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Andyjr1515

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21 Excellent
  1. scrumpymike's (a) Rascal

    Onto the headstock plate. Most important lesson learned during my early veneering work - always know where the holes are before you cover them up! String tree hole drilled and thin double sided tape applied: Not perfect, but fit for purpose as a fully reversible mod: The (probably final) additional coat of the Osmo worked well: And full view: Rear view - the hatches have still got to have the edges tidied up but they seat nicely and almost certainly will be fine with magnetic catches: We are moving to machine screws (like Wal) rather than the standard Fender screws. Got some nice stainless allen key machine screws for it but the supplier sent the wrong type of captive nuts - replacements should be with me Monday. Still to do: Tidy up the rear hatch edges Install neck captive nuts Fit magnetic catches Copper-foil shield control chamber Install pickups, switch and pots Install strap buttons Install bridge Set up That's not too bad - and I'm really pleased how this is starting to look
  2. TheGreek's Mystery Bass Rebuild

    Hi, @Dazed It's going back a bit, but my recollection is that the supplied cables are fairly 'standard' length (ie similar to a fixed cable in a humbucker). I may have some photos - I'll have a look in the morning
  3. Duncan Designed vs Seymour Duncan?

    In absolute terms with nothing to compare to, the Duncan-designed are generally OK. But side by side there will be no comparison. I'm sure it will be worth your time.
  4. scrumpymike's (a) Rascal

    So what was my experiment? It was seeing if something I did on Mick's Psilos bass in matt, would work on satin. The above is halfway through the process but I'm confident it's working. On Mick's Psilos, I experimented whether you could do the same 'slurry and buff' approach with Osmo as you can with Tru-oil. And the answer was that you certainly could. Using the same approach as Tru-oil, the process eded up as a self-grainfilling, super silky finish. So what's the issue with higher gloss levels? Well my problem is always about trying to keep the coating thin but it actually levelling properly without leaving brushmarks or cloth-wipe ripples. I knew I wasn't going to be able to buff satin while wet - because the additional applications tend to soften the earlier coats and that affects the gloss level - but I could do a variation. So basically, what I have done so far is: Apply a decent coat with a soft brush Slurry with 400 grit wet and dry, working with the grain Wipe off with (industrial - cheaper and bigger rolls) kitchen roll Let dry Repeat Repeat, but using 800 grit The results are very encouraging with the shine coming through but the thin-coat-organic-silky feel retained Tomorrow, I will repeat, using 1500 or 2000 grit. It shouldn't need any more. For my 'piccolo-bass turned electric' project that I'm doing for myself, I'm going to see if I can get it to work with full gloss. I've tried Osmo full gloss once before and had a few issues, but the above approach might just work. Worth trying...
  5. scrumpymike's (a) Rascal

    Well - Osmo might have something to do with it too ...s'pose
  6. scrumpymike's (a) Rascal

    I'm a genius. Just sayin'
  7. Guitar rebuild

    I like that a lot
  8. scrumpymike's (a) Rascal

    Well....so far, I think the Osmo is going to blink first. But I'd better wait until the morning when it will be fully dry before I do my victory lap
  9. scrumpymike's (a) Rascal

    Which will break first - Andy or the Osmo...
  10. scrumpymike's (a) Rascal

    And in the meantime, I'm applying some Osmo Polyx 3032 satin on top of the 3044 so that we retain the colour but get a nice semi-gloss. I'm doing a bit of an experiment with the way of applying the Osmo. If it works I'll post the photos....and if it doesn't, I'll quietly sand it off and do it the way the instructions say
  11. scrumpymike's (a) Rascal

    The headstock plate is too thin to attempt MoP inlays, but Mike and I thought it might be fun to be able to see at least a little of the original Rascal colour : Once the edges have been sanded to match exactly the original headstock, all it will need is some strips of thin double-sided tape to fully secure it - the bushes and string tree will do the rest
  12. scrumpymike's (a) Rascal

    I love walnut in any finish or guise However, in real life, it's the Osmo treated version that has the warmth and tone of the original untreated, air-exposed wood:
  13. scrumpymike's (a) Rascal

    I've spoken about the finishing oil Osmo Polyx 3044. In case you missed @TheGreek 's Psilos build thread, this was a version of Osmo I found when we were looking for a finish that wouldn't darken the wood too much. It aims to try to leave the finish closer to sanded cleaned wood than the 'wetting' effect almost all oils and varnishes do to timber. It worked great on Mick's. Based on that build, @scrumpymike asked me if I could use the same oil to see how it fared with the walnut, which I was happy to do. As the Osmo isn't really intended for use with darker woods, it was uncertain how well it would work. The great thing, however, is that - because I use a tru-oil slurry and buff now as a sealing and filling process before sanding it all off to then apply the intended finish coats, I could do an absolute A/B comparison of Tru-Oil vs Osmo Polyx 3044. And here it is: A/B Comparison of Tru-Oil vs Osmo Polyx 3044 In both cases, the body has has a single application of oil, slurried with 400 grit wet and dry and then immediately wiped off Tru Oil: Once fully dry. This was all sanded off, leaving the body in the same pre-oil state. Osmo Polyx 3044: Quite different - especially in the darker figuring areas where the tru-oil (and water does the same) turns the figuring grey to almost black. The Osmo, on the other hand, retains the light brown. The lighting is about the same in both shots. If it's a bright enough day tomorrow, I'll repeat the shot with the same background as the tru-oil - it actually shows the contrast even more. In real life it looks lovely. Also, once it's had a few more slurry and buff coats, the silky satin feel has to be experienced to be believed Here's the back with the Osmo - DON'T PANIC, MIKE - THE DISTORTION IS THE CAMERA LENS (trust me - everything is straight and true! Honest ) The edges of the hatches still need tidying up but this is basically how they will look: The matching up of the sapele grain and the walnut grain, by the way, is total coincidence... And this is the 'fan who is getting too up close and personal' 's view:
  14. scrumpymike's (a) Rascal

    I know what you mean - but actually quite a bit of extra precision work and if the tiniest bit out of true would look very poor indeed. The jack socket plate is even worse because it's going round a curve at the same time. I can see why it's not done in general terms. Talking about precision work, getting gap-free hatches is also a challenge. I'm getting better at this. The rebates aren't at the full depth yet, but here are the basic hatches before fitting and sanding: The hatches are cut from offcut of the walnut top (they will contrast nicely once the finish has been put on) and will be held with neo magnets. The main hatch has been bent on my acoustic sides heat bending pipe to follow the contour of the body (you can see the pressure lines in the pic above - these will sand fully out):
  15. scrumpymike's (a) Rascal

    I was going to...certainly I have no issue from a t/mark point of view as it is a genuine Fender neck and bits - or is it the visual? I'll check with Mike - ferrules would be just as easy
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