PlungerModerno

I'd want a good bookmatch or a single piece - although if it's pretty unremarkable grain, especially if it's stained or translucent finish - I couldn't care too much.

Interesting - I hear you about the dust. Do you cover the instrument, or just put it in a room where nothing is allowed to deposit dust while it drys? It does seem to be a very good method - I'll probably do some test pieces using this method in the coming months - I think it should produce very acceptable results with great care.

[quote name='PauBass' timestamp='1453195193' post='2957194'] Thanks guys and sorry about the late reply. I did manage to get hold of some genuine Fender washers and fitted them to my bass. So simple and great low action now [/quote] Great news - bet the genuine ones were quite a bit pricier than generics, but it's not like buying a replacement neck or anything. Good to get it playing properly I bet!

[quote name='Manton Customs' timestamp='1453154655' post='2956999'] Why the Poly coat? Fender do this on certain models due to mass production - spraying all instruments colour coats with Poly then clear coating Nitro on just the models which offer it (not many!). That way they get to offer a Nitro finish easily . It also helps with finish checking having the Poly basecoat. But you can't get Polyester/good urethane in rattle cans and it could introduce incompatibility issues depending on the brand, so it's not really a good idea. You're also missing a large very important part from that sequence....the clear coats! They go on last . You need to strip it if it is flaking, or no matter what you paint over it, it will end up lifting or chipping. You should be able to assess from there if it'll require grain filling (or posting a pic). Alder is probably a possibility, if so it won't need grain filling. Make sure your prep work is faultless, as the finish will magnify imperfections. Then you can spray your burst, here's a good article on the process to give you the order of things [url="http://www.stewmac.com/How-To/Online_Resources/Learn_About_Instrument_Finishing_and_Finish_Repair/How_to_spray_a_sunburst_using_aerosol_cans.html"]http://www.stewmac.c...rosol_cans.html[/url] [/quote] Fair enough - I know when somebody probably knows a whole lot more than me about it . . . I always thought the only difference between clear and colour coats was the pigment and other additives each has (e.g. clear may have UV protection additives, or a satin additive). I'd use the poly (or other hardwearing can or wipe on paint) as a way to get the body 100% flat and finished (you could use clear or colour layers) before the nitro. I guess if it's going to be a solid amber or "sun" colour basecoat it can be any colour underneath - but the nicest sunburst (or any 'burst finishes) I've seen are the transparent ones. Like: Hence my logic (I seem to recall) of using clear on top of the wood to get it ready for top coats. I'd still want to cover the burst with clear nitro to get the look right, If I was going to the trouble of spraying nitro (which as alluded to above, needs specific heat & humidity to work well, I've heard it's fussier than most paints).

Not sure - Depends on what your working towards, and what you have to work with . . . If it's an open grained wood like oak, or ash for example, It would be advisable to fill the grain. Unless of course you want to keep the texture. If it's maple or another "ready to paint" woods - I'd just hit it with a few coats of poly clearcoat, then get the nitro colours for a final layer. AFAIK Fender did it for years for consistancy in their nitro finishes. Could be mistaken however.

If you have the equipment - the simplest method is to spray it with a coat of satin / matt clear. Not sure if that's the technical term but it means the clearcoat with the additives that make it dry short of high gloss to a certain degree - Not a DIY job for most people however. If you're looking for a "reliced" look - anything from scotchbrite, coarse to fine grade abrasives - you can get it looking plenty reliced in short order. Just don't go overboard! If you just want to take a high gloss finish and knock it back to a satin - The above suggestions will work, but the devil is in the detail. Try it first on the back, where you can hide it or call it "buckle rash".

Thanks for the review - quick note though - no way of knowing what the fingerboard wood is like without cutting into it (or removing a fret) as it may be partially ebonized / stained. As long as it holds the frets it's good enough for 99.5% of players! My only concern is with the neck joint - the structural integrity of the neck + body joint requires a solid piece of material on each side, and suitable wood screws or machine screws joining them together. Thank goodness it uses a neck plate (visible when you describe the neck finish) - without it it would be a risky prospect to string it with Steve Harris signature bridge cables! Enjoy your bass. If it gets too battered it might be a good candidate for skinning - either with resin & cloth or even carbon fibre (if you're willing to spend more on carbon weave than the bass new!). Couldn't hurt with a "childs project" finish like that.

