Tiny Tim

Happy B-Day Marty! Thanks again so much for helping with sanding the spalted maple, I haven't made much progress on the bass. I hope your knee is doing well. Tim

Here is one of my favorites http://www.nealmoser.com/mcsguitarindex.htm

I have two sets of the mec gold active pickups, one out of a rockbass and one out of a streamer, no preamp. I would let them go for 35.00 shipped per set (That what I payed for one set the other came out of my rockbass SE). they are both long pickups per set. PM me. Tim

What size carbon tubing/ rod are you guys using? thanks Tim

What did you use for the position line markers? nice work great looking fretless! Tim

please please! continue your tutorial and here is another source for supplies. Tim http://www.fiberopticproducts.com/

Yes he is Tim

I think Mudvayne are the best of the new metal bunch, great bass and drums! Tim

The main difference with bass pickups is size and string spacing, neck pickup are usually shorter in lenght and the spacing between polls is often shorter. I wouldn't use a neck pickup for a bridge in most cases. Are you looking for a more vintage look? You would have many more choices going with two J style or p/j combo, most pickup makers have those styles. I wouldn't pick any of the ones you linked for a project "I" was building. Most basses made today have eather 2-j's, p-bass, p+j, soapbar or other [such as musicman] I suggest you go look at "Talkbass" they have a form, with a section just about pickups. In some ways there are more choices for bass pickups than guitars as far as styles and shapes. Hope I have been helpful, Tim

nice! "I" would increase the distance between the nut and the headstock. Narrow the headstock some or add some angle, taper in or out, to the outside edge. bevel the whole body or binding. Maybe narrow the angle of the v slightly but it's your design and drawn full scale it my look very different and be cool as is! "looks like your typical moser/ bc rich crazy guitars" A good thing in my book, Neal is the man. Tim

StonesCreed, My concerns are, that per the thread on MIMF,( I'm Paraphrasing) the Novax patent has the frets converge to one point but this produces an instrument with flaws and a multi scale doesn't converge to a single point. So many felt the patent was not the technology that they use to produce their fretboards. Many questions were asked of the rep. from Novax with no answers. I have just been visiting all the Bass, guitar and instrument building sight like this great one and reading all the post about multi scale instruments nothing more. I used the"FretFind 2D" before this thread started and it produced a multi scale fretboard layout that looked like my paper try however I only briefly tried it. Tim

Thanks for the welcome, I don't know very much other than I have been reading everything I can about multi- scale instruments because I think it is a good concept. I am torn about buying a licence for a patent that may not produce a fretboard with correct intonation or being fallowed by the patent holder to design the fret boards, or so many felt in the discussion at MIMF. There was alot of math, diagrams and such that I didn't understand, but I feel Mr. Novax brought this technology back to life so to speak. Tim

Hi , Here are some directions I copied of another sight, wish I could remember to give the person credit. I layed out a fret board on paper using this method and it looked right. Just to add, I marked the scales on my paper board for my plans fallowing each string path , a 36"B+34" G in my case for a 5 string bass; then connected the the marks. 8th fret was purpendicular. I haven't built this yet but am gathering materials now. ymmv. Tim Well, here's now I did it - Start with a flat fretboard blank that is more than 3/4 as long as the longest scale length you want to use. In my case, I started with a blank roughly 29" long, considering that 3/4 of my longest scale length (37") is 27.75". You must taper this board BEFORE cutting the frets or else your scale lengths will not be correct. Be sure to mark the centerline of the fretboard before starting to mark your fret locations. Use a fret template program (I used WFRET as found in the archive) to print a template of each scale, in this case 34" and 37". Start by marking the longer of the scale lengths (37") on the bass side of the fingerboard and marking it out. Decide which fret you want to be the perpendicular one (in my case, it was the 6th, but 7th or maybe even 8th might work) and align your treble side template on the fingerboard blank so that the desired fret marks are perpendicular to the centerline. Mark the fret lorations for the treble side. Using a straightedge, draw lines between the marks that correspond with each other (0 with 0, 1 with 1, etc.). This will give you your fanned pattern. Carefully cut the slots with a fret saw, using either a straighedge guide or a variable miter gauge of some sort. Be sure that they align just perfectly, or else they will never intonate properly (this is always the case when cutting your own fret slots...). Raduis the fretboard however you choose... I prefer a compound raduis setup ranging from 9" - 20". First I raduis the entire board to 20", then using graduated sanding blocks I begin working in the compound raduis starting around the 16th fret and working my way back to the nut. After getting al the raduis sanded in, re-cut the fret slots as needed (most will still be visible, but may not be deep enough... some may have faded almost completely; if necessary, use your templates to re-mark the fret locations).