PlungerModerno

Wow. I'm looking at it and ergonomically it makes no sense. The upper horn/Single cut bout, the neck carve with the heel around the 12th fret...

I think this was made custom for someone who plays the bass in a different way. Perhaps sitting down only, or hung in an odd way standing up (frets 15 - 24 played with no thumb on the back of the neck...

[quote name='6v6' timestamp='1472565518' post='3122153']
Looking very good indeed!

I'll hold my hand up as someone who is considering doing my own build as a result of this and other similar inspirational threads, thanks!
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+1. I've been looking at doing a LP Recording/Triumph bass inspired build at some point - May have to include a little SG contouring, maybe even do a double cut LP . . .

[quote name='blablas' timestamp='1472538030' post='3121845']
You guessed right.
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Yay! Seems like a clever way to get consistant spacing of the string pairs. With a slight pinching effect it should work great!
See diagram:
[attachment=226721:8 String Saddle Pinch Style.png]

[quote name='blablas' timestamp='1472576857' post='3122305']

Saddles are done.


With all the screws and springs.
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Looking good!

[quote name='MisterT' timestamp='1472558267' post='3122065']
I'm at that stage now where I'm getting somewhere. Being a logical sort I'm trying to nail it before I speak to the shop. It's still doing it but I want to be able to replicate it each time and then test with a 2nd active bass - knowing full well that a different bass only gives me a floating reference point rather than anything conclusive. I have plugged / unplugged so many things I need to write this all down now, including where the soundcard gains are and what inputs I'm using.
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Hell yes - document your results. I'd say start with the pickups hotwired to output, then in circuit the pots (passive ones), then with the preamp without boost/cut (just on as a buffer), then with each boost/cut controller in use, keeping an eye on recording levels. And yes you're better to record them with a consistant naming scheme. P.S. Looking at that output jack . . . Try that first before sending any signal through it!

[quote name='MisterT' timestamp='1472558267' post='3122065']
This genuinely made me chuckle as I did at first think you meant physically dropping the bass but no, I'm more likely to cut the midrange
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Ha! Happy to be of entertainment value. Good luck with the debug.

[quote name='tommorichards' timestamp='1472517163' post='3121801']
Assuming the holes either side are for grub screws for height adjustment, whats the rod in the centre for?
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My thoughts exactly!

Emmmm... Let me guess - It's to keep the two strings on the saddle apart?

[quote name='3below' timestamp='1472501056' post='3121659']
This build will be responsible for inspiring a lot of new bass builds, damage to relationships and who knows what else
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+1
It's coming along very nicely indeed. I can see this influencing a lot of people.

[quote name='MisterT' timestamp='1472475630' post='3121380']

...Btw - Plunger - is there a specific sort of plastic that preamps can be wrapped in?...
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Not that I'm aware. I'd go with something, like Twincam suggests - made to be an electrical insulator like heat shrinking, electrical tape etc. Probably not cling film as that stuff generates a lot of static electricity when I use it!
If you don't want to get the preamp sticky with tape or can't find large heat shrink - some kitchen roll will probably provide insulation with minimal static shocks to the components. Keep in mind any handling or application of force (e.g. flipping the bass over and having the preamp move in the cavity) can break stuff - in my experience it usually doesn't unless you do something violent like connecting a battery backwards or dropping the bass (no not like that, I mean actually letting the bass fall onto the ground!).

[quote name='MisterT' timestamp='1472165390' post='3119132']
...I can tell that the inputs aren't overloaded...
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IME If it sounds distorted or overdriven, when using lots of Boost or gain - It generally is. No monitoring or metering can replace listening to a recorded track carefully for issues like transient clipping.
Could be that running two bands at half boost or one band at full you're using up all the headroom. . . any more boost just puts you in the red!

Could be that there's an issue with the board or the wiring/pots too. I'd definately try wrapping that preamp with some plastic to keep it insulated.

[quote name='Rumble' timestamp='1471934611' post='3117001']
Any tips on how to wire the bass so it runs passive? I've looked at t'Internet, but it's not particularly clear.
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Pics will help (hint hint!).
It's usually a case of desoldering or clipping the wires running from the pickups - and throwing on some aligator clips to see what's what!
Come to think of it Barts have a colour scheme. Check out these links:
[url="http://www.bartolini.net/pickups-wiring-diagrams/"]http://www.bartolini.net/pickups-wiring-diagrams/[/url]
[url="http://www.bartolini.net/wp-content/uploads/2013/12/4-Conductor-Wiring-Diagram.pdf"]http://www.bartolini.net/wp-content/uploads/2013/12/4-Conductor-Wiring-Diagram.pdf[/url]

Don't know if it makes a difference as traditional pickup designs run on AC. Unless you have more than 1 coil (e.g. like a split P hum cancelling pickup design) - then you have to wire it consistantly to keep everything in phase.

Not sure how it'll affect active pickups. Might fry them to put them on an active curcuit backwards!

[quote name='Bottle' timestamp='1471626785' post='3114630']
Yes, I had something in mind similar to the Washburn, with a maple neck/fretboard. Bass body would be mostly swamp ash with a maple cap and a contrast veneer to suit (whatever the wood guy can source for me)
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Cool - I mainly mentioned the Stu Hamm basses as a response to Mykesbass comment - He mentioned it is usually the other way around. Either can work great with the right pickups. Matching pickups is key to getting a decent blended sound on basses with two or more pickups.

I think a maple fb with a maple cap can look amazing . . . see below:



These are just some of my top picks (GAS GAS GAS) from the bassdirect site!

