Jump to content

Voting for this month's Guitar Of The Month contest is now open! Regular members can cast their vote over here:
http://www.projectguitar.com/forums/topic/49008-guitar-of-the-month-vote-july-2017/

 

Andyjr1515

Veteran Member
  • Content count

    1,096
  • Joined

  • Last visited

  • Days Won

    47

Andyjr1515 last won the day on July 21

Andyjr1515 had the most liked content!

Community Reputation

442 Excellent

About Andyjr1515

  • Rank
    Veteran Member

Profile Information

  • Location
    Derby, UK
  • Interests
    Guitar and Bass playing, mods & builds; sax
  • Country Flag

Recent Profile Visitors

1,398 profile views
  1. Finished pics! Ultra-modern bass build

    Thank you very much, Scott - it means a lot
  2. Finished pics! Ultra-modern bass build

    Thanks . I fully accept also that it is a 'like it or loathe it' kind of shape. When we started, I was in the latter camp from a personal point of view. Loved the challenge but would have been the last thing I would personally go for. But now? Well, it FEELS so great and it sits so well and it plays so nicely....hmmmmm....makes a difference.
  3. OK - time to throw down the gauntlet. And yes - it doesn't have the awesome dozens of strings and slanted frets of Knightro's Exploder; it doesn't have the heart stopping effect of StratsRdivine's John Blazy; it doesn't have the beautiful finish, colour or photo of beautiful lady holding it of 2.5itim's N12; nor does it have the stupendous back of boroducci's Axim Alpha; it doesn't even have the ash-ridden loveliness of verhoevenc's Model1 bolt-on.... ...but, ladies and gentlemen, it does, surely, have something.... Love it or loathe it - but you certainly can't ignore it, I present the Psilos ultra-modern bass It is a custom build for a member of the UK-based Basschat forum, Mick. His concept, my interpretation, lady luck's blessing and Einstein's unsolved paradox. Spec is: Scale: 34" Woods: Sycamore / Maple / Ebony Pickups: Under-saddle piezo + hidden magnetic coils (one per string) through an East UK pre-amp/mixer Controls and Tuners: Headless tuner system and full suite of controls fully accessible but hidden from front view Finish: Osmo Raw 3044 Weight: Just a touch over 7lbs Sounds wonderful; sits just right on the strap; sits just as comfortably over the knee Like it or maybe think it's just downright weird, you just know this deserves your vote.... Andy
  4. Finished pics! Ultra-modern bass build

    Wow....I'm very flattered. Thank you very much for the kind words
  5. Finished pics! Ultra-modern bass build

    Well as it took twice as long as the previous one, I reckon it warrants two rounds. My round first, yours second?
  6. Finished pics! Ultra-modern bass build

    Someone asked earlier in the thread how this would sit on the strap. This clip of Chris playing it gives a decent idea - it sits well, with the tuner block wrapping round an inch or two away from the player. It's VERY comfortable It also probably gives a better idea of the sound, even through my rubbish phone mic
  7. Finished pics! Ultra-modern bass build

    And the 'as near as makes no difference finished' shots. Forgive the self-indulgence:
  8. Finished pics! Ultra-modern bass build

