Kiwi

So after the binding had been taken down to the finished thickness of the outside edge of the carved tops on the front and back, it was time to do the pick up routing and some rough shaping. THe pickup routing was, not to put too fine a point on it, a complete pain in the butt and took most of that morning to do. I tried doing both pickup routs in the same template but the working template shifted slightly while I was routing the master and it looked a complete dogs breakfast. So I stuck with the single template and while there was a shift of a millimetre or so, it didn't look noticeably out of alignment. [attachment=144762:DSC09435.JPG] We also routed the f hole template but discovered another boo-boo. The control cavity needed to be a certain size to accommodate the electronics and the wall we created between the cavity and the lower chamber ran directly underneath the lower f-hole. Of course, we only realised this after gluing the back facing on! We also forgot to route the control cavity lid out of the back facing to ensure matching grain. But in our defence, it was midnight when we glued the back facing on and we'd been working since 9am that morning. Our brains were fried and we didn't want to stay any longer in the workshop than we had to. So we dispensed with the lower f-hole completely since we couldn't make it work symmetrically. We also had to use a lid for the control cavity from the same piece of wood that was used for the back facing. The grain didn't match exactly but hopefully it wouldn't be too noticable once the colour coat had been applied. The next morning was the last day and it was time to do rough carving for the tops. For this, I used a half round rasp. The rounded side seemed good for getting depth quickly and the flat side seemed good for flatting out surfaces. So the rounded side was used to carve depth-setting channels that connected the outside edge of the body to the inner limit of the carve. [attachment=144757:DSC09452.JPG] After the depth carving had been done, I went around with the flat and joined the valleys together into a single, continuous surface. During the carving, a part of the edge binding came loose in the tricky lower cutway. So I had to reclamp that using a pencil to apply pressure in the right part of the curve before I could start on the back. [attachment=144765:DSC09458.JPG] The valley carving and flatting was done for the back as well and luckily the control cavity lid was a snug fit so could be carved in situ also. [attachment=144763:DSC09464.JPG] The lower horn gave a nice indication of what the rest of the top might look like on completion. The carve won't be as deep as a PRS but hopefully it'll be enough to at least catch some highlights. [attachment=144764:DSC09466.JPG] After the rough carving and flatting, we needed to route the underside of the f hole so that it at least had the appearance of consistent thickness even though, in reality, the top would be thinner at the edge and thicker in the middle. Jon set up a small router for me and I whizzed it around the underside of the f hole with satisfying results. I was in two minds about whether to edge bind the f hole so decided to leave it while I focussed on finishing the rough shaping of the tops.

At this point it started to become clear that I wasn't going to be finishing both bodies by the end of the week. So I prioritised the fretted body to work on in the hope I'd have at least something to take home. We skipped gluing the back facing on the other body and went straight to the edge binding. Jon sawed the edge binding from plastic sheet so it was 6mm wide and long enough. [attachment=144737:DSC09444.JPG] I glued it in the routed channel and held it snugly in place with masking tape. This was done to both the back and the front faces of the priority bodies so took a while to complete. [attachment=144738:DSC09445.JPG] When the glue had hardened there were still a few places where the binding was loose so I reglued and clamped those. The tight radiusses and curves around the lower horn were the most difficult bits to stick down and the inside curves of the cutwaway needed some lateral thinking when regluing and clamping. When the regluing was done, it was necessary to take the edge of the binding down to the same level as the surface of the top. So I used a file to achieve that. [attachment=144739:DSC09446.JPG] A router was used next to take the binding height down further to the finished height of the top around the outer edge. This bit was messy as I was pelted by both the usual wood chips but also white plastic chips from the binding. [attachment=144740:DSC09447.JPG] The whole process was repeated for the back of the body as well so we ended up with a body with complete bindings and facings.

I think there's another three days work in the first bass. Probably another 4 in the second because the back facing and binding needs installing.. Most of the time has been taken up with making templates.

Well I'd better get on with the next installment then... OK so last time we were fitting the neck in the template and checking for ZERO tolerance before committing to routing a neck pocket. So we used the working template to rout a clean master template and then centred that on the bass body [attachment=144688:DSC09434.JPG] and routed out the neck pockets along with the control cavity. [attachment=144687:DSC09433.JPG] Then, it was time to look into routing a channel for the binding around the outside of the bass body but first the glue drips had to be sanded off and any flat spots smoothed over by hand. [attachment=144691:DSC09439.JPG] This was to ensure the glue bumps don't end up being repeated in the edge of the binding channel. Routing the edge binding channel was relatively straight forward but needed the use of depth stops to ensure I didn't go too deep. It was a bit tricky around the lower horn due to the lack of a stable platform to run the router over. While there were a few heart stopping slips, luckily there was nothing terminal! [attachment=144717:DSC09442.JPG]

The bass doesn't move if its in a thick gig bag. There is foam padding at either end of the bass safe. In fact, its better if there are some gaps inside because they will allow the safe walls to flex with any impacts without affecting the instrument.

