Andyjr1515

The progress on this will be a bit stop and start, but I've made some decent progress this morning. First job was to work out the string centres for a 45mm nut. And here was a bit of a mystery. Most times, nuts are either equidistant centre line to centre line (where the gap between strings reduces slightly as the strings get thicker) or are equidistant gap to gap between the strings (so the centre lines are adjusted to account for the string thickness). This was neither. The centre lines actually got smaller towards the bass side and so the gaps got even tighter towards the bass side: It's definitely the original nut because the neck finish actually went over the edges at the sides. Curious! Anyway, @Happy Jack and I have agreed that equidistant gap would be the best option And when I marked it out, I realised that the B E and D were going to be in exactly the same position as before! So the whole 3mm width reduction can be achieved simply by reducing the gap of the 2 treble strings to the same distance. And that means that, at 45mm, the strings aren't going to be too tight for Jack's playing I will still have to test it out myself, of course And so the nut had to come out. First - and essential to avoid chipping the finish, a careful score of the varnish build up at the base and sides of the nut: Then a tap from the side with a mallet and suitable drift: One of the bone blanks I have in my bits box fitted perfectly: And with the calculations of string centre positions done, out comes the jewellers saw...think HMS Victory during Trafalgar in the surgeon's quarters... Then out with the Hosco nut files: The above is the planned position of the nut - Jack's thought was to take all of the width off this side and maybe lose some of the epoxy dots in the process. The nut slots will be cut to playing height after all the shenanigans, but this gives an idea of how much the top dots will be out of line given the change...answer, 'not a lot': And it plays just fine - no cramped up feeling at all So next, it's off with the neck!

Yup - been one of those weeks 48 to 45

Good news is that I found the bone pieces for the new nut - a triumph for the 'I know it's a mess but I know where everything is' approach. That and a decent dose of luck So I should be able to have a play of the bass with the 35mm string spacing in the morning. After that, the neck comes off!

A new thread just started on this, if anyone is interested, here:

Hi Some of you might have seen @Happy Jack 's thread relating to his lovely Mike Lull P5. And very lovely it is! The result of the discussions on that thread is that (and many thanks to the folks who put my name forward) I spent a pleasant and interesting hour earlier in the week with Jack and @Silvia Bluejay at a pub somewhere in Oxfordshire. It's going to be an interesting project - one that I will slot into the lull periods (sorry - couldn't resist) of the ebony guitar build that I snuck into the Build Diaries. There are two necks that I will be working on: The present fretted neck - The truss rod is maxed out and the neck seems to have a permanent set that the rod can only just control...for now. This probably means taking the fretboard off (it's a glued on fretboard), planing the top of the neck, probably replacing the trussrod and probably refretting if the board removal has disturbed them or if they need removing to get the board off in the first place. - While we're at it, Jack would ideally like 2-3mm off the width of the neck, presently 38mm. - There are also some retro-fit epoxy dots that want removing and replacing with Luminlay dots - Also, Jack's preference is silky smooth wood rather than the present lacquer on the playing surface (we'll make sure the headstock and logo aren't affected We talked about the risks of fretboard removal but Jack's view is that, if it isn't unusable at the moment, it won't be long before it becomes so. Then Jack came up with a corker of an idea. As we don't know how deep those epoxy dots are, but if they are, say 2mm - 3mm deep...could we take the whole 3mm off the bass side and that would solve the challenge of filling the holes? One of those times when is goes quiet in the snug...and, after a few moments of quiet contemplation...yes...it's worth a try! We talked about the fact that the top dots won't line up - but actually, they don't anyway. So that's the plan. A new and easily interchangeable fretless neck So I will also be building a new neck - again narrower than the present P by up to 3mm. Probably maple neck, unlined ebony fretboard, luminlay side dots at the fret positions. So first step is to record the present action height and investigate the neck truss-rod movement (you never know....) and the side dot depth: But, before I take the neck off, I am going to cut a new nut at Jack's preferred position and string spacing and...well...just try it! This will also allow me to see where the fretboard edge will need to be and also how much those top dots are going to be out of line and also play it at the string spacing and make sure it isn't going to be too crowded for comfort: So, if I have a piece of bone in my bits box, that's what I will be doing tomorrow That and having a dig around in one of those epoxy black side dots

You are right. With the trussrod cover there, it's hardly noticeable. It continues to be a lovely job.

It's looking good from here

It is said that some of the Impressionists, such as Cezanne and Van Gough, deliberately skewed the perspective in their 'fruit on a table' paintings to create the illusion that the fruit or crockery is just about to fall off the table and thus engage the viewer who instinctively mentally reaches forward to catch it: Then again, it might be just that they couldn't line things up accurately.... But enough culture! Back to guitar building It is with shock and apologies that I have to confess that two of the points on those diamonds are indeed lined up! Clearly, my illusionary techniques need some brushing up. But fear not. Next time I do any diamond holes, I will do absolutely everything within my abilities to ensure that none of those points line up.

