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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.

At a first run through that appears to match what you specify. Although being somewhat 'rusty' with my electronics I am figuring that the additional resistor and capacitor at the tail end of the Gibson circuit (0.22K, 0.02uF?) are part of a parallel CR series L notch filter. Figure 8 [url="https://en.wikipedia.org/wiki/RLC_circuit#Other_configurations"]https://en.wikipedia..._configurations[/url] gives the circuit and relevant maths. Are these the extra 'extra resistor and capacitor' you are thinking of dispensing with? If so you may find you need to keep them. Like you I may have also missed something obvious in working through this. Any proper Electronics/Elec Engineers please confirm or correct the ageing Physicist who ironically is currently teaching active and passive filters.

In related quality control and perfection issues, whilst playing my Kramer DMZ4001 this evening what do I notice? The 12th 15th and 17th fret dots are well adrift of even spacing between the frets, probably 2 ~ 3 mm. Unlike Andyjr I do not intend to relocate the dots

Why will they not make a short scale EB2D at sane prices, or an Epiphone release of the same (Rivoli)?

Quality of pictures sets new higher bar for build accounts In other news Gibson apparently discontinue SG basses and Andyjr now steps up to meet UK demand.

Another good 'fix'. Attention to detail just seems to get sharper as the build progresses and like you minor imperfections start to bug me. It is a downhill (or uphill) slope.

What is the world coming to, 1/4 mm error. Gibson managed much more than that with my SG bass .The bridge alignment was / is out by 2mm at least. How the bass escaped with the obvious uneven string spacing on the neck is anyone's guess. Supertone adjustable saddles sorted that one out. Looking good

[quote name='Twincam' timestamp='1474926480' post='3141625'] Another tip. I find marking the board with chalk with a tight crosshatching pattern really helps to properly get a flat board once leveling so you see were any high low spots are. [/quote] Thank you . This tip will be used on my 'compact short scale build' soon, since the board radiusing and surfacing is approaching. Edited for punctuation. Txt, Email and SocMed are rendering me illiterate.....

[quote name='leschirons' timestamp='1474925883' post='3141617'] Our (my) first gig was £15 between us AND, we'd hired the van You had a £100 gig 40 years ago? You are John Paul Jones and I claim my £5. [/quote] Ceilidh band I started in (see above) was £80 to £120 for 4 piece in that same 40 ish year ago era. To quote myself, "[color=#282828][font=helvetica, arial, sans-serif]Downhill ever since really"[/font][/color] [font=helvetica, arial, sans-serif][color=#282828]Ivansc well in the lead as a bass player, but in the scheme of things a fair way to go. Cliff Crockett (a[/color][/font][color=#282828][font=helvetica, arial, sans-serif] relation of my vocalist / guitarist) [/font][/color][color=#282828][font=helvetica, arial, sans-serif]played the drums till 100. Started at age 7. [/font][/color][url="http://www.jazzandjazz.com/2014/05/celebrating-cliff-crockett-100-years-young-and-still-drumming/"]http://www.jazzandja...still-drumming/[/url][color=#282828][font=helvetica, arial, sans-serif]. [/font][/color]

Just another perspective, gained from refretting a defretted bass (go figure, it was an Artcore bass, cheap as chips project to learn how to refret a bound neck). Once you have defretted you may well have chips and / or tearout with the slots. Obtain some PTFE sheet (same thickness as slots) and cut to sit in the slots (scissors or Stanley knife). Use some rosewood (or whatever the board material is) to make some sawdust. Compact the sawdust into the divots against the PTFE and then drop CA glue onto the sawdust. I use a magnifying glass which helps with this. Repeat this for all the divots and chips. Allow the glue to harden and then sand. Clean the sanding dust out of slots and then carry on with veneer inserts. My take is that this method will give clean, 'sharp' slot edges against the veneer. The CA and sawdust will hide some surprising damage. This is just a technique I found on the internet.

Celidh band, 42 years ago - I was a young 15/16 at the time. Downhill ever since really, where did all those years go?

Purchased a P neck from John. Excellent chap, great communication. Buy/ Sell with confidence. John also knows how to package kit really well which defeats rogue couriers . Many Thanks.

ColinB, thanks for suggestion. They are good but the cost will add up for several. I am' just' up the road from you, near Kerry. So there are at least 2 of us in Powys.

Thanks again for kind words . Next mission, being a 'cheapskate' I am going to build a radiusing jig to route concave fingerboard sanding blocks. A one off at £20 ish is ok, if I build other radius fingerboards it is not tenable. Have to consume all this oak strip flooring I have

Small steps onwards. Headstock shaped and showing very approximate position of machine heads (stuck on with blu tack). The design will work with straight string pull, it is an amalgamation of two basses in my possession. As always after the event I can see minor details that I would do differently next time. The upper 'A' string oak strip should be a bit larger, in keeping with 'd' string piece. However next time I would stick to 5 laminations and not put the extra stripes on headstock (another miscalculation). It is as if I have to make mistakes in order to fix them and the underlying issues in my mind and thus prevent next time. This might be due to needing to do more woodwork

Looking good, must get moving on mine again.

Keepers - G&L SB1 1986 which I traded a John Hall R* bass against and have owned it for 26+ years. I got the best deal. Second is a Kramer DMZ4001, I always wanted one when i was a student in the 70s/80s but had to make do with a new Fender P bass in 1977 (long since gone). Both basses are keepers due to the difficulty in finding equivalents again. My main playing bass these days is a Gibson SG bass. No problems with this one going, replacements are readily available.

[quote name='bluejay' timestamp='1474319362' post='3137168'] Here we go again with the sexist assumptions... I'm still of the opinion that a bassist whose other half is constantly complaining about instruments and gear around the house has hooked up with the wrong partner. (Yes that sentence is carefully non-gendered because it really doesn't matter which half of the couple does the complaining.) [/quote] Totally correct However if you get a fail on this, you can with time wear the resistance and complaints down. YMMV [quote name='discreet' timestamp='1474040322' post='3135229'] What, this one..? [/quote] That is not backline. It is in fact the latest on stage monitoring system. It allows you and your fellow band members to simultaneously hear and perceive the 'heft' of the bass sound. Backline, no, not at all, wherever did that idea come from.

[quote name='Pinball' timestamp='1474319021' post='3137163'] I would go further, I have a mixture of Chinese, Korean, Japanese and USA instruments and the quality of all is excellent. G&L's and stingrays (Ray35's) are a good example. [/quote] The Chinese Rockbass 5 stringer I owned for a while had an outstanding build and finish quality, totally on a par with my USA G&L bass and Telecaster guitar (and that is a well made one). When these well built Chinese, Korean, Indonesian etc basses are made with quality timber (ash, maple, mahogany etc as many are) what 'magic' does the name and 'Made in USA' ticket carry anymore?

[quote name='Schnozzalee' timestamp='1474311010' post='3137048'] Buy yourself a G&L. [/quote] 'Buy yourself a 'vintage' G&L'., some real value for money about. Failing that just buy used German Warwicks, quality all day long at very sensible prices. I have owned a plethora of US guitars and basses, 5 at present, I have a liking for them but now feel that far eastern and Chinese basses offer 85 - 95% of the quality at bargain basement prices, especially s/h. Quite what Fender can do to compete remains to be seen. I have seen the same with my wife's business, luxury specialist products turned into high quality, low cost 'white' consumer goods over time. Country of origin no longer matters. I no longer buy German or Swedish cars either, better value for money elsewhere.