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Found 2 results

  1. From the album: Prostheta's Past builds

    Set-neck Birch bass in paint....
  2. A few weeks ago I started working on a pair of basses based around the old Gibson RD style from the late seventies/early eighties.... The basis of the Gibson RD was not too far removed from the classic Thunderbird design, however the through-neck of the Thunderbird and Firebird were eschewed in favour of the more familiar Gibson set-neck approach. The hardware was typical of Gibson basses at the time being a three-point bridge with its own little quirks. The two configurations ("Standard", "Artist") came passive with small soapbar humbuckers or active with a full Moog-designed filter circuit and larger low-output humbuckers respectively. Following the weirdness of the seventies, the originals were all-Maple contrary to the general Mahogany madness usually associated with the Gibson name. These are certainly not authenticity builds, however the design that I ended up with in CAD is not too far removed from the original. As usual, the essential underlying design was put through the "me filter", adding aspects I am more comfortable and familiar with such as volutes, scarf joints for stability, etc. The specification for each instrument is fairly different despite the same underlying design: RD Antrasiitti Body Two-piece Finnish Birch, 40mm thickness Gloss black paint (possibly Nitro) Rear electronics cavity Black pearloid pickguard Neck Finnish Birch neck, laminated from three vertical grained pieces Paperstone fingerboard Nickel-silver frets (2.8mm crown width, 1.4mm crown height) 35" scale 13° scarfed headstock with volute Two-way truss rod Neck thickness taper from 20mm at the 1st fret to 22mm before the heel transition kicks in Fibre-optic side fret markers inlaid in Sterling silver ferrules (white LED source) Electronics Guitar Logistics A8 blade humbuckers in chrome covers (all credit to RestorationAD for the work on these!) Custom differential buffer pre-amp Dual vol/tone RD Hiillos Body Two-piece Sapele, bookmatched curly Birch drop-top (40mm overall thickness) Cream/black 2-ply binding Gloss black back, tobacco burst top (Nitro) Rear electronics cavity 4-ply BWBW pickguard Neck Sapele neck, laminated from three vertical grained pieces Indian Rosewood fingerboard Nickel-silver frets (2.8mm crown width, 1.4mm crown height) 35" scale 13° scarfed headstock with volute Single-acting truss rod Neck thickness taper from 20mm at the 1st fret to 22mm before the heel transition kicks in Fibre-optic side fret markers inlaid in Sterling silver ferrules (flickering red/yellow LED source) Electronics NOS Gibson series 3 humbuckers (originals from a Standard) Custom differential buffer pre-amp Dual vol/tone My usual methods apply here - the instrument is drawn in a flattened top down state with no allowance for perspective distortion of viewing an angled neck or headstock. This is then translated to a side view where actual neck/headstock geometry are added in, before adjusting the top-down view to account for the distortions. This is done specifically for creating the body template and defining neck-body transitions only. The neck and headstock templates are "disembodied" and treated as seperate entities. I always draw only what is needed in CAD....this is functional rather than artistic!
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