Andyjr1515

[quote name='White Cloud' timestamp='1357425205' post='1922618'] As a fledgling maker I would love to see the build process if you would be happy to share [/quote] Hi I will post the build - might need to wait until next weekend (yes - Belgium beckons again) but it won't be forgotten! Andy

I agree - I love them Andy

It doesn't look tinted varnish to me - try just wetting it with a squeezed out cloth to see if it matches the shade. If so, just good old Ronseal Clearcoat polyurethane varnish will do the trick. I wipe it on (for a big area thinned with white spirit up to 30%) using a micro-fibre cloth. The guitar below was done that way:

I love D'Addario Chromes - to me they are the best of both worlds

Hi I agree - should be OK. I've just posted my latest full build 'Jack Bruce Fretless Tribute' in the 'Gear Porn' section. That was pretty much all done with a £70 'JCB' router from B&Q - including slimming the ebony fretboard from 10mm to 5mm! Do practice, though and - as the others say - always take small amounts off each pass... kickback can ruin a guitar body quicker than you can say 'Oh, s***' Andy

Hi All again Been off line for sometime for a couple of reasons: First is that I was given an assignment which has involved at least 4 days a week in Belgium (apparently someone has to) where they told me it was only until Christmas - and yes, they didn't tell me WHICH Christmas So, 15 months later... Second is that I took on a bit of a mammoth build project for our old-git's-band's bassist, Pete. He wanted me to build him a tribute to the fabulous Warwick Thumb Jack Bruce Signature Fretless. Bit of a steep learning curve (never built a neck before , etc, etc) but I'm pleased with the result - and I suppose more to the point, so is Pete. It's not a straight copy, the main difference being the way the neck is fitted, but most things are close to original - bubinga wood for body, amazaque (v similar to ovangkol) neck splice with mahogany, ebony fretboard and headstock, MEC active p/ups, Warwick hardware. The EQ is 3-part Seymour Duncan, hence the extra knob. It sounds fabulous Hope you like it. If anyone's interested, I can add the build process in the Build Diaries section - just let me know...I've got plenty of build shots Andy

Hi Worth a double check - the number of times I've wired a 3-way wrong... Two other thoughts - one is that yes, a shielded cavity should be earthed (just a solder tag connected to earth screwed in through the paint should do). However, I wouldn't think that shielding without earthing would ADD a hum. The other thought, [b]if you are absolutely sure that your wiring is correct[/b], is whether you have inadvertently reversed the two blocks of the staggered P pickup. I think they are reverse wound/reverse poled to each other so would sound OK whichever way you put them on their own, but the closer one to the Jazz P/up MIGHT (unlikely at the distances involved) interact and reinforce the hum rather than buck it (that is, the closer G D block might be same polarity and winding as the Jazz, with the humbucking E A block further away from it). If so, unscrewing both staggered blocks and rotating the whole assembly 180 degrees might make a difference. Hope it helps - let me know

I'm not at home so can't have a peep, but I am pretty sure the Jag on my Avatar is a standard P/J set up, albeit with 2 volumes. It sounds like you have a wire (or more) connected to the wrong tab on either the volume or tone pots or switch. If you have a short (the other possibility) I would expect one or other p/up not to work OK on its own. Relook at the wires, starting with following the hot from each pickup to and through the switch and to the volume pot tab - I reckon somewhere there is one in the wrong place.

Hi I think BOD2 is on the right lines. The clue maybe is that you say the red light doesn't come on when you use the patch lead. The 'Input' jack of a Boss pedal is also the on switch (certainly with a battery, presumably also with mains adapter). If the INPUT doesn't think it's got a jack in, it will not switch on. So - maybe the jack isn't absolutely fully plugged in or has a faulty tip / shaft shape. If you have a spare guitar lead, use that between the two pedals to see if that sorts it.

I may be completely wrong, but I think that is a 'spare' earth in case you want to line the cavity with copper foil / conductive paint - you just screw it into the body through the the foil and hey presto, your cavity is earthed.

[quote name='jonbd' timestamp='1341211555' post='1715064'] I've got a hankering for a Squier VM Jaguar Bass so this would then be my back up! [/quote] Great choice - the VM Jaguar is a great, great bass for the money. My avatar is my tarted up one (more pics on website). I love it!

