Kiwi

Pickup winding has so many variables its on the verge of a dark art for specific results but it's not difficult to get a decent sounding pick up. There's no harm in mucking about with something if you haven't set your expectations too high.

[quote name='Acebassmusic' timestamp='1377354422' post='2186636']You seem to have listed a lot of things people tend not to like[/quote] [quote name='Acebassmusic' timestamp='1377354422' post='2186636'] I love the idea of combining them all [/quote] It's rebelling against punk.

I think its going to look very classy, even just based on the work I've done to date. The front features some crazy quilted maple. I think Jon might want to do the interesting and tricky bits so I've left him to progress the carved top a bit in my absence and build the bridge anchor unit.

I love Phil Collins's groove playing. I think he's vastly underrated as a drummer but in that clip he's not as relaxed as he has been in other clips. For example his snare isn't far enough behind the beat and it doesn't sit in the pocket very comfortably...compare it to this clip where the playing is much more relaxed (although he's doubling up with...is it [url="https://en.wikipedia.org/wiki/Mark_Brzezicki"]Mark Brzezicki[/url] from Big Country?): [media]http://www.youtube.com/watch?v=OcBKbu35nPo[/media] Also I think the hit hat was too high in the mix at the start of the clip but the engineer sorted it out after the solos 4 min in.

Some of you will know I have been doing a bit of work with Jon Shuker on a bass build idea I've had for a while mainly because nobody makes a bass that fits my specifications. So this week was the day the ideas became more tangible and it also gave me an opportunity to learn more about luthiery. The idea was based on these principles: 1) A wide bodied five string: Ergonomics are a very personal thing...I prefer VERY wide bodied basses as I owned a Jaydee MK Series II for 12 years and it pretty much set the standard for other instruments in terms of comfort. The Pangborn and Alembic I own are the two basses I feel most comfortable on but neither are 5 strings and I definitely NEED a B string in my life. 2) Headless but without a large chunk taken out of the body for the tuners. I also like the weightless balance of headless basses I also have a stash of Moses steinberger necks which have proven to be very stiff and warm sounding. I'd brought a neck over with me from NZ but forgot that I had left a four and a five with Jon anyway. So given we had two five string necks, it made sense to make two bodies and for one bass to have a defretted neck. Part of the design challenge was to come up with a wide bodied design that could be headless but without a nasty great chunk scooped out the bridge end of the bass for the tuners. Jens Ritter provided some inspiration on that front with a special edition headless fretless he'd built some time ago. But Jon and I have developed Jen's great design idea a few steps further in the interests of practicality, tonal options (and, it has to be said, a lack of super deep routing bits!) We will end up with a bass where the tuners will be flush with the back of the basses rather than protruding so they can sit in a case without bending the tuner screws and the tuners will be mounted on a removable tone block for ease of repair or maintenance. I've also admired the Fodera Beez Elite single cut body shape so that kind of set the standard for the quality of curves, especially around the upper and lower bouts. So while I didn't want to copy the Beez Elite shape (not wide enough) I did want to produce a single cut that had the same fluid curves. 3) Aesthetics inspired by a D'Aquisto/D'Angelico jazz archtop: In terms of appearance, I've think jazz archtops are very elegant. So I wanted to borrow some of that 40's Art Deco aesthetic too but without compromising on any contemporary design features. I also think D'Angelico/D'Aquisto make some of the most elegant archtop guitars I've ever seen, and they're not tied to traditional finishes. My favourite uses a stunning blueburst finish. I also have a very distant memory of seeing Daryl Jones playing a stunning (Leduc?) fretless jazz bass with a carved, flame maple top in an 80's Hartke ad. Both led me to choose a carved top in maple with edge binding and maybe an f-hole. 4) Basic sound: warmth with lots of midrange growl and some mellow but clean highs. The standard for this is my Spector NS5CR. It's all maple and sounds very growly with a nice amount of warmth. I wanted to keep some of that but with the growl slightly lower and with a bit more warmth. I've also played a number of chambered and semi hollow basses which also had loads of growl. Mahogany is generally a good bet for lower mid range growl although it can still be a bit of a lottery with the density of wood. Sometimes it can sound a little boomy. So chambering seemed to be one way of reducing the mass a little to remove some of the potential for boom, lightening the weight, make those mids more prominent and provide an opportunity for an f-hole to enhance the jazz archtop look. 5) Flexibility I approached Aaron Armstrong, who makes the pickups for Ken Smith, and asked him to provide a couple of designs based on the Ken Smith spec but with more warmth, same mellow highs and a more neutral midrange. I also asked him to design them so coil splitting was available. I have coil splits in my Spectors and they are really great for emulating close approximations to other basses. I located the pickups nearer the bridge so that the potential for midrange was maximised. I should be able to get a nice burpy midrange with both pickups on, plus a passable stingray sound with the neck coil in the bridge pick up and the bridge coil in the neck pick up on. I don't expect to get a stingray sound, just something that sits in the mix in a similar way. For the electronics, I went to Klaus Noll who has built me variations on his three band parametric eq over the last 6 years. I really like his circuits and also he's great to talk to about various ideas. The latest circuit he's sent through has yet further refinement on the previous versions he's sent so it will be interesting to see what difference the changes will make. So in summary the spec is: Body: Wide shape, single cut, carved top with edge binding. Mahogany core, quilted maple top, flamed maple back, edge binding on front and back. Neck: Moses headless Steinberger 5 fretted and fretless Bridge: Custom made assembly with no hardware visible. Pickups: Armstrong Custom made Electronics: Noll 3 band parametric with customised frequency centres [attachment=142212:DSC09390.JPG] Above, the bass is mocked up with the CAD drawing I produced. It's not to everyone's taste I'm sure, but this is intended to be a very individual pair of basses that feel right to me and are satisfying to look at. Over the next four weeks, I'll post pics here of the build process as I sort through the photos of work already done. More photos will be posted as I continue to complete the fretted bass. The fretless will follow the same process so will probably skip straight to a pic of them both when the second bass is finished. I suspect there's another 48 hours of work left in the fretted. A good 56-62 in the fretless.

