Jacqueslemac

More pix: He says he plans to start the four-day oiling process on Friday. This should bring the grain out even more.

To be honest, I did mention it last year, but hadn't done so since. I had suggested him having a go at a German carve (like PRS does) on the front to show off the layers of the laminate. For the multi-layered one, I just told him to push the boat out and see what he came up with, so if he's done a rear carve, that's fine by me!

And now for some photos of the olive ash body: Just going by the photos, I'm a little underwhelmed by this one, given my main bass is this one: But I'll reserve judgement until I've seen it for real.

More progress. The (I think he said 27) layers of wood have been glued and topped with a layer of rosewood: The layers have been rough-sawn into shape: He's started sanding through the different layers on the back: ...and routing the front for the pickups, bridge and neck:

Last weekend was the first gig since I told the band I was leaving, so it was a bit of an odd one. Everyone (bar the newish drummer, who I've failed to find any kind of rapport with) said they were sorry to see me go. We'd been told all we needed to bring were mics, stands and monitors and could use the in-house PA. We spent ages trying to get all the mics to work through their PA and failed, so the drummer and I had to go without. The monitors wouldn't connect either - and one of their monitors was connected by a very dodgy connecter (little castle connector that kept falling out). In all in all, we weren't happy with our on-stage sound, as you'd expect. We hadn't practiced for a few weeks and it showed. A few messy finishes and some ropey starts too, but we eventually found our feet. It was also my first gig since my Orange Bass Terror had been mended. However, it kept fading out every couple of minutes for a bar or two and then faded back in. Disaster! Luckily I'd taken a back-up amp which was already plugged in and ready to go, so I was able to simply swap my lead from one to another between song. No-one even noticed (the other is a Hartke 200w, which just shows how much notice people give to tone at a pub gig!). The pub was moderately full (and strangely there were quite a few girls there too), but the vast majority of people there were those we'd attracted (friends, work colleagues etc). Given that the place advertises itself as a music venue first, pub second, goodness knows how they keep going. We finished to polite applause (no encore) and then the pub emptied within five minutes. On the plus side, we didn't have to play Sex on Fire or Living on a Prayer! All-in-all, I'm glad I've only got one or perhaps two gigs left before I'm off to pastures new. ...and the amp is back at the repair shop. I hope it's ready and properly fixed for Saturday's gig. I'll be taking my back-up again and at least we'll be using our own PA.

Why not just join the Musicians' Union? You get cover for public liability while you're gigging too, just in case you have someone's eye out with your headstock or electrocute someone.

Alex has started on the CNC machine to make up the jig from which he'll make the new body: And here is the jig starting to take shape on the bench: The best bit is that the wood has also arrived:

Talking of the marketplace, my nephew has a Line 6 amp he's trying to sell. And he lives just outside Lichfield too... Oh and welcome, by the way!

I'm staying overnight (for work) in Lewisham in a couple of weeks, if that's any good.

A question that - hopefully - hasn't got anything to do with valves, but one of you more technically-minded bods may be able to help me. Last night my amp stopped working. The little orange light went out and the fan stopped turning. I've changed the fuse that's located by the input for the kettle lead and I've changed the plug fuse but there's no power getting to the amp. What do I look at next, please? Could it be something to do with the valves and, if so, how can I check if they've blown? A visual inspection suggests they're both fine.

I've finished it now. Who's next?

My Nirvana black Corvette is the one I've had the longest and I bought it mainly because I couldn't find a natural-finished one. To cut a long story short, I came across a young luthier who is just starting out and, although he is building acoustic guitars, he does quite a few replacement bodies. An example: I've decided to bite the bullet and commission him to build a couple of replacement bodies for me. The first one will be a straight replica in olive rippled ash: But... I've also decided to let him loose on something slightly different. It'll be the same Corvette body shape, because it's my favourite of all the Warwick body shapes. However, it'll be a constructional veneer (i.e. layers) of Mexican rosewood, zebrano and brown oak. The layers will be sanded to create a "burst" effect and the control knobs and strap buttons will be recessed, also revealing the different layers. He's also going to experiment to see whether a German carve (a la PRS) will look good. I've asked him to take plenty of photos as it develops.

I've watched it now. Just waiting for the address and I'll post it.

Yep, send me your address.

I have a very lightweight Zoot cab, which is handmade in Britain I believe. I can lift it with my little finger (it's easier with two fingers, mind) and it has a Celestion 1x12 speaker inside (plus a horn).

The best way I've found to rein in GAS to stop it reigning (sorry, my pedantry got the better of me) is to gig more. The more I'm playing in front of people, the more I have to rehearse with the band and the less time I spend trawling the "for sale" forum. Someone on here once said that GAS is a substitute for gigging and I think they have a point.