[quote name='Truckstop' timestamp='1453050444' post='2955957'] Anyone know why you couldn't buy a mixed pair? [/quote] You can! the only thing is output can be hard to get just right (J pickups are typically a lot quieter). If you get a regular J bridge pickup high enough to sound almost as loud as an overwound P - in the P position - you can get weird sounds out of the J, or even affect intonation. IME it's better to lower the P a fair bit first to start, then try and get them roughly the same volume.

[quote name='DarkHeart' timestamp='1453035056' post='2955728'] looks amazing.... as usual! [/quote] +1. The bass is coming together beutifully!

Oooooo - looks pretty! Is pear dense? 4.5kg seems medium / heavy for a fiver - especially with an elegant body like that (not a t-40 style slab). Looks like it is (compared to a wood I know can be dense - Maple!): [url="http://www.wood-database.com/lumber-identification/hardwoods/hard-maple/"]http://www.wood-database.com/lumber-identification/hardwoods/hard-maple/[/url] [url="http://www.wood-database.com/lumber-identification/hardwoods/pear/"]http://www.wood-database.com/lumber-identification/hardwoods/pear/[/url]

[quote name='LayDownThaFunk' timestamp='1452975271' post='2955316'] Who cares where it's made or how much it costs? Tone and playability over everything else. [/quote] I agree completely with the second statement. I suspect the first one is the opinion of many people on here, and many bass purchasers. But when it comes to custom bespoke instruments - and the associated costs (Largely huge costs in time - compared to mass produced instruments) - I think it makes a lot of sense to keep it relatively local. You avoid import charges, major shipping costs, It's simpler to consult over more complex builds with the same time zone etc, etc. For a lot of people it may simply come down to good old fashioned patriotism/nationalism. Nothing wrong with having pride in your society's artistic output and wanting to nurture it.

[quote name='neepheid' timestamp='1452859248' post='2954127'] Sorry, I'll get my coat. [/quote] [quote name='sunburstjazz1967' timestamp='1452856622' post='2954085'] I wouldn't want a lime light fiver, afaik they are just made from cheap generic parts so the five string neck wouldn't have the graphite rods of the newer fender fives making it like the old pre 2008 (?) Ones with a terrible B. [/quote] Fair enough - Necks are finicky things - well the wood ones are as wood is finicky stuff. Strength and density varies within the same plank let alone the same species, and while graphite rods are probably a good way to get consistent necks (from a mass production point of view), especially when they're transported all over the world (without climate control) . . . IMO Graphite rods does not a good low B make. IME it's mostly about the string (bad strings just sound garbage compared to high quality ones) and the setup. If the action is to be low - and the relief minimal - You'd better play light and have a near perfect fret job or it will not speak across it's length at all well. All this is assuming a stable neck. If the neck is not stable (e.g. less dense maple, inappropriate grain pattern, not quite dry enough when it was worked etc. etc. etc.) the moving mass of the strings (this is my pet theory anyway) will cause the neck to vibrate and slightly flex, sucking sustain from the string.

[quote name='Srwu' timestamp='1453023818' post='2955514'] Hi I'm going to take the plunge and try out some flatwounds. I'm trying to decide whether to put on my Jazz or my Stingray. I'm tempted to put them on the Stingray for the Bernard Edwards associations but I wonder if they would be a more natural fit with the Jazz. I'd be grateful for your thoughts or advice. [/quote] "[i]my Jazz [u]or[/u] my Stingray"[/i]? Surely you mean "[i]my Jazz [u]AND[/u] my Stingray[/i]" OK seriously - which one do you like to play the most? - that's the one I'd [s]through[/s] throw flats on first. Unlike with a P bass and a Jazz - due to the different tuning machine pattern the strings won't be simple to swap back and forth. If you've never played flats before I'd look carefully into tension and flexability - e.g. you probably don't want to get the traditional heavy flats if you've been playing on light rounds. for example: [media]http://www.youtube.com/watch?v=ZnecKgFdPOU[/media] VS: [media]http://www.youtube.com/watch?v=kPtMyHqeg60[/media]

Real sweet - Were it mine I'd be considering either a 4 saddle bridge - or a set of these however: Strange - I could have sworn they made them for bass too - can't seem to find them. In any case if you find intonation an issue you can look into it... Otherwise - Enjoy!

