Andyjr1515

Ah - one job before that which I almost forgot. And Tom will smile at that because, on a totally different matter we had been talking about this very recently and that should have jogged my memory. That is, before tweaking the neck angle, I have to set in the saddle blocks so that they don't look like they've just been plonked on top Tools used is my Dremel with the precision router base to cut the outline and rough out inside the perimeter and the dinky hand router to make sure the bottoms are completely flat and even: And there, done:

Next is drilling the holes for the ferrules of the string-through. There are various ways of doing this but they are all based on the same principle - the strings must come out at the right place in the bridge and the ferrules need to look straight and even at the back. And on that basis, drilling four holes straight through usually achieve one of those aims but, almost certainly, not both! So most techniques follow the channel tunnel approach - drill from both sides and meet in the middle. My particular approach (note - not suitable for all applications. Normal warning, this is just how I have done this one and not necessarily how it should be done ) is : - I mark the positions the strings need to emerge at the top - I drill small diameter holes all the way through from the top for only the two outer string positions, using a low-runout press-drill to try to keep as vertical as possible. - I turn the body over and mark the positions of the inner two strings at the back with a steel rule straight-edge - I use a bradpoint drill in the drill press, carefully centre-ing the point in the two drill holes and inner marked positions for the ferrules: - and then turn it back over to drill the string holes at their full width. Any misalignment is then basically corrected in the middle of the body wood While the bass was on the workbench, I also carved the 'Tom's Cutaway' into the headstock: Next job is tweaking the neck angle a teeny bit to give me full saddle height range access and levelling/dressing the frets Next week is a bit of a grandparent-on-standby write off, so the more I can do in the next couple of days, the better...

I love the template! But I can't quite work out what shape this is and where the fret saw goes??

Axminster is one of those places where, whether you are on the web or in one of their fabulous stores, you always come out with more than you intended to buy when you went in So this morning, the 14mm Forstner arrived: ...and as a little extra, this: Happily, it just looks like any other orbital sander.... Anyway, the urgent stuff was the 14mm Forstner that let me drill the tuner holes. And THAT let me position the string runs: ...and after many, many, many checks for length and positioning, the fixing of the first Hipshot: And then the other three. A quick temporary tighten of the tuner bushes and a fit of an old set of strings allowed me to check the spacings and - given there is no nut yet - whether the string runs are as straight as I'd hoped: I was both pleased and relieved that the strings also go past the pickup diagonal corners in the right places! So I can now agree with Tom the angles he wants on the tuners (looks like we can copy the African Bass Mk1) and then I can carve the curvy cut-out in the headstock Tomorrow, I will also drill the ferrule holes to set up the through-body stringing rather than the top loading these temporary strings are using.

I've used a number of suppliers, but kayfast are probably as good as any for the machine screws and finishing washers: https://www.kayfast.co.uk/category/543/Metric-Socket-Countersunk-Screws https://www.kayfast.co.uk/category/670/Solid-Finishing-Washers ukstainless.co.uk are also OK but tend to start at M5 and also I don't think they sell finishing washers The inserts are more tricky. Some are very soft and can be troublesome to insert them. It's a bit of trial and error but I think I found that the ones that 'Rob's Fasteners' ebay shop sells were OK.

You're just showing off now! Having said that, I added a little something to the order that may well get me into high smugness territory...

First job is to sort the positions for the tuners. It will be based on its sister - Tom's African Bass (Mk1) : The shape and size of the Hipshots mean that I can achieve pretty much straight string runs and still have space for 'Tom's Cutout' between the E and A tuners: I'll be checking with Tom whether he wants the tuners angled or straight - probably easier to see, given the angled frets, whether or what angle once the tuners are in and before fixing the positioning screws at the back. And Hipshot, bless 'em, have a bush size that pretty much no standard Forstner bit size fits, metric or imperial (14mm - ever tried getting a 14mm bit? It's daft...12mm yes, 12.7mm (1/2") yes, 15mm yes, 14mm ????) and so - after many times drilling a couple of mm below and then the pain of opening out, keeping them round and straight, I am investing in the only 14mm bit I can track down (Axminster) and that will arrive on Thursday. It's then a quick job to temporarily fit the tuners...and that means I can attach some sample strings to position the bridge blocks

Remember this? Well, the Hipshot bridge blocks and tuners that Tom ordered from the States just as Covid restrictions were hitting are here! That means 'the show's back on the road.' Got a body refinish job coming later this week too. Andyjr1515's going to be a busy boy

They are, in my view the devil's own rotating hellspawn powertool. But there are times when only the devil's own rotating hellspawn powertool will do. So yes, I do hate them but yes, I do use them - quite often. But only when: - there is no reasonable alternative - I have thought through "what could go wrong?" and "if it did go wrong, would I - or part of my precious project - be in the wrong place?" - I have reminded myself of all of the 'do's and don't's' associated with this exceptionally dangerous tool

No, no, no. You have this all wrong, @Pea Turgh . You try to sell your basses when you buy a new one. But, goodness, you don't actually sell them. What would be the fun in that!!??

That's a really, really nice space....

