Stub Mandrel

I was being cynical. Let's be 100% honest, different pieces of wood do sound slightly different, but no-one can tell which have the 'richest tonal qualities' until they are made into a finished instrument. Wood is chosen chiefly on its appearance. I doubt any burled walnut or zebrano body has been rejected for mediocre tonal qualities...

I wonder what happens to the wood with rich tonal qualities, full of knots and ugly as sin*. "Actually, Manton made a wonderful sounding bass from 100-year old pine, full of knots, but it wasn't unbeautiful. actually is wood ever ugly? Plain at worst.

No pressure 🤣

After today's second bit of tung.

I ended up taking the DIY option. The lining was a dog blanket 🙂

By gum, you're right, one coat of tung oil cut with white spirit, and it's amazing. I really have to work hard to have the patience to do something like this properly, but it's paying off. Thanks for the guidance and encouragement. Sucked in and touch dry within a few hours, but rather than rush, I'm leaving until tomorrow for the next coat. Just to add, I went for purple over the red around the sides and just onto the very edges front and back. I did a test on some similar scrap wood first (mahogany face ply) and rather than purple it's given a lovely plum colour that looks great grading into red then orange and yellow. Also, and this was a surprise, unlike the red, the purple made the mahogany grain on the sides leap out, and it's a bold s-shaped curve which was quite unexpected. But wow the burl looks amazing with the tung oil.

I've learned a lot about sanding! Patience with 600 grit gets rid of 'smeared' textures left by the original shaping of the body, even though they didn't look like a fault. Also a tip on line for sanding back red/orange after staining, then doing everything in yellow really brings out the paler medullary rays. This pic before adding a touch more red around the corners where there were a few 'thin' patches. Sadly, in the 20 seconds between doing the yellow and taking the pic, the alcohol had flashed off making the figure less dramatic. Hopefully the tung oil will bring it back.

I doubt whether many successful bands don't know what their audience likes. Otherwise Pink Floyd might still be playing Alan's Psychedelic Breakfast as part of their set...

How on earth did we survive in the days before tuners? I used to take an A 440 tuning fork to gigs... When I did get an electronic tuner, it was insensitive, used a physical needle meter, and you had to switch on and select the note with a dodgy sliding switch.

My beef is with the way exotic, figured, scarce woods are lauded for their tonewood properties when they are really used for their aesthetic appearance.

Basically any pedal with plenty of J and O in it.

TC MojoMojo Anything by Joyo

At my last gig I trod on my cable mid-song. That created a more effective and profound silence than any pedal.

Tonight, Phil Campbell and the Bastard Sons, final date of the tour.

What sells well? Looks pretty? Their customers think sounds best? Years of experience? Is rare and exotic? What they have in the lumber room? CITE? Habit? Convention? Independently refereed scientific research?

Randomly found this...

Back to tonewood eh? I'm working on a carefully selected guitar body, mahogany with a maple top. Carefully chosen because it looks nice and no regard for its tonal properties 🤪

Clockwise or anti-clockwise?

I don't know if it's relevant, but my brother is of an artistic bent. He largely gave up on commissions because of this. He still paints subjects that he hopes will appeal to people, and also paints things just for himself.

I think I've been defending considering your audience as part of the creative process rather than "allowing them to dictate your creative decisions". I've interpreted your position as being agnostic to any consideration of how your music may be received; you appear to think mine has been that the artists should bow to any whim of the listener. That's not mine and may not be yours. But I think my attempt to further explore the subtleties of the artist-audience relationship (something I have mused on for 40 years or so) are just flogging a dead horse.

isn't the Boss TU3 also an active buffer? I heard somewhere all boss pedals are buffers? Yes, but you still need a cable from the bass to the pedal. Clearly, only active basses are going to work in a real-world situation.

Time really does sort the wheat from the chaff.

I found my router, and it already had a rounding over bit fitted. Possibly I could have gone with a larger radius cutter, but this one pretty much matches the thickness of the top (about 1/4"). I've sanded with 180 grit, managed to get out any imperfections left by the router and break all the sharp edges. Currently about 3/4 of the way through going over with 600 grit which is leaving it feeling much smoother. Debating whether or not to try a belly carve. I also picked up a set of Chestnut Stains 'samples' so I can do a red and orange 'burst border', then sand back and wash it all with yellow. Debating doing a different colour (black or purple) just around the sides, and whether to do the mahogany back as solid red or as a three-colour burst.

An excellent and challenging example. Someone who has changed direction more times than a terrier man avoiding the LACS... Arc Weld and LeNoise are pretty good examples of self-indulgence/artistic purity. But that said, every album he's produced (except perhaps those two) has been pretty much had a solid recognisable genre behind it, and therefore was very much addressing a particular audience in some way. Even the controversial Trans was explicitly an attempt to communicate something of his relationship with his son, and communication assumes an audience.

We all know precisely where your whistling comes from Mr Blank 😉