    Well - this is pretty much finished I've got to drop the action a touch and finish the finishing on the two hatches but, before posting the finished-ish pics, here's a quick update: Got the electrics and preamp/mixer in: Even with the attenuation shunt in place and the gain at minimum, the piezo was still much louder than the fairly meaty magnetic signal. To further attenuate, I added the extra trim pot you can see in the above picture (blue). Next was to get it to someone with a proper bass rig to balance the volumes of the two sides and to work out how much gain I could add to the magnetics without picking up too much background buzz. Here's a very short clip of Chris - a bass playing pal - running it through his rig. In this clip, everything is at neutral I have a clip somewhere of the difference between the piezo and magnetic. I will post it if it is a decent enough rig. Whatever, Mick - who this is being built for - will have a huge sound pallete to be able to tweak to his exact needs and rig And then, barring the final tweaks mentioned, it's done! I'll post some shots shortly
  9. Set-Up and Use of the Guitars & Woods (G&W) Fretboard Miter Box 1. Introduction The guide will cover: An overview of how the miter box is used Obtaining a square initial datum (generally needed for first use only) Mounting the unit on a bench or board Setting the blade width (generally needed for first use only, unless a different saw is subsequently used) Setting the height of cut (done for each new blank fretboard) Locking the above settings, ready for fret slotting (done for each new blank fretboard) Preparing the fretboard for use in the miter box Positioning and attaching the fretboard to the Fretscale Template Locating correctly the fretboard / template assembly into the miter box Clamping, or otherwise securing, the fretboard / template assembly in the miter box ready for sawing Indexing the fretboard / template assembly ready for the next slot to be cut Removing the slotted fretboard from the template 2. Parts   3. Overview - Principles of Operation It can sometimes be a little overwhelming diving into the detail before you are familiar with the equipment. So, as a very broad overview – and referring to the Parts photographs in Section 1, this is how it works: The miter box keeps the fretsaw blade square, perpendicular and firmly in position. The saw, when cutting, rides smoothly between eight ball bearings fitted in the Guide Bearing Brackets (3) The fretboard is secured to the Fretscale Template (9) with double-sided tape This fretboard / template assembly is placed into the miter box and the Locating Pin (2) is engaged into a slot on the Fretscale Template (10 &11) note: the G&W Miter Box is available with two different baseplate widths enabling fret slotting on wider fretboards, such as those for 8-string guitars or 6-string basses. Fret scale templates are designed primarily for use with the narrower baseplate and benefit from a shim sized to the gap created by a wider base plate. The fretboard is now in position ready for the fret slot to be cut The fretboard / template assembly is clamped, or otherwise secured, in position and sawing can start When the saw spine reaches the top bearings, the cut is complete and the spine (12) runs smoothly on the top four bearings - the saw cannot go any deeper than it has been set The fretboard clamps (or other methods of securing) are released and the fretboard / template assembly is lifted off the locating pin and slid along until the next Template Locating Slot (10) is reached and the assembly locks down over the locating pin in the next position. The fretboard is now in the correct position for the next slot to be cut A short amount of time trying out the equipment will make the above very quickly and easily understood. It is strongly recommended that you try out the miter box with some scrap wood to familiarise yourself with its operation and features before using it on a piece of fretboard wood intended for use in a guitar or bass build.   4. Setting Up the Miter Box for Use 4.1 Ensuring the miter box is squared up This will usually only need to be done once, before the first use of the miter box Loosen the Side Piece Adjustment Screws (7) with the supplied Allen key just enough to allow the side pieces to slide in their slots when pushed Place the end of the box nearest to the Locating Pin (2) upright on a flat surface: Push the two lower Side Pieces (6) downwards until they are flat and level with the end of the Base Plate (1) While holding the Side Pieces flat against the surface, tighten the six Side Piece Adjustment Screws (7) The Locating Pin side of the miter box is now squared up and you are ready for the next step of the set up 4.2 Setting the fretsaw blade width This will usually only need to be done once, before the first use of the miter box, unless a different saw is subsequently used. As supplied, the Guide Bearing Brackets (3) will be loose. If they do not move at all in their slots, ensure that the Guide Bearing Bracket Locking Screws (5) are slackened - using the supplied smaller Allen key - just sufficiently for the brackets to move Referring to step 4.1 above, you will now be pushing the two remaining loose Side Pieces (6) firmly against the fretsaw blade. Insert the fretsaw between the two sets of bearings. Push each of the loose Side Pieces (6) firmly against the saw blade and tighten the relevant Side Piece Adjustment Screws (7) This operation should be carried out with the fret saw in place; the tool has been omitted for visual clarity Ensure that the saw can move freely between the bearings. The blade will now be both square and perpendicular to the miter box base and sides   5. Using the Miter Box 5.1 Mounting the miter box to workbench or board Although it is possible to use the miter box as it is, it is strongly recommended that the box is securely screwed to the workbench or a flat plank or board using the screw holes (8) provided in the base plate Tip - The miter box can be mounted either way round. Mount it so that the main cutting force of the saw blade is pulling the fretboard and template into the side containing the Locating Pin (2). For a pull blade, that will be having the Locating Pin nearest to you and for a push blade having the Locating Pin away from you: 5.2 Mounting the fretboard blank onto the Scale Template Please Note that the following guidelines assume a rectangular fretboard blank. For a tapered blank, refer also to the Section 7 covering some variations Ensure that one side of the fretboard has a flat and square edge. This will be the side that lines up with the Fret Scale Template (9) Tip – If the Fret Scale Template (9) is attached with the scale length showing at the back, it will be easier to ensure that the correct scale length of the two options is being used: Before adding any double sided tape, lay the Fret Scale Template (9) in the mitre box and engage Locating Pin (2) into the nut-end slot in the template. Lay the fretboard blank onto the Fretscale Template(6) and position the fretboard so that the saw position will be at the required distance from the end of the fretboard. Note the position: Using three or four narrow strips of double sided tape, stick the fretboard blank onto the Fret Scale Template (9) in position and taking care the straight edge of the fretboard is lined up exactly with the Fret Scale Template edge: 5.3 Setting Cut Depth There are a number of methods for doing this. This is one method: Raise the Guide Bearing Brackets (3) using the Adjustment Screws (4) Place the fretboard/template assembly into the miter box and put the saw into the bearing guides, inserting it from the side but taking care not to pass the cutting teeth through the small gap between the bearings. Rest the spine of the saw on the top four bearings: Use the Height Adjustment Screws (4) to lower the blade until it is just touching the fretboard. Ensure that both bearings each side of the fretsaw spine are at the same height. Lift the fretsaw clear of the fretboard and remove it. Remove also the fretboard /template assembly. Using a steel rule or vernier, lower each of the four bearing brackets by the depth of cut required: Reinsert saw - ensuring that the bearings are in contact with the saw blade - and tighten the eight Guide Bearing Bracket Locking Screws (5) with the supplied Allen key to clamp the brackets in place. Do not overtighten! Tip – with slight sidewards pressure against the blade, first tighten the brackets on the left, then push each of the right-hand brackets up to the saw blade and tighten those. This should ensure all four bearings one each side are making contact with the blade Ensure that the saw blade runs freely, that there are no gaps between the blade and the four pairs of bearings. You are now ready to start slotting! 5.4 Clamping and Slotting Remove the saw blade and lift the fretboard / template assembly into place. ENSURE THAT THE EDGE OF THE FRETBOARD / TEMPLATE IS TIGHT AGAINST THE SIDE PIECES (6) AND THAT THE LOCATING PIN IS ENGAGED IN THE TEMPLATE SLOT It is strongly recommended that the fretboard is either clamped - or held tight against the side pieces with some scrap wooden wedge strip - so that the fretboard does not move during cutting: Carefully insert the sawblade and cut the slot until the fret saw's spine is running freely on the top bearings Remove the sawblade, unclamp and lift the fretboard / template assembly a little to disengage the Location Pin Slide the fretboard / template assembly along until the next slot on the template drops over the locating pin Check again that the edge of the fretboard and template are firmly butted up to the side pieces of the miter box Re-clamp or wedge, re-insert sawblade and cut the next slot. When finished, use a thin long knife, thin cabinet scraper or kitchen spatula to gently separate the fretboard from the template. Do not try to pull it off – a slotted fretboard is liable to break! 6. Is this all too much? Fear Not! The above guidance is necessarily detailed. With a decent familiarity of what you are doing and a knowledge of the important steps – which this guide seeks to help you with - the reality is that it should take : Less than ½ hour to do the initial squaring up and setting up – this will not normally need doing again Less than ¼ hour to attach the fretboard to the template and set the cutting height ½ hour to cut 24 accurate fret slots 7. And finally, some variations The fretboard does not have to be rectangular – it could be tapered. The template will still need to closely butt up to the locating pin and miter sides. Here, however, it is even more important to find a way of securely clamping the fretboard to the template to prevent movement while the fretboard is being sawn. The optional wide Base Plate (1) that can be used for wider fretboards. With good clamping, the wide variant can be used for any fretboard. The photographs in this guide are using the wider Base Plate.
  10. Finished pics! Ultra-modern bass build

