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Everything posted by Andyjr1515

  1. Actually, as it happens, not much of a violin either! This is a few years ago when I had some Yew offcut left over from a project. I'd always looked longingly at the super-modern LS Designs violins when they first came out and thought, 'well how difficult could this possibly be?' I had a look at some of the designs on the internet and it was the super-slim ones with some nice curves that caught my eye the most. I got hold of commercially available parts like neck, fretboard, chin rest and tailstock and played around with a few paper templates. This was the sort of think I was going for: The geometry is very different to a guitar so I drew out the concept full-size: To get the depth, my plan was to have a ring of mahogany to leave the body as a backless hollow. It was time to cut some wood.
  2. Me too. It's the fact that whatever it is, you have to do it 21 to 24 times!
  3. Yes please! I'm particularly interested in those neck joints. They look very neat
  4. As @ScottR says, that's a pretty sound solution in it's own right. Got me thinking for my next acoustic build...
  5. All looking good, @mistermikev I also use vero board for similar stuff and also as a common junction for multiple earths, etc. Useful stuff. Love the binding jig
  6. Amazing. Don't know which one I like best, but both of them blow me over
  7. Magnificent, @ScottR ! Having asked for a wood carving chisel starter set for Xmas, this will give me some great ideas what chisels are useful for what. I think it would be many years before I could do something like this, though, correct chisels or not!
  8. I wouldn't bank on it. I still haven't figured it out yet
  9. Hi, Seth Welcome to the forum Another sax player! Excellent Not much to add to the above other than to ask - is the timber now fully seasoned? That is, has it stopped moving? If it is and it has, then no worries. The body of a bass is pretty much just a convenient place to hold the bridge and pickups - you can take HUGE liberties with it. You can fill the cracks or just leave them - although I would personally 'wick' thin CA into where the crack disappears to prevent it spreading further. If it isn't fully seasoned, however, I would personally not use it yet. It will keep shifting and that will affect everything. The neck...also a completely different issue. That does have to be the right grained timber, seasoned and without structural flaws. I presume you are using a different type/source of timber for the neck?
  10. Hi Yes - as @ScottR says, I have been experimenting for a year or two on slimmer and lighter builds. There's a thread here on the topic: Hope it is of interest
  11. There are some very expensive bridges. I rarely fit them, even on very expensive basses. There are a host of excellent and affordable bridges around Yes - basically. When I do my drawing, I take the height of the bridge with the saddles at their lowest position and aim for a string, riding all along the tops of the frets to be able to sit at that height. That is, I want to be able to lower the saddles on the finished bass to the point that the strings touch the frets. On my own drawings, I drop that a mm or two lower still to allow for the effect of relief and to allow for the vagaries of the build. I then draw a line from the nut to the highest position the saddles will go and see what the maximum action height would be at, say 12th fret and 15th. If that is greater than my preferred action height, then I know that the adjustment range of the finished bass will be able to get to as low as I could possibly want and as high as I could possibly want. I have a photo of one of my drawings somewhere - I'll try and track it down...might make a bit more sense
  12. Oh - and by the way, the low B is no problem at all these days for short scale. As I say, there are some great strings around nowadays!