Cool ideas - pity there's no vid of the "red dragon" being made - lots of inlay and skinning work (I presume it's done with silk). Couldn't get on with the precious metals & precious stones though - real gaudy and tasteless IMO. Gold hardware can look OK with the right colours of course:

[quote name='Bassassin' timestamp='1452898577' post='2954670'] Too half-arsed and lazy to even take out the ferrules... Jon. [/quote] +1 A bit embarassing. Still could be worse. Better to have half assed minor "relicing" rather than "heavy relic" or as I think of it "simulated decades of abuse & neglect"

I remember Scott Grove (Guy collects guitars & other instruments - buys off ebay a lot. Little bit controversial, Youtube guitar lessons/rants etc.) - saying exactly this - look for misspelling, e.g. Can be misread as "Hanez" or "Jbanez" etc.

1. Pretty cool - Somehow the inlays on the fingerboard clash with the finish - at least in those pics. 2. Wow - I never new modulus made headless basses. Now I wish I still didn't - quite unpleasant to look at. 3. Wow - but this time in a good way. Extremely cool hair metal style bass.

After thinking about the concept a little more - It's interesting what you're after (not that a regular double neck isn't interesting enough). A short scale bass VI style neck and a second bass neck (I assume the same or roughly the same scale - based on the shorty mockup above). For the 4 string neck a 2+2 headstock can be pretty compact: For the Bass VI I'd look to ibanez again: Although I'd try to use guitar tuners rather than bass tuners for lightness and compactness. Gotta figure out what will accept the string gauges well though!

Very nice - Ref the carbon - It's quite dusty, unpleasant stuff when it's being finished. There's probably a way - (say using wax + acetone to remove it from the unfinished wood) - to get it to work as a finished dot marker. Not something to try on a good neck blank however! It's coming along swimmingly. Nice work with the Wenge - that stuff is pretty challenging wood. Looks lovely in the end though!

Oh my! I think if you go solid colour (or a translucent finish) - A natural wood scratch plate would look smashing. Or maybe a matching stained wood plate. Kinda along these lines:

Interesting concept - You're right to think most builders will want some bank for this - it's like building two fairly straightforward instruments, or one quite tricky one. It can't hurt to enquire with builders. Worst thing they can do is ignore you. I'd consider the budget and try to match your expectations to what can be achieved. I'd look into headless tuning systems or very light tuner and headstock arrangements - or have a much heavier body to get better balance.

Very nice!

It's some sort of Citroen, judging by the steering wheel. I suspect it left the factory looking a bit like this: See below for more shots. From what I can see the "custom car" is still wearing the stock rear light clusters. 90's french parts bin - the essence of custom! [url="http://www.cars-directory.net/gallery/citroen/zx/1994/citroen_zx_2774091_p.html"]http://www.cars-directory.net/gallery/citroen/zx/1994/citroen_zx_2774091_p.html[/url]

Rosewood (or similar dense oily wood) fingerboards are almost always left unfinished. The well known example of finished rosewood is some rickenbacker basses and guitars. Applying tru-oil, danish oil, boiled linseed oil and the like ('oils' that cure, however hard) will probably result in permanent changes to the fingerboard (both in feel and look) - just like applying any varnish or sealant. Non curing - or most pure - oils can also change the look and feel - permanently! Some will bring out the grain and wood figuring more than others, some will darken the wood more than others etc. The non curing oil can evaporate over time - I've found a small amount of raw linseed oil really makes rosewood fingerboards look lovely - and seems to be temporary (doesn't leave a sticky mess, doesn't seal the fingerboard (you can still see and feel the pores). It does seem to permanently tweak the colour of the fingerboard however - only slightly in my experience.