    Their normal pickups are much less diy and include Wal type multi coils inside a standard humbucker casing plus other interesting stuff. These were done for me while the founder was in the middle of moving his workshop. Quite clever in terms of the use of the neodymium magnets - I even have the option to lever one of them off to adjust the flux! Now that really IS DIY
  11. Finished pics! Ultra-modern bass build

    There are actually very few jobs to finish off. So, will it be finished very soon? Well, not necessarily! The remaining ones are going to take considerable care and lots of fiddling about. Not least the pickups. Here are the Herrick custom coils: They are wound individually with different resistances to balance the output of each of the strings. The pole pieces have been put in so that they can be adjusted from the back. And, by golly, this is a delicate, wibbly-wobbly, highly magnetic assembly! "Be careful with the blue wires - they are very delicate", Martin Herrick wisely advised... So probably Martin has to look away at this point - because the first thing I needed to do was get the soldering iron out and desolder the one stable thing on the assembly - the stiff copper earth wire running across the four coils. Why? Well, these coils have to go down into separate chambers so what I will do is solder 4 individual earth wires from the shields to hook up with the collective earth on the output cable. I did a trial fit and marked the position of the cable runs to rout some slots for them to slot into and the join up to the pre-routed cable channel that's sitting under that ebony strip. Out came the router and soon we had some slots: Then I added the four earth wires to the coil shields and attached that to the hook-up wire: Then a quick try, directly linked to the jack, before I start messing about with the piezo and WOW - it works Not balanced yet, but every string is ringing out like...well....a bass
  12. Finished pics! Ultra-modern bass build

    These three or four simple photos below hide a good few hours of toil First of all, earthing the tuner block. I don't know what other people do, but generally I solder my earth wire onto a small patch of copper shielding to get certain and decent connection without the risk of a lump under the bridge! : Then it was the turn of the battery clip and pots. Here's a shot with two of the pots installed and the slimline stacked pot still to do. These first two were the ones with very small threaded areas - the suggestion from one of the other forums to tap an internal thread in a couple of spare machine head bushes worked a treat: And here we are with all three pots installed. Still have to finish the relief carves for the knobs and install the jack socket but you can see here that, from the back, everything is easily accessible. The pot knobs are very easy to use in this position - even the stacked knob: ...but from the front, everything remains hidden:
  13. Finished pics! Ultra-modern bass build

    In the meantime, one of the things to finish off before I give the headstock its final coat of Osmo is the ferrules. I found some unused 6-string electric through-body ball end ferrules and attacked them mercilessly with a file until they gave up the fight and fitted compliantly into the holes: After giving this its final Osmo and buff, it's the electrics installation...
  14. Finished pics! Ultra-modern bass build

    Actually, no Having been over on 'the dark side' for quite a while, the next two builds are going to be back to sanity and a couple of fairly conventional 6-string electrics. Do you reckon I'll get bored?
×