As has been suggested already, don't bother with putting it in the cabin. There are so many things that could work against you at the last minute. Invest in an [url="http://www.amazon.com/SKB-Electric-Wheels-Clamshell-Design/dp/B0002GO864"]SKB bass safe[/url] and you won't need a hard case. I use one and have taken instruments from UK to NZ and back again via Thailand, Malaysia and Sydney as well as Dubai and Spain. Make sure you get the mark II version though as the mark I latches sometimes need bending back into shape if they've been closed on an over full consignment. I tend to use budget gig bags which aren't as thick as the super delux versions and have managed to get two instruments inside. It has wheels so you don't have to carry the full weight.

I just hope they have left the preamp section sounding neutral like on previous amps. Nice, clean tone and jaw dropping levels of undistorted low frequency volume is what has made Mesa's bass amps so good in the past.

Andrealinn III Home built active wedge cabs Self build headless 5 string basses Status Series 2000 5 string Sei Custom Headless (with my body templates) [quote name='Tankdave' timestamp='1379854878' post='2217420'] A 5-string that balances perfectly, so probably another headless. [/quote] Check my build thread Honestly though, I need to get rid of some stuff.

Ideally, we'd need a main room, an auditorium and a jam room with satellite isolation booths for demoing of loud stuff. A music studio complex would be serious hiring quiddage though, I'd imagine.

[quote name='Jimryan' timestamp='1380039382' post='2219959'] First thing, I pulled the frets out. You've got to remember that initially, this was just a mad idea. I didn't expect anyone to take part and for it to be laughed out the forum. The bass was effectively decommissioned. However, I do see what you're getting at. Personally, I'd suggest either re-fret the end, or fill the gaps and have the end a "prope" defret. [/quote] I think its more about the intentions of those involved being taken seriously with an instrument that is at least functional. However, given this is your thing, it's your call. Frets are easy enough to reinsert. Five should take about an hour to install along with levelling and dressing the whole neck. [quote name='Jimryan' timestamp='1380039382' post='2219959'] if a London member wants it for the night (there's enough of them), then let them use it. Lets use this time, to get it around the capital before it hits the road again, this way it doesn't keep darting to and fro. It does London, it does some members gigs there, the celebs get in touch, we meet them, we ship it out. [/quote] This is a great idea. I'm totally stunned and impressed by what you have achieved so far Jim.

Me too! Another visit is being discussed with Jon for the start of next month. I still have a load of photos to post up though so I'll take a look at them tonight.

If there was a limit on the power of amps in the main hall, that might go a long way. Say nothing more than 60w or the equivalent loudness? Then there could be a separate room for people to take their stuff into if they wanted to try something out at full volume. Alternatively one of them sound level detector thingies connected to the power...

I'm gonna bring a nail gun to the next one. Anything valuable...clak-toosh. Wal Mach II? Clak-toosh. Alembic Series II? Clak-toosh. PreCBS custom colour Fender Jazz with matching headstock? Clak-toosh. Just to be safe, you understand.

Guys, I hope there are no perceptions that the working bass punter is being snobbed in favour of glamourous, name bassists. I'm pretty confident that isn't the case. I'd suggest we can flick the bass around to the other punters once Lars has worked his incredible magic. This isn't just good for the cause, it's good for Basschat too. It might make playing the bass even more special for SOME of the punters who come after the big names. The lack of frets is really disconcerting though. Who pulled those out?!!

[quote name='ras52' timestamp='1380032599' post='2219841'] You should have secured it, somehow... [/quote] Yeah, there was gaffa tape in the tombola prize list too. We could have gaffa'd the velcro and velcro'd the gaffa...just to be safe, you understand.

[quote name='Sibob' timestamp='1380031029' post='2219800'] Ooo, also, I won some velcro in the raffle....those who know me will understand how useful this is [/quote] So THAT'S where it went...

[quote name='BigBeatNut' timestamp='1380027908' post='2219716'] Since, collectively, we have a clear need for some people to just blast away (whether slapping or not) and also play at talking volume (while setting up effects or whatever) why not, next time, just set clear expectations for each room ? Say, designate the big hall for talking volume, and the jam Rooms (or one of them) for max volume workouts ? With clear signs so we all know what to expect where ? [/quote] How about a dedicated room for monster rigs and loud playing (with a health warning)? I stayed out of the main hall and mostly kept to the jam room and I never needed to wear my ear plugs. Because we could all hear ourselves, it was an absolute pleasure to be there.

Oh right Sir...well I'd better crack on with it! Edge binding next...

This line has been expected for a while now. It seems like they've achieved the impossible... I note in the user manual there is mention of the Strategy Eight:88 also. [url="http://www.mesaboogie.com/manuals/bassProdigy_130920.pdf"]http://www.mesaboogie.com/manuals/bassProdigy_130920.pdf[/url]

Some really classy gear there. I'd never heard of TC Ellis before but they seem to make some astonishingly good value instruments! Their Mantis II guitar was very nice.

Ellie Goulding's Halcyon Days - I really don't like the marketing hype around her but musically she just keeps getting better and better.

[url="http://www.youtube.com/watch?v=R6Mj1Us13Yk"]http://www.youtube.com/watch?v=R6Mj1Us13Yk[/url]

Daft Punk. Nile worked his magic on the tracks he was involved with but the rest of the album was back to DP's usual slow melancholic minimalism. I was bitterly disappointed.

Yes, some higher gain preamp tubes would probably do the trick.

I don't know who owned the Hughes and Kettner Bass Base 600 at the SE Bass Bash on Saturday but it sounded fantastic through the SWR Triad.