Actually, I'm not even sure they're the same size as each other. If you are right (probably) it won't be as much that one of the points is out of line as much as it would be a minor miracle that any of the points are in line For sake of completeness, I'll check in the morning and let you know if there are any of them in line, the little tinkers!

Never a problem, Si. What in line with what?

Thanks for the kind words, folks. I have to say that it is turning out as good as I hoped and better than I expected Still time to wreck it, of course, but that just adds to the excitement

Next job was to get a couple of swifts at the 12th fret. Normal stuff of MoP cut out with a jeweller's saw, chambers routed out with a 1mm bit in the Dremel and glued in with epoxy mixed with ebony dust: In the meantime, Jack was able to confirm where he wanted the toggle and pots (we're going conventional 3-way, V/V/T) and so I was able to thin the ebony internally for the switch to fit - taking a paper template so that I knew exactly where the thinning was - and then glue to second top section on: And then this morning was able to mirror the soft carve on the bottom half. And any excuse for a mockup The fretboard here is longer than it will finish up (this is slotted at 24 frets and it will end up at 21 or 22) and so the neck pickup position will be 2-3cm closer to the nut - but it gives a general idea of how it's going to look: And actually, Jack has sent me some custom Mojo wide-range pickups for it (Mojo pickups are great!) so this is probably a better representation, again with the neck pickup 2-3cm higher up than in the shot :

Yes - those oilstones work fine too. Did you use the credit card rocker trick? In case others are reading, this is important because it means you can take off exactly the right amount. Taking off too much will mean the next fret along will buzz. It's a bit like the old joke of shortening of a dining leg and ending up with a coffee table

Well - I play sax. And the golden rule with sax impro is that if you hit a bum note (quite a frequent occurrence in my case) is to play the bum note again and everyone just thinks it's jazz! So...what I would do if this was mine (because that line looks like it was meant to be there) is : - I'd slurry-and-wipe with true oil / finish to fill the crack with wood shavings sealed in finish - so it's just a colour difference rather than an actual split - then I'd get a sharp nail or scribe and a metal rule and I'd score an equal and opposite line the other side of the truss rod hole - then slurry-and-wipe that too Then wait and see if that design feature is copied on my other folks' designs - because I reckon it would look cool Just a thought...

OK @Geek99 - a quick and dirty way of finding and sorting high spots in frets and also creating a modest ski jump. Warning This is NOT the way a pro-luthier would do it and, because it doesn't involve re-crowning and re-polishing the frets and other important stuff, it is merely intended as a quick fix on your own bass and at your own risk. Also not great if you string bend on your bass (most of us don't). Don't do this on someone else's bass or any particularly valuable one!!! 1. Quick and Dirty way of finding and tackling high spots on frets Use the straight part of an old credit card to use as a 'rocker'. Put the straight edge over 3 frets (use both hands...my other hand here is holding the camera) and does it rock? If it does, then it indicates a high spot at that string position for the middle fret of the three. Do this next to each string for that middle-of-the-three fret and repeat all the way up the board. Normally, when I'm not holding a camera, I would be holding the other side of the card with the other hand and just gently applying pressure on either side. Make a note of any high spot on a simple chart: You must be using the straight part of the card edge and not where it starts curving at the corners and also the edge must be covering only three frets at a time. As the frets start closing up, just use the shorter edge to make sure you're still only covering 3 frets: On a bass, for the first few frets, a credit card isn't long enough. Anything straight and thin will do! : Note, by the way, that you can't check the 1st fret (rare that this is an issue if the nut is cut properly) Next - on the frets where there is a high spot, mark the top of the fret with a non-permanent sharpie: Then take an emery board nail file (most supermarkets, Boots, etc): Use your finger to apply pressure and file gently back and forth in the direction of the fret and where the high spot was under that particular string. The sharpie line disappearing will show you if you're filing in the right place which only needs to be under the actual string that you marked an 'X' against on your plan. A bit either side is OK but don't stray to another string's position unless that was also marked as high. Check frequently with the credit card until it doesn't rock anymore THEN STOP! If you have a whole fret that appears to be high, first check that it is seated properly on the fretboard. If it isn't, tap it lightly along the fret with a hammer and recheck. If it's still high, then use the emery board, potentially along the whole fret - but check with the credit card at each string position frequently so you don't overdo it. The fret top will be slightly flat where you've levelled it. On a bass, Quick and Dirty says don't worry about that - I would defy anybody who says they can hear an intonation difference (although you can on a 6 string electric). Also the fret top will be slightly scratched. But the scratches will be along the fret direction and shouldn't give a problem. If it worries you, a fingernail buffer will polish those out to a decent extent (what's a fingernail buffer? Ask wife/partner/sister/mother...they will be in the same area as the emery nail boards) 2. Quick and Dirty creation of a ski slope A repeat of the warning: Don't do this on someone else's bass or any particularly valuable one!!! Purchase a cheap 2-sided diamond steel sharpening stone. Something like this from Amazon. A cheap one like this isn't going to last long but will be fine for this task: Pop a bit of masking tape over the neck pickup to stop any filings sticking to the poles Taking care that the far end isn't anywhere near scratching the bass top, lay the stone on the fretboard where you want the ski slope to start from (usually the 1st fret from where the body joins the neck). Using both hands, gently move the stone 'rough side' down over the frets in this direction. It is easier if someone is holding the bass to stop is moving: Apply light pressure for the lower frets with your left hand and slightly higher pressure with your right hand on the upper frets. You should see the tops of the upper frets flattening evenly along the length of the fret and the lower fret tops less so. Stop when the flattening of the upper frets is no more than 1mm wide. Turn the stone over to the 'fine' side (usually 1000grit) and repeat 5-6 times to take out some of the scratches. String it up and try it. If it needs some more, then just repeat And that, @Geek99 is Andyjr1515's Quick and Dirty method