  13. Hi, @TheRavenOfDiscord and welcome! Excellent - another bass builder! Although I am personally a guitar player more than a bass player, I have certainly built more basses than 6-string electrics and most of those have been through-necks. In fact, all of my full bass builds have been through necks - although I have made bolt-on neck replacements for 4, 5 and 6 string basses. You talk about 30" being relatively rare. Well, certainly in the UK it used to be, but here there is a growing realisation within a lot of bass players that, nowadays, you can get just as good a sound from 30" basses, you can get great strings for them and they are MUCH easier to play than a 'standard' long scale. It is interesting that nowadays, I get more enquiries for short scale than I do for long scale... There is a lot of wisdom already expressed in the above replies. Re-iterating some of those answers and adding a few of my own: - The end of your fretboard is going to be around 23" from the nut, leaving you 7" for your pickups. That's plenty. Are you going Jazz pickups or P-type? or PJ? - I build my guitar necks and bass necks to the same thickness. It usually ends up at around 21mm /22mm at the 1st fret (spine to top of fretboard) rising to around 23mm at the 12th. That is usually with a max thickness of 6mm fretboard, so it breaks down at 6mm fretboard + 11mm trussrod & trussrod cap slot which leaves me a minimum of 4mm/5mm timber underneath the trussrod - I don't fit carbon fibre reinforcement rods for 4 or 5 string basses unless specifically asked. I do add rods for a 6 string bass - I usually do a 3-laminate neck with the middle one being a 6mm splice. 5-piece laminates are great and I have done them at times, but I've never had a warp or twist issue with a 3-piece. However, I always use quality timber from trusted sources for the necks. I'm usually happy to use any structurally-sound timbers for the body! - I fit a single, good quality 2-way trussrod. I personally think you can introduce more problems by fitting two trussrods than solve them. If the neck wood is straight, tight grained, properly seasoned and in the right grain orientation, and the fretboard likewise is a decent hardwood and flat, there should not be any warp issues in normal use and storage. One last tip. With a through neck, remember that any neck angle needs to be built into the neck before the body is built onto it. Therefore you need to know what bridge you are going to use up front so that you can sort the geometry correctly. Personally, I physically get hold of the bridge first and check the ACTUAL adjustment ranges and then draw the nut/fretboard/bridge lines full size to work out the angle I need to build into the neck blank. Very much looking forward to seeing your build develop! Andy
  14. This is getting better and better
  15. Excellent run-through, Carl, and already looking good. Yes - I did notice the 'bleed' in the sapele. Never seen that before with that particular wood type. Any idea what is going on there?
  16. Well, that depends... Have I? Yes - fitting a ToM-type bridge to an existing through-neck where there were no pickup rings involved, then the low sit of everything sometimes means that the bridge needs sinking. A tune-o-matic bridge is a mightily high piece of kit! Usually, though, the stop-tail then needs sinking in as well to get a decent break-angle over the saddles - and that's a bit of a bummer. Normally, with a ToM-type bridge? No. For the same reason ref the break angle over the saddle, and because pickup rings, where fitted, can bring the pickups pretty high, then I would normally fit the bushes flush with the top. But for a 'flat' style hardtail bridge - especially if the strings are through-body - then for aesthetic reasons nowadays I tend to sink the whole bridge into the top so that is looks integral rather than just a lump of metal bolted on top As a player, back to your original discussion, and if I am playing a conventional flat bodied guitar, then - all other things being equal - I prefer a modest neck angle of around 2.5 - 3 degrees. I find that zero or near-zero neck angle (like most Fenders) can cause my arthritic wrist to start objecting after too much playing. The other factor is, of course, player's preferences to how high the strings lie above the guitar top and that will sometimes depend on the style of player they are. I reckon this is as big a factor of how a guitar feels to play as the neck angle. It is especially important to bass players where they are often supporting their playing fingers with a thumb on the top itself. I'm sure I've said before that everything affects everything when it comes to guitar design and that a project build is often a series of compromises held together by hope...
  17. The above conversations are heading closer where I am coming from - that is, the reationship between the bridge and the fretboard is fixed geometrically...but the top and back of the body around that can be any shape you want So when I am designing for some of the more...er...'unusual' requests that folks challege me with from time to time, I don't really think about it as a neck angle, as such. I am thinking more about 'where does the player want to rest their picking arm'; 'does the back want to wrap round the player's body'; 'where will the instrument sit on the strap - will the fretboard sit at a comfortable angle in all three planes?'. The shape of the top behind and above the bridge, the shape of any carves at the back, the weight distribution and the positions of the strap buttons will all effect those. So, rather than starting with, say, a telecaster, in my head - its design being more about the manufacturing convenience of using a slab of body wood (that just happened to sound great) - I'm more intrigued with what those designer's of the 50's did about playing comfort. If you were going to start with a fixed thickness of timber in the 50's, then how do you make it more comfortable to play? You could carve the wood away around and behind the bridge (sound like a Les Paul?) Or you could get the back to feel less like a table top and wrap round you a bit (sound like a strat?) So a neck angle, as such, relates more to a convenient way of changing the feel of play if you are starting with a 'telecaster' concept of how a guitar should look and feel where the back and tops are a straight line that you can relate to the straight line of the fretboard. But, as a custom, hand builder, you have the freedom to unshackle yourself from this - you can think curves
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