Christine

I fitted one to my Jazz about 3 years ago, I tried the stainless saddles but prefer the brass. I have to say I love it, so much better than the bent metal thing

Ha, I was just admiring that on the Manton build thread, pretty

Didn't do much today, just made some pickup risers to seat the chrome rings. I'll polish the edges once they have been fitted/shaped to the top

We had one of our tweeters pushed in on an old set of speakers 😟 These have wooden guards we can put on when the little horrors come to visit

I'm hoping a couple of weeks will do them if the weather stays warmish, they haven't had that many new coats compared to what they had but 3 weeks maximum I would think. It's one of the down sides of nitro

A few more coats of lacquer and a few more sandings and I think all signs of the ripple have gone and the bodies are none the worse for it thankfully. It must have looked a lot worse than it was because there was relatively little work to correct it but still I could have done without it. So I'll put 4 more coats on today and the same tomorrow then hang them up to harden again, I'll leave them hanging in the workshop as it gets quite warm in there

From the days when we had a lot of disposable income. I don't know how many feel the same but one of the things about playing music with other people is that when you listen to music at home it lacks so much clarity and dynamics.

How about this one? Not quite so angled

I was told that copper was better for shielding as it has ferric properties (something to do with electrons I believe) but I really don't understand any of it.

Moving on this is the wiring diagram I'm using, I've got the Freeway 3x3 switch which will give me neck, neck/bridge and bridge either through the pots or direct to the amp. The pots are CTS long shafts with a linear on the tone and a vintage log on the volume, well they are so far anyway

One of the benefits of leaving the finish 12 months to harden, you get that little bit extra shine, hardly noticeable but I think you do get it, of course that may well be me trying to find the good in having left them for so long I'm not liking the random angles at all but I do like these two, there is plenty of room around the G even for my fat fingers on the angled one. However I think the angled one for me works better on the headstock but the square works better on the bass as a whole

This is at right angles to the section of the headstock

Like this?

More options:

Behave!!!

I've been spraying two of the triplets mostly today but I had a fiddle with the twins I fitted the bridge and put the earthing wires to both parts, I also put the machine heads in place but I haven't screwed them in place yet, I thought I'd ask opinion on the angle of them. I think they should be square as they are but it struck me they could look good angled too, what do you guys think?

Sounds like a plan

What about the sides? Will the truss rod be out of the way too thinking about it?

Andy has that covered. Just to add Chestnut can be good too as can be ash but they are or can be a little heavy. The thing about wood is that it does vary greatly for a single species in it's density/weight, for example Oak from the side of a wet Welsh mountain will be a lot heavier than a Oak grown in a open park in the south of England in the sun. So for home grown hardwoods it's worth finding a good supplier who will let you look though his stock and choose yourself

The downside of that is the result will give you the short grain problem associated with Gibson necks but with it would work, a good headstock veneer would help too

Possibly, once you get the new wood glued on it needs shaping into the existing neck it will need blending in which will mean a small amount of reworking of the neck profile unless you're very careful/lucky and you get away with just needing a little sanding. But then once you actually draw out the position of the cut the hardest bit will be removing the fretboard

If you cut the neck close to the nut then the top face of the headstock will be very far forward, it needs to be somewhere between the first and second fret like this (pic stolen from google)

I think my problems with the rippling has been caused by probably a little too much glue under the veneer. If I remember rightly it was really hot the day I laid the fronts so I may have put a little extra to stop it going off before they got into the vacuum bag. So while it was sanded smooth at the time I think it shrank so more over the months they've been hanging. Thankfully the amount of variation in the surface wasn't really any more than the thickness of the nitro so it sanded flat with only a couple of spots sanding through to the veneer. It isn't a problem as where it's happened is where there is no black paint for the black burst thankfully

If you cut the neck to make a scarf joint it will make the headstock shorter by about 30 - 40mm depending in the angle, so I guess you'll need to get a new bit of wood to use for one. It's a lot easier to cut one when the neck blank is straight so you can clamp the bits together to plane. That said you could with a lot of care with the fretboard off clamp on a bit of wood to the flat top surface to extend the joint area to make it easier to plane. Then with the new headstock just glue it on and plane the top straight afterwards before gluing the fretboard back on. If that makes any sense at all?