SpondonBassed

I like that a lot. There is something satisfying about a good mitre joint. What angles did you use?

It's known as The GAS in these here parts. Welcome to the forum DP.

Yes. I'd like it to be reversible but invisible on the outside save for the controls and a small East badge. I can do it by removing material within the existing cavity. I'm confident that it will fit snugly where indicated with some careful whittling. You can see where my line intersects with the body of the original switch. I have to be careful though. The angled socket means I have to be absolutely sure where the first drilling goes prior to chiselling out to the final dimensions. Up until now I have been working in the warmth of the living room in front of t'telly. For this sort of work, I'm waiting for an opportunity when I can make enough time for it to be worth heating the workshop as it is not on the main heating system. Also, this is risky. I have to be centred, as they say, before I dare power up the Dremel.

I'd say that between you, you'd have a better chance than most of getting something workable and sounding good. Beware though, you will probably find that you are planning your next one even before you finish your first. There are already some SR based projects in this part of the forum. A search pulls up a couple of pages of results.

The main one would be the possibility of making an entirely serviceable bass into a collection of poorly assembled bits. You should perhaps start with a risk assessment. If you are happy to take a gamble you would improve your odds by researching the pages here if you have not done so already. This will help a great deal in focussing on the right suppliers and products. Unless you have someone competent building for you, your own tooling and skills may be the only things that limit you after that. Have you done any of this sort of thing before?

Yes. The DFA switch operates without mains power too. Not many people know this. It's powered by a single PFM pellet that is embedded at manufacture and lasts for the life of the liar instrumentalist that's telling you about it. Actually, the plan has changed with regard to the switch. I need the room where the switch body was in the cavity for the main board on the Eastie beastie in addition taking out some timber from the inside. The plan now is to try and put a little East badge in its place. If I can legitimately do so that is. I must drop John East a line...

Oh don't get me wrong my friend. I spent many years concentrating on trying to make a good High Fidelity system out of second hand stuff and cast-offs as an impoverished yoof. It became my holy grail. Nowadays, sound quality is not such an issue even with averagely priced components in sound systems and the challenge has gone out of it for me. It was a marvel how I actually got to listen to any of the music such was my obsession with removing 50Hz mains hum and building the perfect bedroom speaker set out of knackered valve radios because they had the biggest drivers I could get my hands on for nowt. Now I am listening to remasters of the music I grew up with. Little of it is left uncoloured by the hardware that it ran through. I want to play it that way as well these days and this is where we differ; you are playing original music whereas I am only doing covers. There is little on my set list that would require FRFR. Quite the reverse. I am now playing in the dirt. We just coming at it from opposite directions, that's all. Regards

Sod FRFR! We're bassists not sopranos! If you need something to add to later the Trace Elliot 1818 is excellent. Plenty of room on top for just about anything else you might want... even tweeters (shudder)... and they're so cheap second hand these days because nobody wants to lug the buggers around. (Sorry)

I think that is the biggest part of it. If you aren't delivering a full fat signal to whatever amp is first in line, you may as well give up. Same for fretted. The trick is not to overpower it unless intentionally. But you knew that.

You're GASsing like a proper old Basschat lag now... Well done, carry on.

Well, you can say it's overkill for a hobby bassist but my rig is an Ashdown Combo on top of an 18 inch Trace ext cab in the workshop or the Laney RB3 sat into the redundant fireplace in the living room. I use a Zoom B3. This also acts as an excellent headphone amp for keeping it to myself when I need to. It has many amp and speaker combinations simulated.

I had it the other way 'round with mine. When I put black nylon tapes on, I found the tone suited it much better. I had only changed the strings to limit the wear and tear on a fingerboard that had a black finish just starting to fail in some spots but I liked the change in tone a lot.

How are you stringing it? With flats or roundwounds? If you haven't already given this some thought, I'd start from there.

Quite Skary. Job done.

Give it a minute or two. Remember who you're asking. Heeheehee. Good to see you back on it Jim!

Welcome Bjam.

Welcome iiii.

...and the shelving... and the flooring. You'd be hard put to find more timber per cubic metre in a flippin' tree house! It's all right. We're used to a multitude of splendid domestic grains and textures accompanying your posts by now. It's one of the "perks" of the Build Diaries.

Welcome UN. Good of you to introduce yourself. You already know your way around here so I'll just wish you continued enjoyment.

There's less of it though. I think Andy might have been reluctant to use the original full scratchplate shape because he'd got some nice burl veneer to show off. I like it for that and the fact that it isn't too conservative in its looks yet still recognisable as a Jag.

Danish Oil is about the simplest if you wipe it on and off over several coats taking the nibs off in between with 0000 wire wool. Better finishes are possible too. It depends on how much you want to put into it. I think the most demanding finish would be French polishing. That does not answer your question about staining other than for me to say that most oils will change the colour of the timber slightly anyway. @Andyjr1515 seems to have perfected a good method using ink for staining followed up with a slurry and buff technique to apply an oil (very thin varnish) finish. Maybe he's tried Ash...?

I see what you did there. Have a banana*. *May contain traces of Nepeta Cataria.

You seen this haven't you?

Tidy. I get the Lou Reed vibe too. I don't think it's overdone. In fact it's nice to hear a bass voice in a setting that suits it. PS: The mix sounds good from my laptop speakers. I can't comment on the sound from my main system at this point.