Andyjr1515

OK - although there is one variation I'm putting in, explained below, its as finished as makes no difference. It's now got a set of heavy gauge NYXL's (James' request) which, so far, hasn't snapped the neck! They are pretty mighty, though at 55-110. They even added 2oz to my weight check with my set-up medium string set!! But, wow, they sound good. I've recorded a tiny bit just to show the bridge, middle, neck on the blender and played through my mini PA (don't have a bass rig, I'm afraid) which I will post shortly. In the meantime, here are a few finished shots with the arty farty black background. Forgive the self-indulgence, folks : The variation I'm toying with is a request by James to see what a matching control cover rather than a contrasting one would look like. In both cases - because they are made from the few offcuts of the top or back timbers that are big enough, I'm not able to choose matching grains. This is what a control cover from an Ash offcut looks like: It's a pity the offcut wasn't big enough even to have it the other way round but it wasn't In real life, the contrasting one actually looks better because it is clearly matched to the top wood but it's no problem either way - I'll send both and James can fit whichever he prefers. They have magnetic catches so it only takes around 2 seconds to swop them. With the (literally) heavy-gauge strings, it's final playing weight is an ounce over 6 3/4 lbs. A few ounces heavier than @Len_derby 's Jazz p/up version, but still not bad for a long-scale PJ I'll see if the sound clip has come out anything like OK and, if so, will post shortly As always, many thanks for the very encouraging feedback along the way Andy

Yes - I agree ^ this I'm making an assumption that there are no pins and under the bridge is just a smooth top like this (ignore that this one has two control panels!): And your bridge is something like this? : It takes a bit of getting your head round the concept but basically you can both move the little fretlets up and down the slots on the bridge BUT you can also move the bridge itself by just sliding it up, down - straight or diagonally. Now - it is admittedly a bit trial and error, but it is very unlikely that there isn't a combination of fretlet positions AND bridge position that wouldn't get you to an intonation on each string that is pretty much spot on. There are a number of ways of getting there. This is just one: Personally, I would start with the positions of the fretlets like this above - one in each slot diagonally with the G closest to the nut. I would intonate the G by sliding the G side of the bridge towards or away from the tailstock Once intonated, I would pop a little bit of masking tape on the body to mark where this position is Then, keeping the G side of the bridge in the place I'd just put it, I would then move the E side of the bridge backwards or forwards until the E intonates I would mark that too with a bit of masking tape I would then check the intonation of the middle two strings and move the fretlets of those to intonate them, leaving the bridge itself at whatever angle it ended up with over the first 4 steps Generally the middle two strings will intonate with fretlets in one of those four slots But if they don't - that is, if the intonation range of the middle two strings is too coarse, I would: Move the fretlet of the E string up one slot Re-intonate the E as above, keeping the G side of the bridge where it originally was, next to it's bit of masking tape Now see if the middle two strings will intonate with the choice of slots for the fretlets As I say, it's a bit trial and error, but remember you only really have to do this once! Once it is spot on, personally I would commit sacrilege and pop a tiny sharpie dot either side of the bridge so I could always find that position again! Different kinds of bridges really aren't an option on a violin bass - it is designed to have this curved, sliding bridge and almost all other bridge designs are either flat bottomed or wrong height and, worse, mean drilling holes in the very thin, curved top of the bass (and probably wouldn't work anyway). Incidentally, Jazz guitars often have this kind of sliding bridge (and they don't even have the adjustable fretlets) as do, of course, violins, cello's and those types of instruments. Hope this helps!

..and we have sound....

On the final knockings (hopefully!) Just weighed it. Full playing weight 6lbs 11oz. I estimated to James 6 3/4lbs so I'm 1oz inside that. Result!

Not on this design I wouldn't (but that's just my view - you have to remember that with your own designs, it is only your own preference that actually matters )

OK - I'm a bit confused. If it is a true floating bridge - ie, if you can place it anywhere - then it is impossible that you don't have enough adjustment options. Forget the options of the little 'fretlets' on the Hofner-style bridge. You can just move the whole bridge forward, back or at any angle until it intonates properly. If it is a pinned 'floating' bridge - so it falls off when you take the strings off, but the pins actually locate it in a specific position - then the pin holes are probably in the wrong place (or there are other factors - action too high, old strings, etc that are affecting the intonation) Have you got a photo? - I'm sure we can help you sort it without it needing a different bridge...

Ooooh. I thought the other ones were fine, but this is VERY nice.

As a builder - and one who generally builds through-necks - I'm actually in the camp that says it makes no discernable difference to the tone or quality (assuming each has been built to the same standard, woods, etc). As someone above inferred, I don't think many people grumble about the tone of a Fender P bass. On quality, all I can say is that one of the nicest basses I ever had the pleasure to work on - a beautiful old Wal - was bolt on and was top drawer and a half! I personally think it's more horses for courses: I think getting elegant heels is easier with through-necks; it is certainly easier to achieve the super-slim lightweights I've started experimenting with using through-necks...but those aren't everyone's bag. But then for bolt-ons there is more flexibility to get the geometry just-so. And - for a volume manufacturer - much better flexibility to be able to offer alternative woods and configurations at an affordable price. It could even be argued that the chances of a visual aberration (knots etc) is lower for bolt ons - a through-neck on a full scale bass is a long, long piece of wood to guarantee not running into any kind of natural void or ripple! Just my tuppence worth...

I think scratchplates can look very good even with fancy woods.