If, as you say, it's on any note, then it is more likely to be at the saddle end (just press the string behind the saddle as you play...does it stop it?). Try the 'ball end twist' as @hooky_lowdown suggests, or tweak the intonation screw a touch to get the saddle pivot on a different part of the string (they sometimes wear a groove in the string over the saddle and start 'sitar'ing) or as hooky and @Dood say, it may be the string.

Love it!

Interesting article @ikay I had always assumed it was related to the node pattern of the string and not so much the neck. I have never tried it, but I wonder, assuming the article is an accurate assessment of what is going on, if a judicious tweak to the truss rod could make a difference. I would have thought that would make a tangible difference to the vibration characteristics of the neck and, if I read the article correctly, presumably you only need to move that node a teeny bit away from the fret. And the other thing I've never tried is detuning a semitone. If the paper is right, then that should completely change the node positions...

Personally, I tend to use the Tru-oil slurry and buff method on most dark-wood fretboards other than ebony (which is just sanded down with finer and finer emery /microweb down to 12000 grit). The slurry fills the grain and you end up with a relatively hard and sweat-resistant finish that feels silky smooth. If after a few years it starts marking, I just scrape it with a single-bladed razor blade and re-apply.

That looks lovely. Super grain patterning - very classy

You will have seen in many of my own threads, @songofthewind , my 'I HATE routers' declarations That said, for the top thicknessing, I think you've done well. That is a BIG area! Question - as long as the top is flat on the back for gapless gluing, does it matter that the thickness is on a tilt?

Not sure how I'd missed this. Great job @SpondonBassed Intrigued and impressed with the two extra angled 'pull up' screws into the neck heel. Never seen that before - is that a @SpondonBassed special?

Easiest way to find out if you have a general or specific problem is to use a rocker. For a guitar, you can make one out of an old credit card or store card. With a bass, I have in the past used an old plastic ruler (once with an undented edge) cut into 100mm; 75mm and 50mm lengths. What you do, three frets at a time and at each string position across the fretboard is hold the straight edge across the three frets with both hands and see if the straight edge rocks on the middle fret. If it does, you have a high spot. If it does the same at the other 3 (or 4) string positions, you have a high fret. Start with the 100mm length over the 1st, 2nd and 3rd frets at the G string position. Repeat at the D, A, E positions and for 5-stringers the B. Make a note (trust me, after 20 frets over 4 or 5 positions each, you will never remember without writing it down) then move up one fret and do the same with the next trio of frets. At the point that the straight edge is too long for covering just three frets, change to the shorter piece. Repeat all the way up the fretboard, changing to the 50mm length at the upper frets. In this photo, I'm only holding one side because I'm holding the camera with the other - to accurately feel the rocking, you need to hold both sides. Also, I'm using an old credit-card size - these are not long enough for the lower frets of a bass, hence the suggestion of using a cut-up old plastic ruler: And no, @Grahambythesea. For checking individual high frets with a rocker or taking a few high-spots off with a sanding block, generally you can do it with the truss rod not adjusted. But if you are into using a levelling beam to level all of the frets, then yes, you need to straighten the neck first.

With a few provisos, my personal opinion is: - for a fretboard that you know is basically OK but has a few high spots from place to place then yes. Go for the longer blocks though if they do two lengths - for a fretboard that has a more serious issue along the whole length or has had a full refret, then using a longish levelling beam first is pretty essential. That doesn't have to be a fancy luthier one - a DIY store long spirit level, a length of aluminium box section from ebay, etc, with some emery stuck on with two sided tape will work fine For the crowning, I have used something similar (although the teeny diamond file ones in wooden holders from Chris Alsop are MUCH better). The ones pictured above do tend to leave quite deep ripples from time to time which are difficult to get out. The diamond file ones give a much better result. What I personally do is: - form the crown with the file using the 'sharpie' trick to know how far to go - then use the file as a curved former and wrap a small piece of 400 emery over it to take out the scratches - repeat with 800 emery - repeat with varying grades of microweb (a single mixed pack will last years) I generally go 3600 grit; 6000; 8000; 12000

I was just about to post a question whether they are higher tension than your normal ones. The reason that the string sharpens as you press it down is that you are effectively bending the string - think Clapton on his Strat but vertically rather than horizontally. So the higher the action, as @mcnach says, the more it sharpens and the further back the saddle has to go to compensate. But likewise, the higher the tension of the string (and they do vary a lot between makes) the more it sharpens. A lighter gauge will have less tension and therefore GHS are quite right, it won't sharpen as much and hopefully will sit within your saddle adjustment range. Lowering the action a tad, if possible, will help some more.

I think I'd have said the opposite, @fleabag. Sanding sealer will do just that - form a seal - and that will affect how much the stain will penetrate the fibres. Interestingly, the patchiness that @GarethFlatlands suffered with the stain looked just like that - a surface contamination stopping the dye soaking in - but we know from the machining and sanding that it was freshly exposed wood. Very curious. But the paint job looks fab

That looks good

Based on the ebay username, I reckon it's the small recording studio in the town a few miles away. I suspect there's no way of knowing if it started life as a genuine Fender but gosh...what a way to treat one if it did

Guitarbuild.co.uk offer a range of customisable bodies. You just add the features you want on their online facility. https://www.guitarbuild.co.uk/collections/customisable-bass-bodies