The two basses I'm building will be identical - wood from the same planks, electronics and pickups will be both the same also and graphite necks. One of them will have a fretless neck however but it might be possible to swap the necks around once built. Will be interesting to see if they sound the same...

[attachment=142198:DSC09412.JPG] [attachment=142199:DSC09431.JPG] [attachment=142197:DSC09466.JPG] [attachment=142200:DSC09440.JPG] This week was spent with Jon Shuker in his workshop developing and building a couple of bass bodies I've designed. It involved 12 hour long working days mainly because so much care needed to be taken with measurements and making templates. That, AND I had to make life more complicated by choosing to do edge binding, a carved top and back. (Turns out the edge binding was a really good idea anyway for hiding all sorts of router slips!) However my experiences REALLY opened my eyes about what it takes to build good basses. 1) One of the things I wanted to learn was tolerances because different materials have different tolerances on different parts of the bass. I discovered that Jon isn't so much a craftsman as an engineer when it comes to joints. He effectively operates a zero tolerance policy...by that I mean, for things like gaps in joints and routing neck pockets...it's perfection or nothing. My conclusion? Sure we are aware of tolerance issues in 70's jazz basses but now I realise how sloppy even a mm gap in a neck joint is. 2) Operating on a zero tolerance basis for joints and neck pockets TAKES TIME...for example, it took me two hours alone just to measure up and rout the pickup template because it needed to be aligned with the neck properly (and even then I messed it up). Rough carving the top and back took the best part of three hours. (Even CNC milling of a carved top takes a long time to program so for a single instrument there is no advantage compared to doing it by hand.) Jon was also adamant that these things should not be rushed. For the basses I'm building, I've put in 53 hours in 4 days so far and while one body is ready for carving the top and back, the other hasn't had the edge binding or rear facing glued on. My conclusion? Never again will I question how long it takes to make a [i]completely[/i] custom bass (including templates) or hand crafted features like edge binding or a carved top. 3) The price of materials has gone up by 50% in the last 4 years. Exotic woods such as 5A quilted maple and electrical components like dual gang pots are being bulk purchased by Far East manufacturers as soon as they can find them. A modest slab of 4A flamed maple has gone up from 150 quid to 400 quid. Already my Noll preamps have gone from 190 to 300 euros. Hopefully there will be other sources of supply which Jon can help out with. My conclusion? Unfortunately for Mr Aspirational Bass Player, this means that both electronics and fancy woods will push the price of exotic basses through the roof once existing stocks have been used up. I don't want to sound like I'm an endorser, I paid full whack for the week and it goes without saying I recommend the course. If anyone wants more info, feel free to ask. The point I was left wondering about is...given the work and increasing cost required to build a boutique bass by hand, what is it going to do to the market? My conclusion: I think we will be seeing the smaller one-man bands gradually being priced out of the market as the cost of materials becomes more unaffordable for many.