Sorted the nut height and then put my 'see if it all fits together' set of strings on. At my action height starting point (medium) there are no buzzes at all so I think the basic levelling job was OK. When the proper strings are on, I'll set it up properly and do a double check with the fret rocker and the buzz check at low action in case there are some high spots anywhere. This is how the tru-oil slurry and buff has ended up, finishing at 1500 grit. This is an oblique shot to the light so you can see the surface finish: ...and this is tilted to see the figuring better: It's LOVELY to the touch. Still got to do the final 1500 slurry and buff on the back - and I've still got to do the final buffing of the fretboard and neck - but this is how the whole thing is panning out: All being well it should be finished by the end of the weekend

Great to see you kicking off a new one! I quite like the look of a scratchplate on a bass - especially light or white plates. It does fundamentally change the visual 'feel' though so usually depends on the bass itself whether it works or not. To my own eye, but it's a personal thing, the above would enhance the same bass built without an f hole but is a bit of a 'culture clash' on the same top with the f hole. Dunno, really. Nice thing is that you can fit a plate with light double sided tape so just try it - totally reversible. With long shaft pots, you can do the same with the controls plate - the pot nuts and washers will hold the plate on. It would be an interesting 'with and without' comparison on a finished bass

And another job off the tick list - levelling, crowning and polishing frets: I'm going to temporarily string it up later today to see if it frets OK all the way up the board Only a few more things to do before the big assembly and test stage

Well, definitely on the final furlong! I inset the jack-plate into the body wood in the same way as I did for the bridge: Then fitted magnets on the ebony truss-rod cover. The 3mm magnet at the apex does all the work - the 2mm ones either side at the nut just positions it: And put the magnets on the copper-lined chamber cover - these are 5mm in the nodes and 4mm on the cover itself: I will be disappointed if this isn't all finished by the weekend

I agree with @Maude. They are beautiful

I like the look of that. I was staggered how normal @eude 's sixer felt to play too. I think you'll love this.

Well, that looks absolutely spot-on in relation to the nut spacing. To be honest, you wouldn't want to be much closer to the edge and so you would be looking at a tighter string spacing at the nut too too. And @Grangur is right - the taper basically has to be done along the length of the board

Just seen your earlier post that came through as I was posting mine - slimming down to this degree should not require any re-fretting at all. By the way - have you got a photo? It is interesting that the nut isn't to stated spec and also that you reckon the strings are a long way from the edge. Sounds odd to me. Was it bought from new? If so, worth going back to the original dealer...

I'd forgotten that one, Paul! Lovely old bass Hi @petergales Yes - you should be talking to your local trusted luthier - these sorts of things are always easier if you can easily meet face to face and talk through the issues. But just some things that come to mind: In order of preference, if it was my own bass - 1st I wouldn't do it; 2nd If It was in all other respects an absolute keeper, I would consider the fully reversible option of a replacement neck...but I would be looking at more than just the width; 3rd I would only mod if I knew I would never be getting rid of it or if the bass was already of low value. And then, only after talking through in depth with a trusted luthier in terms of exactly what the problem was. Expanding: Are you sure it's the width that's causing the cramping? It's worth seeing if the neck is also slimmer in depth than your more comfortable necks as that is often a factor in hand cramps. Slimming the taper of a neck to this type of degree is actually perfectly feasible BUT, as @Grangur and others say above: it WILL decimate the resale value of the bass (and, on a bass like this, I do mean decimate); it may give issues with side dots or may not - it depends on the dot depth and material; it will, of course, give issues if the fretboard is bound at all; it WILL require a full refinish of the neck as well as work on the affected fret-ends. Custom necks are not cheap.... So I think it boils down to whether it is an absolute keeper or not. I guess, if you've had this up for sale before, it's not really? Hope this helps Andy

What routers are on your shortlist? EDIT...just seen your other thread. Ignore the question

The crack at the end of the horn is no concern. It is just a split against a join line. The one that is closer to the neck pocket is an odd one. Maybe the neck's been whacked in the past and the bottom of the pocket stressed causing the split? If I'm right, this is the one you need to concentrate on otherwise the neck pocket could flex and affect the tuning stability. Once you've worked out the best way of clamping this, I would be tempted to use a very thin superglue and wick it into the gaps. Capilliary action will suck the glue deep into the gap. Keep squeezing glue in until it won't take any more then clamp up and leave for an hour or two. It should then be plenty strong enough so you would just use a filler to cover the dips and gaps.

The crack next to the neck pocket...where does that go along the length?

While the festives and family stuff has been going on, progress has been a bit spasmodic but by the end of tomorrow, I should be able to put some quality time into finishing this - hopefully by the end of the week. I've got two more slurry and buff grades to do on the body - 1500 and 2000, but already it is feeling right and looking pretty even. Here's how the back presently stands: The basic back carve shape is the same as on @Len_derby 's build. What I liked about this variation is that it still looks and feels a substantially thick body and yet still has the comfort and weight advantages of the arched back - some of my other builds have tapered more at the sides, making it look super skinny which freaks some players out (especially 6-string electric guitar players ) This variation softens the carve towards the edges, so retains the edge and front view thickness: Still to do - Final two grit levels of the body oil slurry and buff – 1500 and 2000 grit Sort the magnetic hatch and trussrod cover fixings Fit the jack-plate, set into the body the same way the bridge is Copper-foil line the control chamber Fit the electrics and pickups Level, re-crown and polish the frets Micro-mesh the neck and fretboard progressively to around 8000 grit micro-mesh Fit the nut, bridge, tuners and strap buttons String up Set up

Looks pretty splendid from here...

Ssshh..... while they carry on talking in that beautiful language it gives me a chance to tip-toe away........ ... Is it safe yet???????

Blast! sorry hindi ako nagsasalita ng marami english!