Leaderboard

Absolutely fascinating.

And............STOP This is OK as the final coat of the top Any more and I will wreck it and have to start the process all over again (and ask me how I know that! ) So this will now sit somewhere safe for a week, to harden off enough for me to start installing the pickups and electrics. And then we just have to wait for lockdown to lift enough to be able to meet @Jus Lukin halfway to pass it across So, in the best broadcasting tradition, "This time next week, pop back to see the progress with another thrilling instalment of 'It's a bass, Jim'. And coming up over on our other channel, follow Andyjr1515's trials and tribulations in 'A Very Special Save..' where Andy is preparing to get his rags dirty!"

I've been after an unlined fretless since selling my Ibanez Portamento a couple of years ago. Every once in a while I'll look on here and a few shops to see whats around, but nothing really grabbed me, until last week. I just happened to look on The Bass Gallery and saw The One!! A Fender body with a Status neck, EMGs and a Hipshot KickAss bridge. It needs a couple of tweaks and such but it's bloody lovely! I may refinish the body black to have an evil looking stealth machine...

OK - this looks a bit better than the 5mm gap in the middle that there was before The joints both sides are good with just a light run-down of the glue joint to do with a single-edged razor. Funnily enough, not to take any glue off, but to remove this teeny edge either side: Basically, fretboards shrink a touch when you iron them off...but actually often shrink over time in any case. Ever had fret ends get a bit sharp on a new bass after a year or so? That's the wood shrinking and leaving the fret ends exposed a teeny bit. With the heel end of the board flush, this looks at first glance like shrinkage of the length of the board but is actually just where sanding the neck surface flat prior to fixing the board has cut into the headstock / neck curve. This will have a touch of finish applied to colour match: The adjuster, although smaller than the original, remains in the right position for access for the allen key via the body recess: So a tidy up of the edges, a final levelling and re-treatment of the fretboard, cutting of a new nut (the original didn't like being removed) and we can get this back to @Raslee

With @Jus Lukin 's headless sitting for a week while the finish hardens, then @Fishman has unfettered Andyjr1515 time (other than the fettering that MrsAndyjr1515 imposes, of course ). During the afternoon, I've been finishing off any remaining rough sanding stuff and got to the first sanding stage down the grits. This is fist stage finer down to around 180 grit: At this stage, before I go any finer, I have to know that any 'greater than 180 grit scratches' are identified so that I can dispense with those with some fresh 180 paper - and then I can go finer to get rid of any 180 grit scratches, and so on. It is, however, almost impossible to see these kinds of scratches on bare sanded wood so I use a 'reveal' coat of whatever is my first finish - which in this case is the stain. So, knowing that all of this will be sanded off whatever, a coat of stain goes on: And, hey presto, I found one small area with some oscillating sander 'snail trails' I'd missed and then these cross-sanding marks near the bridge: So tomorrow, I will sand those two areas clear of the aberrations, then sand all of the stain off, and then do 'reveal coat 2' to make absolutely sure it's clear of unwanted sanding marks. If it is, I will then drop to 240 grit before starting the 'proper' staining coats.

Fretboard levelled and re-finished. Just the nut to cut - I'm using a Graphtech Tusq blank from my bits box and it will be slotted to just shy of the fretboard top.

You mean like somewhere that you're not allowed to do certain things, like mix with other people, travel to other countries, perform live music or entertainment, criticise the authorities, go shopping for pleasure, visit other parts of your own country, spend time with family, protest against perceived injustice etc. ? Ah! It's hard to imagine somewhere like that from our privileged position.

A bit of a rude response, it was simply a suggestion of a UK builder that offers modern jazz style designd

One Hand In My Pocket - Alanis Morrisette

We have a turd in the punch bowl. I repeat, we have a turd in the punch bowl.