[quote name='Bottle' timestamp='1471627290' post='3114634']
Yes, you're absolutely correct, as per MusicMan Stingray 4HS, Sandberg Cali TM4's etc. My only "gripe" with that particular layout is that the MM is much further back towards the bridge. I prefer having the humbucker in it's normal position for a Musicman, with a Jazz-style single-coil in the bridge position to get that "burpy" tone reminiscent of a Jazz bass with the bridge pup rolled all the way up.

Still working on the control layout - whether to go VVT, VBT, Vol-Select-Tone or some other arrangement with coil-tap/split options
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I'd say putting a Jazz pickup behind a MM pickup in the Typical 'Ray location will give you a pretty narrow scope of sound compared to, say a S MM S - putting a Jazz pickup behind AND in front of the MM pickup. I love the neck pickup sound though. If you're not a fan please feel free to ignore!

The original could probably be repotted - assuming it's a wax potted pickup.

[quote name='White Cloud' timestamp='1471519732' post='3113601']
Awesome thread
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+1

Hell yes - you get the sound of a P, a P elite (80's) and something approaching a Telebass - with the right P pickup you could get that ultra fat, overwound sound.

Can't compete with the real deal however:

Have you seen the Stu Hamm sig Washburn?


He's now with Warwick - Here's the ProtoType:
[url="http://kekbfm.com/behold-be-among-the-first-in-the-world-to-glimpse-the-new-stu-hamm-signature-bass-photos/"]http://kekbfm.com/behold-be-among-the-first-in-the-world-to-glimpse-the-new-stu-hamm-signature-bass-photos/[/url]
[url="http://kekbfm.com/behold-be-among-the-first-in-the-world-to-glimpse-the-new-stu-hamm-signature-bass-photos/"][/url]
And the signature instrument:


Which oddly enough doesn't have the usual Single coil & MM style pickup - it has two soapbars!

Cool. I'd say having a neck angle relative to the body will change the feel of playing the bass - making it hang slightly closer with the same shaped body, from what I've felt holding LP style guitars with the angle and some pretty flat backs (like an SG?).

I'd say it's not a major part of the recipie - not as big a deal as bridge placement, and body carve for how a bass will feel when finished.

Sounds logical . . . I'd say it's worth checking the grounding on everything - bass, cables, pedals, and amp & cab - including the power cable/cables!

Maybe it's just the pics, or my eyesight (or screen) failing me - but that bridge looks like one continous piece of wenge to me. If it's not - well done at hiding the join!
It looks great anyway - kinda reminds me of a cross between a Type A hipshot style bridge:

And RIM basses style of wooden string retention:

Coming along very rapidly. In a good way!

How much do plan on whittling down that neck & headstock? Most nut widths I've seen on SG's seem to be 1.5" - 1.625" - If you're going for the full size gibson/epiphone like headstock e.g.





Looking at them they seem to look a little odd with the skinnier 1.5" nut width and full size headstock.

But looking at the this pic of a long scale SG taken from [url="http://www.flyguitars.com/gibson/bass/2000gibsonSGZ.php"]here[/url] it also seems to be easy to get a "chunky" looking nut with what I imagine is a downsized headstock and wideish nut (at least 1.625"). Asthetics aside it's down to what the customer wants.

I would discontinue using that amp untill I was satisfied it was grounded correctly.

Actually - does it happen when you wear a certain item of clothing, shoes or are walking around on carpets? Small electric shocks sounds like it may be static electricity discharging to me!

EDIT: I should say - if your fingers are dry the 9v of most active electronic preamps in a bass isn't enough for you to feel it...
Not so sure about 18v though - you may very well feel that with dry fingers.

10 week turnaround is fast, especially for something with a custom neck profile.

Some real nice basses - and some very to the point demoing. Thanks for sharing.

P.S. I should clarify the comment "[i]very to the point demoing[/i]" I mean you're keeping it focused while remaining fairly casual/natural on camera. Good work. Got to say the 'burst pickups are more my thing - they sound glorious.
Here's a link to what I think they might be: [url="http://www.bass-parts.com/epages/61038859.sf/en_GB/?ObjectPath=/Shops/61038859/Products/%22H%C3%84USSEL-PB%20%28ABS%29%22"]These[/url] From [url="http://www.bass-parts.com/epages/61038859.sf/en_GB/?ObjectPath=/Shops/61038859/Categories/Pickups/%22Haeussel%20Pickups%22"]Here[/url]

Is there a high fret? Buzzing all over means there could be several - or none. One high fret would likely mean buzzing in that area of the fretboard.

Keep in mind all strings have slightly different properties. IME Jazz Flats from Tomastik Enfield need a lot of room to wobble whereas most other flats need less relief.

It should hold for a time - may hold for years if it's not treated roughly. If it does fail - break out the safety goggles and the expoxy!

Glad to hear it worked out for ya!

Looking at the carve of the neck heel transition (above the neck plate on the rear of the neck) . . .

It's probably not a squier.

I think there are two separate but related questions:

1. what does the bass sound like? (signal coming from the jack socket).

2. what does it end up sounding like through your rig, in the room your rig is in, in the context of the band?

If you can figure out the first it'll help figure out the second - but it's the way it sounds with the band that counts. I'd look at experimenting with running the bass in passive or buffer only mode (preamp on with no EQ engadged) and then EQ'ing with the amp or a rack or pedal EQ - usually more flexible than an onboard EQ.

P.S. I won't get into debating the effect of wood on tone or percieved tone - what I will say is different pickups and strings will sound different under different hands and in my experience with different setups (e.g. tweaking pickup height and varying fret clank from slight adjustments in action & relief in the neck). A direct solution might be a parametric mid - or just finding a setting where cutting highs and lows on the bass, and tweaking low mids and/or high mids on the amp gets you where you want to be. Also as a Jazz I'd recommend playing with one pickup on most of the time - But then I like Jazzes in "single coil P bass" mode myself.