This week was spent with Jon Shuker in his workshop developing and building a couple of bass bodies I've designed. It involved 12 hour long working days mainly because so much care needed to be taken with measurements and making templates. That, AND I had to make life more complicated by choosing to do edge binding, a carved top and back. (Turns out the edge binding was a really good idea anyway for hiding all sorts of router slips!) However my experiences REALLY opened my eyes about what it takes to build good basses. 1) One of the things I wanted to learn was tolerances because different materials have different tolerances on different parts of the bass. I discovered that Jon isn't so much a craftsman as an engineer when it comes to joints. He effectively operates a zero tolerance policy...by that I mean, for things like gaps in joints and routing neck pockets...it's perfection or nothing. My conclusion? Sure we are aware of tolerance issues in 70's jazz basses but now I realise how sloppy even a mm gap in a neck joint is. 2) Operating on a zero tolerance basis for joints and neck pockets TAKES TIME...for example, it took me two hours alone just to measure up and rout the pickup template because it needed to be aligned with the neck properly (and even then I messed it up). Rough carving the top and back took the best part of three hours. (Even CNC milling of a carved top takes a long time to program so for a single instrument there is no advantage compared to doing it by hand.) Jon was also adamant that these things should not be rushed. For the basses I'm building, I've put in 53 hours in 4 days so far and while one body is ready for carving the top and back, the other hasn't had the edge binding or rear facing glued on. My conclusion? Never again will I question how long it takes to make a [i]completely[/i] custom bass (including templates) or hand crafted features like edge binding or a carved top. 3) The price of materials has gone up by 50% in the last 4 years. Exotic woods such as 5A quilted maple and electrical components like dual gang pots are being bulk purchased by Far East manufacturers as soon as they can find them. A modest slab of 4A flamed maple has gone up from 150 quid to 400 quid. Already my Noll preamps have gone from 190 to 300 euros. Hopefully there will be other sources of supply which Jon can help out with. My conclusion? Unfortunately for Mr Aspirational Bass Player, this means that both electronics and fancy woods will push the price of exotic basses through the roof once existing stocks have been used up. So...I don't want to sound like I'm an endorser so it goes without saying I recommend the course but if anyone wants more info, feel free to ask. The point I was left wondering about is whether we will be seeing the smaller one-man bands making custom exotic basses being priced out of the market and falling back on mainly repair work...?

This week was spent with Jon Shuker in his workshop developing and building a couple of bass bodies I've designed. It involved 12 hour long working days mainly because so much care needed to be taken with measurements and making templates. That, AND I had to make life more complicated by choosing to do edge binding, a carved top and back. (Turns out the edge binding was a really good idea anyway for hiding all sorts of router slips!) However my experiences REALLY opened my eyes about what it takes to build good basses. 1) One of the things I wanted to learn was tolerances because different materials have different tolerances on different parts of the bass. I discovered that Jon isn't so much a craftsman as an engineer when it comes to joints. He effectively operates a zero tolerance policy...by that I mean, for things like gaps in joints and routing neck pockets...it's perfection or nothing. My conclusion? Sure we are aware of tolerance issues in 70's jazz basses but now I realise how sloppy even a mm gap in a neck joint is. 2) Operating on a zero tolerance basis for joints and neck pockets TAKES TIME...for example, it took me two hours alone just to measure up and rout the pickup template because it needed to be aligned with the neck properly (and even then I messed it up). Rough carving the top and back took the best part of three hours. (Even CNC milling of a carved top takes a long time to program so for a single instrument there is no advantage compared to doing it by hand.) Jon was also adamant that these things should not be rushed. For the basses I'm building, I've put in 53 hours in 4 days so far and while one body is ready for carving the top and back, the other hasn't had the edge binding or rear facing glued on. My conclusion? Never again will I question how long it takes to make a [i]completely[/i] custom bass (including templates) or hand crafted features like edge binding or a carved top. 3) The price of materials has gone up by 50% in the last 4 years. Exotic woods such as 5A quilted maple and electrical components like dual gang pots are being bulk purchased by Far East manufacturers as soon as they can find them. A modest slab of 4A flamed maple has gone up from 150 quid to 400 quid. Already my Noll preamps have gone from 190 to 300 euros. Hopefully there will be other sources of supply which Jon can help out with. My conclusion? Unfortunately for Mr Aspirational Bass Player, this means that both electronics and fancy woods will push the price of exotic basses through the roof once existing stocks have been used up. So...I don't want to sound like I'm an endorser so it goes without saying I recommend the course but if anyone wants more info, feel free to ask. The point I was left wondering about is whether we will be seeing the smaller one-man bands making custom exotic basses being priced out of the market and falling back on mainly repair work...?

[quote name='paul_5' timestamp='1376733495' post='2178472'] That's not a pick - it's an arrowhead. [/quote] Nah...this is an arrowhead... ...also made by Herdim. Each tip has a different thickness.

I really like Herdim triangular picks...nothing else feels as comfortable. Not a Herco I realise, but I never expected to have a strong preference in picks either.

