Andyjr1515

Hmmm...not really. You tend to pull the cover from one side - at the most breaking the pull of two magnets as one half of the hatch lifts up with the other two acting like a hinge. But, even with that said, they are surprisingly powerful for such teeny things. 👍

I used 3mm dia x 1mm thick magnets with a 0.19kg pull from First4Magnets on my last build. I've used 5mmx1mm at 0.3kg in the past but that is a bit overkill for a standard size/weight hatch.

I can't remember offhand but I'll have a look in the morning

There may be other issues - but your analysis of the trussrod seems right. If the string is hard down on the frets when holding down at 1st and 14th, then the trussrod is too tight. Before sending it back, it might be worth trying to loosen it until there is a 'just-perceptible gap' at the mid point fret.

Quite right in absolute terms. 👍 I was referring to relative pitch. The amount of pitch change from string on fret, with no sideways bend, to on fret, with sideways bend. 😊

Yes - it sounds like a fault in the string.

I agree with @Hellzero that the Fodera videos pretty much cover it. Not overly sure it covers the sequence and the reasons for that sequence and hence my extra post - if folks understand why they do certain things, better chance that they will be able to work out the right action if something unusual pops up. Ref the amount of gap, my actual target is 'just-perceptible movement' when you tap the string at the middle of the fretboard. The business card guide is more of an absolute maximum gap rather than a target. Ref 20th June, MrsAndyjr1515 hasn't told me yet what decision I am going to make ref holiday weeks...

The Hipshot website, I think, has fully dimensioned drawings so you should be able to check. I suspect they would have the same problem with the swing of the lever

Both guides look pretty comprehensive to me with only a few nit-picks for either. But it's worth having a reminder about the sequence - because EVERTHING on a bass affects EVERYTHING. The WHAT The recommended sequence is: 1. Check and, if necessary, adjust your trussrod then 2. Check and, if necessary, adjust the string heights then 3. Check and, if necessary, adjust the intonation (For those who are interested) The WHAT and WHY The recommended sequence is: 1. Check and, if necessary, adjust your trussrod The trussrod tension affects the action height. So there is no point in checking your string heights unless and until you are happy with the trussrod setting 2. Check and, if necessary, adjust the string heights Now the truss rod is set, the string heights can be checked and, if necessary, adjusted. Remember that pressing a string down to the fret is exactly the same as sideways bending a string that is already fretted - it will tighten the string and raise the pitch. The amount that the pitch raises is similar in either plane. So a 3mm string height above the fret pressed down to the fret will raise the pitch pretty well as much as a 3mm side bend of the fretted string. 3. Check and, if necessary, adjust the intonation Now that your string heights are set, then you can adjust your intonation. Remember that what is happening when you are fretting at the 12th fret - because of the slight curve in the neck being deepest at the mid point - you are vertically bending that string the maximum amount it will suffer in normal playing. If your string height is, say, 2mm at the 12th, you are bending the string the same as a 2mm sideways string bend. And it will sharpen! And so, to make sure that the bass is still in tune at the 12th fret when the strings are pressed down at the 12th, the saddles need to be moved back a little. And the thicker the string, the more pitch is affected by the bend, the more the saddle tends to be moved back So now we have a bass that is spot on tune with strings open and at the 12th fret. What about the other frets?? Well - remember that the 12th fret is the worst cases in terms of the amount the string is being vertically bent. There are tuning discrepancies up and down the fretboard but, most, are inaudible to, most, listeners. And if that bothers you, just remember my adage that 'the definition of a bass (and guitar) is "a series of compromises held together by hope!" '

I don't know for sure - and don't have a Hipshot here - but having fitted them to a number of my own basses and builds, I think you would have the same problem.

Most of my builds have been neck-through but, when I was asked to build a bolt-on neck or do a major repair, I have always used screwed-in inserts and machine-screws. Whether it adds anything the human ear can pick up is debateable but a tight joint will certainly suffer less string vibration losses than a loose one - and you don't have to worry about stripping threads with proper inserts.

Yes - that's the one I generally use too 👍

Oh - and in my experience all oils are absolutely not much of a muchness. For basses, especially on fingerboards, you have to be sure that it is going to fully set with no finger drag. I've used oils in the past that NEVER set fully hard.

If I can interject here, as well as tinted versions, in the non-tinted Osmo Polyx range there are 4 types from memory, which are various levels of sheen from Matt to Gloss. However, there is another product Osmo produce that is thinner, and probably soaks in a bit more, and can take multiple coats to progressively build up the finish to what I would describe as Satin finish. It's called '1101 Farblos Transparent'. I think that @Jabba_the_gut uses that on his magnificent short scale basses?

Lovely job. Kudos to working with wenge like that. I love the final results when I work with it but it's smelly, splintery and just flipping hard work! But that all said, the very, very best bass neck I have ever played - leaps ahead of anything else I've personally played - was a wenge necked Cort Curbow a mate used to own.

I like this very much Excellent choice of timbers and well executed carve 👍

This is what AI says - although it may have just regurgitated the above discussion 🤣 "Yes, there can be a subtle sonic difference, with individual saddles generally providing a slightly tighter, brighter, or more focused sound, and two strings sharing a single, larger saddle (common on vintage-style bridges) potentially offering a warmer, "ballsier" tone with a more pronounced midrange. The difference is generally minor compared to other factors like string type, pickups, or playing technique, and is largely a matter of personal preference."

Fascinating. In that they are so similar in many respects, I wouldn't have thought it would make that much difference. Just a wild thought - in that the original saddles share two strings each, I wonder if there is some sort of impact from the two sources and characteristics of vibration on each pair. But yes - a surprising result whatever the explanation!

Well, randomly (actually trying each of the options on the label and hearing which suits best with your rig) flipping switches is a perfectly decent way to go. There's no-one else going to be able to tell you how your rig will sound with the various combinations and which of those you personally prefer.

Looks great!

Nice job 👍

Only just caught up with this. Splendid work! 👍