I totally agree. critical and well-informed friend : "you're all too loud, you can't hear the vocals. All turn down. The PA hasn't got enough power to go louder to get above the clatter that you lot are making without sacrificing the sound of the vocals further or us being greeted with wailing feedback. You drummer. Yes, you the one with the two chopsticks in your hands. You need to lay off the drums. Next time consider leaving half your cymbals at home... and no, you don't need a second bass drum... or a double kick drum pedal before you get any ideas. Guitarist - you need to turn well down. Yes, yes, yes, I know all about the 'you can't get your tone without being a certain volume' but people are here to primarily listen to the vocals, so keep your ego in check... and you're deluded if you think you are the next guitar hero. The vocals? Yes - that's the person behind that ridiculous Elvis mic with the fairy lights going down the stand. Anyway... back to you mr guitar - don't pretend I didn't see you rolling back your volume pedal. The underage kid at the bar trying to sneak his first drink is better than you already. And don't even think about reaching around for the volume, or playing softer in soundcheck, that stinky poo doesn't wash with me. Bass? Nobody cares about the bass anyway. Do what you want."

Easy. The one I use. I've got another one on the wall looking pretty, and another one in a case under the bed gathering dust. I've never really understood the point in owning loads of basses. I get it if you're a session musician or doing some recording. But for most pub band type players, who wants to cart loads of basses to a gig and faff about changing every other song? One bass for both practicing and gigging. Job done.

My bits 🥸

Anyone else discovered that while recording yourself can be fun and helpful it can also be deeply depressing, revealing that what you thought was your totally tight pocket is actually a shallow bomb crater?

And we are indeed back on track 😎 Bit of tweaking to do when the correct ferrules come in (these are 14mm, I want 15mm). The neck is on, and it is tight.

I'm a firm believer in not sacrificing the barely competent on the altar of the good...

This is basically what I'm thinking now.........👍🏻

Soooo I have an Eich endorsement which is absolutely terrific but lately I've also been GASsing for a vintage Fender Bassman. Yesterday, a friend of mine sent me a link with "just buy this ok" so I offered a low but decent price for it and surprisingly, the seller agreed! So I took all 55 lbs home and I'm super happy with this amazing amp. Everything works, it sounds absolutely killer and it included the original speaker cable. I'm still trying to figure out how to open it up to check the pot codes but that shouldn't be complicated. For now: yay!

I don't know if anyone had put this up here before, but it's an incredible watch. Found it today and I think I have watched it atleast 10 times already.

A long period of marketplace inactivity came crashing down this week. I've saved up, and I've sold so I can replace my aging pc and get myself a backbeat. Useful items both, especially with online rehearsal perhaps become a regular thing even after lockdown. Then some unavoidably irresistible stringed things appeared and my resolve collapsed like a soufflé in a sink. One of these impulse buys brings to two the Cort corner of my collection. This beautiful jazz joins the C4, also purchased here fairly recently. I make no secret, I bought both on the looks / price tag method of instrument selection. I'd only heard the Cort name mentioned here, and then not often. But always the remarks were favourable, always suggesting underrated, quality basses. My test is simple: if all other basses had to go would I be happy to be left gigging with this one? A resounding yes for both of these beauties. So playable, well balanced and comfortable. Underrated? Not here, not any more.

Back in 1969 I used always to fancy a Gibson EB3 but could never afford one I also liked Les Pauls but they didn't make a bass version. So I thought I'd have a go at making my own, also at the time a 5 string bass came to mind, I think only Fender were doing one. The result was a trip to the school woodwork department and scrounge some wood. The result was the one on the left. Anyway 52 years later after the initial bass was unplayable I thought I'd rebuild it how I wanted it to be in the first place and the result is in the next picture. This time it's a 4 string with 3 different pickup options Magnetic, Piezo and Roland Hex system. Having just sprayed it with clear finish I might have to do it again when the weather gets warmer. It's useable in the mean time.

Best get saving, they’re terribly expensive these days, so I hear... 😉

Thanx Frank, Douglas and SpondonBassed, being welcome feels good .