Right...we ended up having to part company with current developer for reasons I won't go into. However, Ben who manages the server, is going to set something up hopefully by the end of NEXT WEEK!

[quote name='molan' timestamp='1376662727' post='2177613'] How about the black Celinder that used to be the main image on the site home page? [/quote] The one that you now own that I used to own? [size=4]I'm not sure why it got removed to be honest. [/size] Thanks to FP for the nod about the Shuker though...it would be nice to think Jon's got a close relationship with many of us. He's a lovely, lovely chap...as is Chris Celinder!

Erm...

I liked your bass a lot! But I'd suggest getting some custom pickups made. Aaron Armstrong could make you some very sweet sounding coil spitting humbuckers almost identical to a very, very well known US manufacturer of exotic basses for 90 quid each. If he doesn't have the cases available, you could approach a luthier to make wooden cases. Re: preamps, you have loads of options depending on how much control you are looking for and which preamp best aligns with the sweet spots on the bass. I'd change the pickups first and then see how things sound.

[quote name='Happy Jack' timestamp='1376321622' post='2172096'] Not exactly "vintage" is it? I mean, if you're only making it next week, I mean, stands to reason dunnit? [/quote] Don't care. I'll take my modern bass and make my own modern corner for contemporary customs. And it'll be decorated all nice and modern looking and you won't be allowed to play. So there. Then every so often someone will come over to your corner and ask if one of you could play 'Ain't Nobody' by Chaka Khan. Then snort derisively about the lack of a B string and question loudly and rhetorically whether serious bassists still play four string instruments.

If and when I get my backline back to the UK I think I might be putting in a request for a gold copy of the Celinder J's black scratchplate....congrats Nige, nice work Unk.

There is a very good chance I'll be bringing the bass I'm making next week...

Andy told me some years ago that he had some health issues and was intending to scale back the business. For example, sticking to specific product ranges and no longer doing custom winds. It's a real shame he couldn't keep things going though, he has a mountain of knowledge to share.

[quote name='leftybassman392' timestamp='1376160291' post='2170437'] [size=4](Still hoping for Guitarchat at some point BTW.....)[/size] [/quote] So are we...everything is ready to go, we just need the developer to pull finger and set it up.

Clearly it is a gift that he choose to share with us. We should feel grateful and blessed that we are given the opportunity to share the experience of this sincere expression of his inspiration with each other. And it will increase in Value.

Not guilty. The proper link wasn't posted. But it has been now.

Probably the first and last word in air drummers. [url="http://www.youtube.com/watch?v=6Sf_pogZ8jE"]http://www.youtube.com/watch?v=6Sf_pogZ8jE[/url]

[quote name='TomRichards' timestamp='1375475640' post='2162110'] Interesting and its your opinion. [size=4][/quote][/size] No, it's my advice. I know how forums work and I'm doing you a favour. [quote name='TomRichards' timestamp='1375475640' post='2162110'] What you say also would mean that a "noob" you would give as much cred to as say Jess Oliver himself. So, then, absolutely no professional player with an endorsement can comment on anything they use with any credibility? Guess Victor Wooten's opinion on Fodera, or Billy Sheehan's opinions on Hartke, or any of the Warwick bass team carry any cred whatsoever? And my professional service and time and experience have NOTHING to do with my opinion? Rubbish. So, if I say that Markbass, Aguilar or Epifani suck, does my opinion count then? After all, I don't endorse them whatever. Oh wait, I'm sure you will say its because I endorse someone else's product that I'm saying that. (For the record, those companies and Carvin all make some really great, small package 500W amps that are fantastic.) The other interesting thing is that I, like most other bass players who endorse a product (with the exception of Nikki Sixx) do not play nor endorse any product which we haven't used or tested and really like. Putting my name behind a product is putting my reputation with it. I have turned down endorsements with several major amp and bass companies because I have a little integrity. I'm not sure what I've said here that would need "credibility" anyway. I asked for YOUR opinions. I didn't say it was the best, the greatest, blows away every amp on the market, is better then all the name brands and can slice bread and clean cars by itself. I asked your opinion of an amp I now am using and yes endorse. Who knows, maybe an insight here may lead to a better product, or inspire a new model that everyone may be interested in. I like it, and its my preference. [/quote] Indeed. But you're saying that after I've made you aware of the context it might be interpreted in. But, as you suggest, it's your choice. This is all offered without me pulling the hard line and making you aware that this is MY forum and you are a guest here. In that broader context, you could also be seen to be exploiting the good will I am extending you by allowing this thread to continue. But I have chosen not to see things in that way while I see you still still have an opportunity to become more aware. I'm nice like that sometimes.