SpondonBassed

I am not sure about you being at a loss. If you feel that way, fair enough. Do bear this in mind though; Although I'd love to appreciate things for what they are without looking under the bonnet, so to speak, it is just not in my nature. I envy the ability to not question what makes it tick. Don't ever change Mick. We wouldn't have the sense of balance that we currently enjoy without the purely aesthetic viewpoint.

Now that makes more sense to me than the polarised views on foam muting that are sometimes expressed, as if from on top of a soap box.

Is that like an orangery? I'd hate to have to clean the floor in that room.

The Musicman system requires that you stop for setting it doesn't it? If palm muting is off the cards and you aren't able to instinctively mute with your fretting hand, the gadget might help To me it just seems like more paraphernalia to distract from inadequacies in my technique. Oh, and I bet it's shyte for metal.

That neck is a piece of art just by itself. I love the engineering. Normally such clean lines can only be achieved by putting a block of metal into a five axis CNC milling machine and relying on software. It's a credit to your correct use of hand and machine tools in combination. I like the thread inserts too. They contribute greatly to the sense that this is a soundly made instrument.

Is that the TAB for it?

It reminds me of the scene from Day of The Triffids when they look out to see the house is surrounded... Just imagine if you could animate the legs on those stands.

I believe wraps are good for metal.

They've heard about your meat pies haven't they? (All those spare necks and body parts you have scattered about the place)

I don't want to put a dampener on things but I already do that with my palm.

That's got to be the best name drop I've heard this month! (Not taking the weewee or anything like)

Squeaky bum time then. Before you mark out the cut, be aware that jazz pick-ups are not all to a standard size. Sometimes the lugs are placed differently as well. There have been a few comments on the issue in recent build topics. Until you have the pick-up in your possession it would be wise not to commit to any dimensions that you have been quoted.

Thanks. That's reassuring. The two stage retention system inspires more confidence than either stage on its own. It's hard enough to get a decent range of DBEs to choose from in standard scale length and even more difficult to get a set of five. So far, I've not needed to put a clamping mod on either of my paddle basses but lots of folk do. I'd favour your clamping arrangement over one grub screw per string if it came to. PS: It's all come together well. Although unfinished, it looks nicely proportioned

Is that two strings per clamp Jez?

A volute! Respect.

It might be worth taking a look at a kit build or even making one from scratch. I'm sure you will find the Build Diaries of interest even if you still intend to buy one off the shelf.

No shortage of ideas to tease out then. Good man. I'd say you're right about necks being the challenge. If you think, the neck is what it all comes down to in the end and like the Chapman Stick, all you need is a beam with anchorage for strings and pick-ups in between. The body is dressing to a degree.

It looks grand. I think you've done well for a first build. If you think about it, it's two builds. The bass and the workshop itself. I'm wondering what's on the shortlist for the next build.

Superb detail. Even at this stage you can see depth and texture to the dragon.

Minder, the nephew years? I remember it. If all the years that Dennis Waterman was in could be likened to cheese, the follow on nephew years were merely yoghurt. I like the bass popping in the theme tune.

Welcome Zal.

Welcome NoTrebleNoMid.

That's interesting. Will you be routing the J cavity yourself?

I was a miserable young git and suffered a bit with dysthymia. Now that I'm past 55, I feel I am in my element and I'm loving it.