3below

Alternate zero fret / nut thought. You could widen the zero fret slot to (3mm? 1/8" ?) and fit a Fender type nut at the zero fret. Not in keeping with the EB3 vibe but probably a simpler solution. If you used black acetal (aka Delrin) it would not stand out much and could be followed by whatever nut you were originally planning. Other alternatives to acetal could be nickel silver or brass plate. If this was slotted (and probably glued) in it could be levelled and crowned. Apart from the side view in the fingerboard it would present as a higher fret, same frontal profile and appearance.

Hard to tell from the pictures, Is the extender bar pulling firm against the metal of the bridge and not indirectly into the body? I found I had to be careful with my home made one, it seemed very easy to ding the body with the bar and the ball ends (mine were not significantly countersunk). It was a wise move not attempting the recessed bridge approach, in that route (pun intended) lay potential disaster.

I have owned an EKO BA4 since 1981 ish (still using original strings). Used in small scale acoustic operations I have always felt it was not bad (nor great), it is big which helps. With a J bass pickup in the soundhole it was great for trad folk bands. A solid instrument but not the most finessed build quality (if thin finishes allow an instrument to breathe, this bass was suffocated at birth, it never got anywhere near oxygen).

[quote name='Manton Customs' timestamp='1476305215' post='3153269'] What angle did you go for? Gibsons tend to be excessive (usually 14 or even 17) and there's really no need for such a steep angle. [/quote] An interesting question, I have some extremely capable Physics students at the moment. They should be able to derive the maths and calculate what angle will prevent the string moving in the nut / zero fret view of the applied (plucking) force. Interesting to see how theory will compare to tradition. Should occupy them for a while

Hipshot supertone 3 point bridge fitted to SG bass: Baseplate is 7.95mm E & G string, 8.65mm A & D string. Saddles are 7.7mm deep (base to bottom of saddle notch). Approx 15 mm will be the lowest string height above the body (body to underside of string at saddle). Hope this is of some use.

Side angle on strings prevents rattling / spurious vibration in nut slots ☺ Measurements to follow on return to Mid Wales. Are you contemplating a routed recess for the whole bridge to lower into 📥? That would be very skilled and brave 🚫 The zero fret is an interesting issue. Logically (unless I am missing something) the zero fret is no different to any other fret in the near vicinity. Why does the zero fret need to be higher but the first fret does not? Is the amplitude difference between zero and first fret that great?

Looking good, commiserations about the blunder. I keep hoping I will not drop a serious one in my build. I could measure the lowest and highest string height available on my supertone 3 pointer if that would help. Am away from bass until Weds.

[quote name='Manton Customs' timestamp='1476010812' post='3150373'] Tightening the truss rod nut removes relief, so don't do that! To induce some relief you have a few options. Heavier gauge strings would work fine and after being on for a few weeks you could most likely go back down to regular gauge and the relief will hold. Alternatively you could tune up a note or two and leave it for a few weeks. Or remove the neck, loosen truss nut fully (if it isn't already) clamp into a slight forward bow and tighten the nut. All three should work, but as you're selling it I'd probably just put some heavier gauge strings on it and sell it like that. [/quote] Or the more 'direct' method, loosen truss rod, hold neck in left and right hand with middle of fretboard resting on or against knee. Give the neck [b]slight gentle pressure [/b] to aid the forward bow, no need to remove the neck. If this terrifies you (no reason why, I have used this method on many basses with no ill effect) you can achieve the same by placing the bass strings down on a flat surface (table) and putting a thin paperback book in the middle of the neck. Apply [b]gentle[/b] downwards pressure at both ends of neck.

On the home straight to the first non neck diving EB3 Time someone formulated an effortless finish that you can brush on, one coat and as if by magic it emerges as a perfect smooth high gloss finish, no further work needed. Not likely to happen though.

What I have found strange in this build is my obvious mistakes. All have been foreseeable but have still happened. I am working on getting it right 2nd time as I regain long lost skills.