You do have to be very careful with some of the inlays. The old pearloid Fender & Gibson blocks don't fare well at all But hmmm - in terms of a heated separator, it's actually difficult to do that. You have to get a lot of heat into the glue before you can even get a razor-blade in - this one was 15-20 minutes at full setting! Getting that much heat into something the thickness of a razor blade would be out of reach of most DIY technologies. Once you get it going, however, there is more chance - it is actually one of the reasons I use the acoustic guitar side bender protection sheet - it holds the heat while it's creeping forward. Nevertheless, even if you were wafting a gas burner onto the sheet steel, because it is so thin, I'm still doubtful that enough heat would be transferred to do the job. However - I have found that fretted boards are a lot easier. Luthier suppliers have heating blocks with grooves in so you can heat the wood and not the frets. But I use a standard iron, because I WANT to heat the frets - because the heat goes very quickly down the tangs to almost the glue line - as well as the wood, even though the iron is a frets depth clear of the surface.

Has your wife hacked your account??

52 years you say?? @owen is going to have to go some if he thinks his "Slowest build ever" is going to beat this...

Thats me back in the club. Just got a BB 434, sunburst, rosewood from GG. The itch had to be scratched!

the combination of woods and that shape are just perfect! love it

I had heard about it, but haven’t listened to it yet. I’ll check it out. These popped up in my feed the other day. Made me laugh....

By the way, this is a copy of the BB1000MA pick up ring. The original one is made from diecast nickel-plated steel, the copy from aluminum. The lightweight of that thing in comparison is freaky 😛

Feeling better about my chances already! Thanks a lot and congrats to those who are still here! We're 9% done already

Being a fan of all things Harley B, I am outraged at this sacrilegious defilement of a sacred relic. But seriously folks.... a great resurrection of an others defunct instrument. As others have said don't play down your achievements here, the work is well beyond what most of us would even attempt. And I know for a fact that these are very good basses, so you ought to get years of pleasure from it.

I failed last year as I bought a Rick 4003s and an Eppy Vintage Pro in February. Not buying anything this year. I lost a Fender Precision though for 3 months. Found it tonight in my Rick case. This comment might have to be transferred to the You know when you are old thread.

D5's look nice.

I think the antidote is to listen to many isolated bass tracks. Many of them are not great on their own.

Also, I love this idea of Jolene the eldritch horror

Is there anyone else on Basschat into these? They are a series of six live albums issued in limited editions recorded during the 90’s and being released piece meal through 2020 and 2021. I knew the fourth one was coming out soon and kept checking the page on Bowie’s site for updates. Typical that during the couple of days last week I failed to check, it was announced for pre-order and has sold out almost instantly. To say I’m p’d off is an understatement. I know I could stream it, but that’s not the point. I really would like the CD. It’s called ‘Look At The Moon - Live from The Phoenix Festival ‘97’. If anyone has extra copies pre-ordered (I suspect that is why it has sold out so quickly) and is willing to part with one for not silly money, you would make a fellow Bowie collector very happy indeed. They ship on the 12th of Feb.

Hot off the press from @Bergantino Audio: Bergantino is proud to announce our new NXV – (NEO X-Treme Vintage) series of bass cabinets. Our NXV Series is based on the same innovative Neo X-Treme Technology drivers, but lends itself to a more vintage vibe both in looks and sonic delivery, perfect for those players who don’t need or wish for that percussive top-end sparkle that the NXT range offers. The vintage voicing of this series meant that no tweeter was needed to be implemented in the design, as NXV’s driver’s high frequency response extends high enough to more than please those players who just want a solid and classic bass tone. Perfect for blues, soul, rock, metal and many other styles of music, the premium components in the NXV series will bring your sound to life, sit you in the mix with the punch and quality tone you crave, yet give you the flexibility to cut through when it is your time to shine. To learn more please visit: https://bergantino.com/nxv-neo-x-treme-vintage

Looks beautiful, Andy, thank you!

They did a good version on Duran's Rio in North Korea though ....

@shalindra singh this is a 10 year old thread!

