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5-String Carl Thompson inspired bass


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Funny thing you should mention that. I've done a lot of thought into my motivations and tendencies over the years and decided that despite a lot of my output looking creative, it is in fact highly premeditated and derivative. The old Picasso quotation of "good artists copy, great artists steal" (ironically, also a favourite quote to Steve Jurbs) kind of rings true here however I am far too self-conscious to regard myself as a true artist! "Art without engineering is dreaming - engineering without art is calculating" is another way of looking at this, however this paragraph is dragging out to the point where it seems we just listen to other people about how to feel about things.

It is perhaps also worth mentioning that too many people label themselves as "creative" like it is something that you can get in tins or can get a diploma in. To me, true artists do what they do because they feel compelled to create - the art creates itself.

I'm dragging my fingernails through the wood on my desk waiting for Monday to come around so I can get back to work. No wonder I drank too much vodka last night.

tension!

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Planning, engineering, and finding inspiration in other's work are not the antithesis of creativity. Creativity is all about making something. Where you get your ideas and how carefully you plan and engineer just mean you know where to look for inspiration and know how to make your creation the best it can be.

Your ability to get ideas from many things you see and your ability or need to turn your ideas inside out to find the best way to see them to fruition may be your Asbergers or the Asbergers may be what gives you a more intense focus......

.....whatever, you make good stuff. :)

SR

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The first flood coat of oil went on last Friday and subsequently it has had a thorough wet sanding and levelling.

Now it is in the thin "buff coats of oil every few hours when I have time" stage. So far this is three days of work on regular thin buff coating. Apply oil to a coffee filter paper and apply thinly, rub off with a clean filter, when the clean filter gets loaded with oil that becomes the "loading" paper. Each time I do this, the colour becomes a little richer and the overall finish a lot more consistent and flat. I guess I'll keep doing this until I either run out of oil or the results become less and less pronounced. I do this with a Scotchbrite pad handy so if I come across a small uneven area, I can cut that back and re-apply oil to bring it back up.

Oil finishes are wonderfully forgiving but do need a lot of patience to let the oil do what it does.

finishing1.jpg


finishing2.jpg

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  • 9 months later...

I did, yes! It plays fine however the bridge was a little higher than I would have liked at first. Once the neck settled in under tension, the forward bow allowed me to dial it in better. Definitely go with a neck angle otherwise you'll end up with a neck joint like a '70s Gibson Flying V. Mine is pretty high and could have been lower but I chickened out.

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I did, yes! It plays fine however the bridge was a little higher than I would have liked at first. Once the neck settled in under tension, the forward bow allowed me to dial it in better. Definitely go with a neck angle otherwise you'll end up with a neck joint like a '70s Gibson Flying V. Mine is pretty high and could have been lower but I chickened out.

pics!!! :croudwaits

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I'm pretty crap at keeping up to date with these things. Perfection and endless backtracking through things I am not 100% happy with end up stretching the last 2% of a project into 90% of the total project time....!

So, the original single scale bass is complete save for installing a pre-amp, headplate logo and a final fret level. In use the bass has broken in nicely so it's time to finesse the playability into "working life". I added a Macassar Ebony thumbrest milled to match the edge radius and height of pickup to allow me different timbres from finger positioning.

In my last few days of access to the school workshop, I threw together an old Birch body I had been working on off the same template and a Maple neck blank with a bit of spare Wengé, Oak and Teak. The Birch body is hollowed out to hell and back with a 4mm thick back and reinforcement remaining only for the bridge, neck and pickups. The top is ~5mm thick spalted Karelian Birch.

Compound scale neck of 36" over 35". I'll write about how to design these at some point.

Wider view.

Oak bridge with Teak saddles (not shown) stringing through the body to a brass block in the fishtail (not made yet).

Detail of the top scroll. The the first bass, the upper horn spirals forward.

Thin thin thin. Whereas the first bass clocked in at a 30mm (1,18") thick body, this one is significantly thinner at 27mm (1,05").

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