I agree with Al ...water-based varnishes are OK, though need plenty of drying time (and can feel just slightly sticky for quite a long time). For dark colours they can be a bit of a problem, with the milkiness coming out and affecting the colour, but for natural wood I doubt that will be a problem at all. As Al says, let it dry, rub down with 1000 wet 'n dry before recoats (sprayed, at least 10 and up to 20, brushed probably 5-10) then let it REALLY dry (2 weeks if poss) before sanding first with 1000 grit and then 2000 grit, followed by T-cut or Autoglyn (might have the name wrong) to buff up to shine. I strongly urde you not to use the same varnish for the neck, though (and preferably none) as the stickiness really does become a pain. Andy

[quote name='mr carpet' timestamp='1339772022' post='1694129'] I pulled all the frets out one drunken night , then put them back in after realising my names not Jaco , besides it sounded like a wale song. [/quote] I think we've all done that at one time or another... Let me clarify. For GREAT FUN - there's nothing at all as satisfying as pulling apart basses and improving them . For OWN USE there's nothing as cost effective as taking a (usually) excellent quality entry level and turning it into a pro-sounding and looking guitar for less than the cost of a car service . For PROFIT, tread carefully and moderate your expectations

For a neck, I would personally use 0000 grade wire wool (but tape up the pups otherwise you'll be picking off iron filings for years ) but if I used grit paper, it would be VERY, VERY fine wet and dry (1000 grit at the maximum and 2000 grit preferably - auto finishing retailers are a good source. DIY superstores usually get nowhere near fine enough)

D'Addario Chromes - sound like round wound, feel line flatwound. I use them on fretted and fretless basses and personally wouldn't use anything else. Just my preference, of course.

Hi The problem generally isn't the stain, it's the poly or nitro varnish. The good news for most of us is that it's as tough as old boots. The bad news is that it is an absolute beggar to get off. For my refurbs, I quite often resort to a paint-stripping heatgun (and then a hell of a lot of sanding)!!

I'm sure 120 members will come down on me like the proverbial pile of bricks, but I don't think the truss rod does anything to prevent warps - it just adjusts the neck relief. As such, I reckon if your action is OK then leave well alone. The neck is not likely to warp - if it was going to it already would have done and I doubt a truss trod would be able to do anything about it. I bow to the greater knowledge of the 120 piles of bricks but that's my own experience, anyway.

Hi Have a peep at my website - www.ajrguitarmods.co.uk then pm me if you want to discuss some options and costs - no obligations either way. I am happy to consider sorting it out and clearcoat or doing a top veneer job, depending on what kind of body it is. Andy

Entering the fray, have a look at my website ajrguitarmods.co.uk (and no - I'm not a dealer, I'm just an enthusiastic improver who tends to keep most of the the basses and 6 strings I do because I like them too much!) You have to go into this with your eyes open:[list] [*]Entry level guitars from high end suppliers (Epiphone; Squier; Ibanez) are generally SUPERBLY made compared with how things used to be and compared with cheap guitar manufacturers who do not deal in high end. Reason - they sell entry level to catch a lifetime future obsession; they cannot afford their reputations to be damaged with association with poor quality [*]The economy is usually with the pups, the hardware, the strings, etc [*]Thus, an upgraded one of these will be a great great guitar or bass [*]The Jaguar Bass (mine) is one in point - underneath it is a bog standard Squier [/list] BUT [list] [*]Good hardware, pups, etc bought retail costs much more than the same items incorporated into a new, bulk-bought major brand guitar [*]Therefore, you can build a guitar that is very giggable and exactly how you want it but it will cost pretty much the same as the next level up of a new one. [/list] Having said that, I have some people I've done guitars for who are delighted with something that cost significantly less than they could have imagined and looked and sounded a million dollars. The ESP/LTD 6 string on the website is a bog standard with upgraded trem and fancy pickups and wiring. It cost me about £450 all told and I guarantee it would knocks spots off guitars £2000+....but i'd probably not get even the £450 if I tried to sell it. So, as they always say, it depends what you are trying to achieve. Most satisfying thing to do, mind...

Hi, Shep Is it passive or active? Andy

+1 for D'Addario Chromes - feel like flatwounds, sound like round wounds. Great, great strings

[quote name='christhammer666' timestamp='1326313489' post='1495426'] i know a few scales stuff like that and i do love the learning part it just fries my brain lol [/quote] If you like learning, then learning theory will open many new horizons, not only for playing but for listening too. Real fluency in scales - real unconscious fluency - will do almost nothing for your listening enjoyment, but will transform your playing. Sounds to me that you may wish to do both :-D If so,then watch out, Harris, there's competition on the way :-)

No drummer can keep time - it's one of the great paradoxes of the natural world :-)

[quote name='Andyjr1515' timestamp='1326312685' post='1495412'] Hi To be the first to enter the no doubt an inevitable fray of differing opinions, [/quote] While writing this, the fray already started - so I wasn't first after all :-)

Hi To be the first to enter the no doubt an inevitable fray of differing opinions, I would say a fluent working knowledge of the scales is more important for many players. It means that your fingers instinctively know which notes are going to work and which are not - wherever you are on the fretboard and whatever key the number is in. All the great jazz players and all the great blues players know their scales, regardless of whether just by ear or written down on a stave. Just my own view, you understand...