Wow, some awesome stuff on here! Here goes... Mexican Fender Precision Bass - Red, White Scratchplate, Rosewood Fingerboard. Acquired at the tender age of 12, this bass was nearly as long as I was tall, and I've not grown much since. Sold to fund the Washburn below Squier HM5 5 string - Metallic Blue, Rosewood Fingerboard. My first 5 string bass, and actually a really good instrument. I do regret moving it on. It too went so I could acquire a Washburn 6 string bass however. Seeing as these things are fairly rare, here it is in my parent's living room, in the very early 90's >> Washburn MB6 6 string - Alder body, Rosewood Fingerboard. My first 6 string bass and I’ve never really looked back from having “too many strings”. Not a very exciting bass but well made bass and very much served a purpose. Sold to fund the Vester Jazz. Homemade 6 string Fretless - I made a bit of a beast of a bass when I was 16, at evening classes reserved for Baroque instruments like dulcimers and weird oboes, but the teacher owed my Dad a favour and had been a bass player in a previous life, so he was interested to see what it was all about. Originally, it had a 2 piece Olive Ash body with a bolt on Wenge/Mahogany 3 piece neck and a raw Wenge fingerboard, EMG DC pickup, Schaller Tuners and a Wilkinson Bridge It was a 36” scale instrument, and even though it ended up being my main bass for several years, it was a struggle to play for long gigs or sessions and I eventually retired it, only for it to be resurrected and tastefully improved later on by none other than @Andyjr1515 who turned it into a 31.5” bass, as is my now preferred scale length, he chambered the body, added a sexy Katalox top, made a new 3 piece Mahogany/Walnut neck with an Ebony fingerboard and added a Warwick Bridge. It remains a permanent part of my stable, and always will. Read more about it here >> Vester Jazz Bass - Glossy Black. 70’s style Jazz Bass copy, with a Tortoise Scratchplate, and Rosewood fingerboard. Really really nice jazz copy. Eventually got broken down for parts for project basses that never happened, and then sold off in bits. Bassix Tinky Winky Purple Flying Vee Upright - Bit of a wild one, and not an experiment that stuck with me, but it was fun for a while. I have no idea what it was made of, but it was purple, with a maple fingerboard and black tape wound strings. Didn’t sound like an upright, didn’t sound like an electric bass, still very cool though and nicely made. Sold on this forum. Fender Mexican Jazz Bass - Same spec as my Vester Jazz above. No better no worse, but didn’t really gel with it. Sold on. Cheapie Spector - Super cheap bass, one of their entry level offerings in black. Not a great bass if I’m honest. Tried in for a decent flight case. Warwick Thumb Bass BO 5 string - My first proper high end instrument, and also my heaviest! From the ear where Warwick were clearly also making Wenge Baseball Bats. Ovankol body, Wenge neck and fingerboard, insane weight, but your reward is a fantastic sound, heavier basses do sound better to my ears. Sold on to fund my Shuker 4 string below. Shuker Single Cut 6 string - My first fairway into he world of custom basses. Amboyna drop top, on Ash, 5 piece Maple/Wenge neck, Rosewood fingerboard, 33” scale, EMG DC pickups and Shuker’s own 3 band EQ, which is a very nice circuit. With this being my first custom, I got a few things wrong, but I played it happily for several years and eventually moved it on, on this forum. Shuker Jazz Bass - Gloss Black sexy wee thing. Black Walnut body, 5 piece Mahogany/Wenge neck, Rosewood fingerboard, 33” scale, EMVJV pickups. Modified with an ACG EQ02 preamp, and then sold on here, miss this one sometimes. ACG Finn SC Classic 5 string - My first ACG, the start of an obsession. Swamp Ash body, Wenge neck, AI Bloodwood fingerboard, 33” scale, single RFB pickup