veneer, but for a basic flat-top, veneer comes out just as well. I used simple Permanent Red calligraphy ink for the stain and then, again, trusty Ronseal. I did the same for a myrtle veneer a while back for a friend. Go for it! After all, the worst that can happen is that you end up having to throw the bass away and take up knitting instead

[quote name='discreet' timestamp='1386442250' post='2300249'] Don't usually like such finishes, but that looks the business. [/quote] Thanks. Probably 50% of the guitaring population are left totally cold by basses and guitars that look like a fancy bit of furniture. I have no problem with that at all. Andy

[quote name='rubis' timestamp='1386442023' post='2300245'] That's lovely Andy, what finish did you put on it ? [/quote] Nowadays, I just use good old Ronseal Hardglaze polyurethane varnish, thinned with White Spirits 30% and applied with a microfibre cloth @ £2 for 3 from Homebase

Veneer, by the way, was off ebay. Not sure which supplier this one was from but I've used most of the regulars and most are fine (just make sure the piece is big enough including a bit of spare for positioning / trimming) Andy

[quote name='ezbass' timestamp='1386436138' post='2300135'] How did you do the veneer, iron on or glue? Can you tell me where you sourced the veneer too (I'm thinking of tarting up one of mine). EDIT: How rude am I? Cracking job you've done there sir [/quote] I coated veneer and body with standard PVA, let it dry and then ironed on. Here are some shots of the stages: 1) Marked out veneer Foam roller, evo-stick wood glue, water spray at the ready Rolled a full but thin layer onto veneer. Sprayed other side to even out the expansion of the veneer. Applied similar coat of glue to body top. Let touch dry (20-30 minutes) Ironed veneer onto top, starting at middle and working outwards. Ironed veneer over arm relief edge, then down the arm relief area. Ran iron particularly around outside edge to ensure a good joint where I would subsequently trim off the off-cuts. Trimmed with Bic disposable knife (sharp but more rigid than a scalpel) using body as the 'template'. Once trimmed, went over edge again with iron. Great thing is - provided there is no area without glue, you can re-iron at any time. It remelts and regrips. And thanks... yes, it has come out quite well Andy

Hi I posted a step-by-step on another forum on this - happy to pop it on here if anyone is interested. It's a veneer job I have done on a formerly metallic green Yamaha RBX270F fretless, presently on fleabay with reasonable interest so far. The veneer is unstained myrtle - fascinating figuring...just like an photograph of the inside of someone's lungs! In progress: And finished: There's a decent amount of interest of fleabay with 20+ watchers - but we all know that means nowt! It expires tomorrow evening - I'll let you know if it sells... Andy

[quote name='leftybassman392' timestamp='1385288624' post='2286361'] That is just gorgeous! Any more info on the pickups/sound? [/quote] It has Tonerider Classic IV's in it. Chosen, I have to say, in preference to Burstbucker Pros that Pete (who it was for) was perfectly happy to pay for. I fitted some Toneriders into a friend's cheapo Les Paul, and it sounded better (by his own admission) than his genuine Gibson Les Paul Custom. Based on this, I suggested to Pete that paying less than 1/2 the cost of Gibsons for something that sounded just as good was possibly a shrewd move! I've got some clips here on Soundcloud - forgive my rubbish playing: [url="https://soundcloud.com/andy-rogers-6/sg-clean-neck-neck-bridge"]https://soundcloud.com/andy-rogers-6/sg-clean-neck-neck-bridge[/url] [url="https://soundcloud.com/andy-rogers-6/burl-maple-sg-dirty-neck-neck"]https://soundcloud.com/andy-rogers-6/burl-maple-sg-dirty-neck-neck[/url] Thanks for the encouraging feedback, folks Andy

[quote name='rubis' timestamp='1385155251' post='2285232'] Nice, like that little unstained stripe around the edge [/quote] Thanks - it worked quite well. Just masked a thin strip with a car self-stick 'go-faster-stripe' from Halfords when I was inking the top.

This is my latest build. It's a thru-neck SG built for our old-gits-band's bassist, Pete. Mahogany back, Burl Maple top, Mahogany/Walnut/Mahogany neck, Ebony fingerboard and Ebony headstock plate with mother of pearl inlay. The colour is red calligraphy ink. P/Ups are Tonerider Classic IV's. Passed it across to Pete a couple of weeks ago - he's well chuffed with it. Thanks for looking:

[quote name='redbandit599' timestamp='1384333394' post='2275261'] My guitarist mate has just told me he's got a tele on the way. Doesn't look any smaller to me! But then as long as he's happy. Seems to be a few others that are interested in this thread so thanks for contributing ideas (some even made me fancy a skinny stringer.) Jason [/quote] Well that was a bit of a surprise!!!! , Just how big we're the other ones he was looking at?? Were they guitars or double basses? :-)

Incidentally, this is what it looked like stripped down at the back. Decent bit of wood for a sub-£200 bass that was intended to be covered up with paint...

[quote name='Rubbersoul' timestamp='1380830942' post='2231366'] Is it worth it and if so what would you recommend? [/quote] Hi Yes - definitely. The GSR200 is a great bass and should do you nicely for many a gig. The thing about good manufacturers who sell under their own brand from entry level to professional, is that they can't afford to sell a dud...the danger of that tainting the reputation of their more expensive models is too great. Therefore often the entry models are simply down-spec'd but with the same quality of build as the better models. As such, you can often get to mid range performance just by upping the harware, p/ups, etc.. The wood they use is sometimes lighter than their upper range (I used to feel the slight vibration of the strings through the body on my GSR200) but again, good quality. This is what I did to mine... As it happens, this time I left all the hardware and p/ups as stock. Eventually, I sold it to a Nepalese Buddhist who played bass in a Heavy Metal band...it has to be said that's a bit of a niche market Andy