OK I'll find a bass (Matt Marriott's still got my two main basses but I must have another one somewhere ) and take a few photos. I'll post something later today or, failing that, in the morning.

Ah - OK. That'll teach me to speed-read Do you want the quick-and-dirty fixes?

Sounds to me like you are doing well enough without me . For a bass, 1.75mm is actually pretty good. Is that all strings? What does it drop to if you hold the string down at the 1st fret? For initial set up, with a capo at the 1st fret, I usually start off at around 2.7mm for bottom E and 2.4 for top G at the 17th fret. That has to be pretty similar. To get much lower than that, then you are likely to need some careful fret levelling. That said, there's a real quick, cheap and dirty way of sorting the occasional high fret or high spot (it involves an old credit card to use as a rocker and an emery board nail file from Boots or Sainsbury's, etc to sort out the high spot) and also a fairly quick, moderate cost and only lightly soiled way of sorting the upper frets/ski-slope out too (which involves a fine/coarse diamond sharpening stone). No good for 6-string electric string benders, but usually absolutely fine, functionally, for a bass.

Grandparent duties done and it's back to the other little beauty I got a lovely piece of ebony from Luthierwood.com. We are going for a 'standard' 12" radius at 24 3/4" scale. First out was the excellent radius router jig from G&W: It makes quick and accurate work of getting the basic radius, ready for a final 20 mins or so sanding with a block to remove the router-bit step lines. Good time to top up my stash of ebony dust too : Next, the equally excellent G&W mitre-block to cut the fret slots: All done - actually 24 done although it will probably be cut off after the 22nd to make sure the neck pickup is in the right place. I will leave the fretboard double-sided-taped on the template to keep it flat until I've done the swift inlays at the 12th. All being well, the treble-side top (just placed on top here) will be able to be glued, trimmed and carved later this week:

No probs Yes. Just drop me a pm if and when

Pretty local - 5 miles N of Derby. And yes. I'll pm you tomorrow

Wow - the figuring on that body wood is quite something if the headstock plate is anything to go by.... You would have no idea just seeing it dry... Coming on nicely

Thanks for the kind words, @BigRedX @Happy Jack - have just pm'd a reply

And - other than a bit of invisible fill of one of the knot holes (easy with ebony), the carve is pretty much done on the half fitted so far. It's a very subtle curve but, certainly in real life, transforms it from the 'slab topped' look previously. I'm happy with this. I also drilled the bridge earth wire hole while I could see what I was doing. Oh, and the ebony fretboard blank arrived this morning!

I still have stuff to sort before both tops can be fitted but, even if a switch needed fitting on the bass side, there is nothing I can't do with that one glued on...so that's what I've done. And out comes the radius dish again to clamp against After a few experiments with ebony offcut, I decided that the block plane was probably the safest and most effective way of carving the ebony: But yes - it's a slow process. Lots of 'walk away and come back to it'; lots of 'resharpen the blade comprehensively b******d by the b*****ing ebony' This, I reckon is about 1/3 of the way there. By the way, I've dampened it to give a better idea of how the colours will coordinate on the finished guitar (not exclusively, but especially for Neil ) I won't fit the bottom binding until the tops - particularly the edges - are done, otherwise there is a tendency to sand down at each stage until you realise you've run out of walnut! Fretboard blank is due later today!