Pictures show various divots infilled with mahogany and epoxy. Somehow very satisfying about shaping them to fit nicely. The small yellow blemish shown in earlier pictures developed into a substantial sized lump of well dried resin when it was exposed in a further router pass. Jack socket hole and wiring channel also sorted. Body is now ready to have the oak top glued on. The bridge, hmmm, I am not impressed with my workmanship here (as presented it is a long way from finished). The string holes do not align, I should have bolted a stop on the pillar drill table (and worn my reading glasses). The 3mm bridge saddle channel has a couple of router divots (the lighter grey parts in photo). I will attempt to sort these with ebony dust and epoxy. I may well have another go at a bridge, the ebony works out at about £2.50 for the bridge so no great loss. I now understand how I can make a better mk2 jig for this job.

Photos tomorrow, and agree on small steps forward. Am operating on the Zen principle, this is a thing of pleasure so have to be in the right frame of mind Hence slow progress at the moment.

Other than the headstock is the wrong way round, and it has a set neck it reminds me of some Peavey basses (of which I own a few) . Given that the Peavey basses are made with 'quality' wood and fetch as little as £100 used I think I will pass on this Gibson bass. In the interests of being non-partisan, I have owned two Gibson basses and currently my SG bass is my 'get to go' implement.

Slow progress, the day job uses time up. Tidied up the 'bad router day' issues. Sliced up various bits of mahogany into 2 / 3mm slices, bandsaw and file to fit the divots. Epoxied in and then routed flat. Started on the bridge, ebony slab planed and chamfered. String holes carefully measured and subsequently drilled. Today's lesson is - if you need reading glasses for close work, you should wear them. I got the measurements and hole locations spot on, not quite that good using the pillar drill making the holes. I should be able to 'lose' the slight misalignment issue. Next up, routing the 3mm bridge slot, have had several trials on this, still not really happy with the quality of what I can attain.

Very interesting, particularly the order of operations, gives me thought about my next build. I am surprised how much was freehand work. The other part of me was taken aback at the amount of high speed cutting tools without guards and the methods used. Wonder what the attrition rate on fingers, hands (and arms) is at the factory.

[quote name='Norris' timestamp='1475488740' post='3146235'] Cool - can you come round and find the two centre punches that are somewhere in my garage? I've spent hours looking [/quote] Centre punches, £2.50 for a set of 3, time to find them 2? hrs at £???? Somehow it does not seem right to view tools with the cost benefit analysis method.

[quote name='Andyjr1515' timestamp='1475428247' post='3145836'] Brilliant! Thank you so much, 3below. That does indeed look right to me [/quote] And thank you, I will be seeking advice later about finishing when I get that far. Shed is now somewhat clearer and my 'long lost' no5 plane re-appeared.

After some pencil, paper and brain effort I think I have the solution. In the Gibson circuit, at switch position 4, the neck output signal (lower pickup in Gibson diagram, 0.05uf capacitor) is routed through through the RC combo then to the jack tip. At the same time the neck output signal is also routed through the inductor to ground. (Gibson circuit has the bridge pickup on as well as neck position 4). In the modified Andyjr Mk1 circuit above , the neck signal is fed into the RC combo for positions 4 , 5 and 6. These then provide a connection to jack tip' and the various inductor tap connections then to ground.

Random thoughts removed, goes to get pencil, paper and brain

What you have drawn was what was in my mind. In the cold light of morning I am not sure this is correct either. I need to get pencil, paper and brain in the job. I also need to help swmbo who wants to clear my workshop

After a couple of months with the lessons you have under your belt I would say get yourself into a band. At the same time use Scott's (and others') lessons if the price is right (do not spend big bucks). In many ways progress is much faster these days, Youtube is your friend. Then again I spent a lot of time listening to singles and LPs to figure out what I was hearing (no internet then) which I now think was invaluable experience - automaticity between ears and hands (and even correctly some of the time....)

Yes is the short answer. Longer answer is, put the parallel CR combination in front of the '4' connection on switch, neck pickup. This gives CR into switch into L then ground. Your circuit is easier to follow than the Gibson one.