and ACG EQ02 preamp. An amazing bass, and my main bass for some time. Eventually sold on to our very own @SiBob. Sorely missed. ACG Finn SC Classic 6 string - Ziracote top, Wenge back on Ash, 5 piece Wenge/Flamed Maple neck, Ebony fingerboard, 33” scale, two SB pickups and a John East U Retro 3K preamp. Fantastic bass, but I had new ideas. Sold on here, can’t recall who too… ACG Finn SC Classic 5 string fretless - Rose Myrtle on Spanish Cedar chambered body, 5 piece Maple/Bubinga set neck, Ebony fingerboard, 33” scale, 2 SB pickups and ACG EQ03 preamp. Absolutely incredible sounding and playing fretless bass, but moved on to The Netherlands to fund other things. ACG Finn - Tulipwood on Alder body, Wenge neck and fingerboard, 33” scale, 2 FB pickups in slim casings, simple John East preamp. Lovely bass, but for some reason I just didn’t quite click with it, probably due to me being obsessed with Single Cut Basses. Sold on. ACG Krell SC E-Type 5 string - Figured Maple on Ash, all coloured in Black, 5 piece Maple/Wnge/Purpleheart neck, Pau Ferro fingerboard, 33” scale, PB and RFB pickups and an ACG DFM preamp. Another amazing ACG but my interest in shorter scales meant I had to move it on. Another one sorely missed though. I did enquire about having Alan turn it into a 31.5” 6 string, but it was too much effort for all involved. ACG Salace SC E-Type Headless 6 string - My first headless bass, and my first 31.5” bass too. Koa top, Mahogany back on a Spruce core, 3 piece Ash neck, Cocobolo fingerboard, 31.5” scale, 2 FB pickups and a John East Unipre preamp. An amazing sounding, and playing bass, so compact yet so rich in every capacity, for me anyway. ACG Recurve - Mexican Kingwood on Black Limba body, 3 piece Ash/Wenge neck, Wenge fingerboard, 31.5” scale, PB and SB pickups and a John East/ACG P Retro preamp. Amazing little bass, and wish I could get back at some point. Very light, yet very gnarly sound. Sold on here. ACG Krell SC E-Type Headless Fretless 6 string - To complement my fretted headless 6er, I had to have a fretless of course. Fractal Birch top on an extra thick chambered White Limba body with a thick Purpleheart veneer, 3 piece Wenge/Purpleheart set neck, Macassar Ebony fingerboard with Purpleheart and Maple lines, 31.5” scale, 2 FB pickups, hard wired in Parallel and an ACG DFM preamp. I absolute adore this bass too. ACG Finn SC Classic 6 string - Pretty much the bass I would’ve bought when I ordered my first bass from ACG, had I known what I know now. Black Limba body, Wenge neck, Pau Ferro fingerboard, 31.5” scale, single RFB pickup and a John East Unipre. Simple 6 string workhorse with a really solid punchy tone. ACG TKO Modern - Awesome, more traditional sounding bass for me. Flamed maple on White Limba, coloured in a little bit black, 3 piece Ash neck, also coloured in black, Rosewood fingerboard 30.5” scale, reverse PB pickup and passive Vol/Tone controls. String up with TI Flats and it’s a real vintage sounding beastie. ACG RetroB 5 string - Super Jazz on steroids. Flamed Maple on Swamp Ash body, 3 piece Maple/Wenge neck with Cocobolo fingerboard and AI Maple blocks, 2 SB pickups and John East Unipre preamp. Simply divine. I’ve always hankered for a super jazz bass in looks and sound but never managed to get something sorted, but here it is now! ACG Mikro ChubstRR 6 string - Crazy little bass with a 26.5” scale, bit of a mad idea, but it just works! Flamed maple top and back on White Limba body, coloured din a bit black, 5 piece Maple/Bubinga neck, AI Maple fingerboard, 26.5” scale, 2 FB pickups in slim cases, John East Unipre preamp. Currently strung up E to F, but I have some custom strings on the way from Newtone so I can try this tuned B to C. Phew, that is a hell of a lot of basses! Trying not to not sell anything now, and just accumulating until I’m found out Cheers, Eude