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Andyjr1515 last won the day on April 2

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About Andyjr1515

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

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  1. That top is building up to be quite something @ScottR
  2. Thanks! I ended up with a number of increasingly overdue small (and larger) jobs that needed clearing so I just got head down and got on with them. Took longer than I expected But still here, still crazy, still doing stuff
  3. Thanks! Perfectly good question. Yes - I added a stick on rebate cut from some scrap walnut: They are La Bella Deep Talkin' Bass Flats - Standard 45-128T Short Scale. They sound great and my standard guitar tuner picked up the B fine (always a good check of the strength and clarity of signal)
  4. It's around 6.5mm. Pricewise, well...it's all relative. For UK prices, it wasn't bad. But, then again, UK prices for decent timbers are generally outrageous! It was £110 ($A208) at 6mm compared with a decent flame maple from the same supplier at £120 ($A228) When I was just checking, there was a burl maple drop top (7mm) at £280 ($A530)!! When I'm costing a build, I usually price in that the raw timber alone is going to cost me £350-£400 ($A660 -760). It isn't called by us all 'Rip-Off Britain' for nothing! Yes - I think that Trini himself played a round-horned custom. No doubt some marketing exec got involved at the time and brought out the 'deluxe' with the florentines. Pretty, though...
  5. Thanks, Scott I do like the finished result with purpleheart, but hate working with it. It is very hard, very dry and smells like a shotputters' changing room when the showers have packed in
  6. Is Andyjr1515 going to meet his Nemesis? In fact, if I ever finish this - and to a state that I can enter it into the GOTM - I may as well call it "Andy's Nemesis" As these things often do, it started with a routine enquiry. Would I be able to build something with the body shape of the Trini Lopez Deluxe version of a 335? Didn't have to be a semi - maybe a solid-body, or a chambered thinline...any construction as long as it was the shape of a Trini Deluxe. For those who don't know, the Gibson Trini Lopez Deluxe was 335 based, but had florentine horns rather than rounded ones, had diamond sound holes and a fenderish/firebirdish 6 in a row headstock. Here's a pic of one: "Yes - I'm sure that would be possible. They are big, though. Would you prefer more like the 339 size?" Just to illustrate, this is a 339 size (think Les Paul) versus a full size 335 version: "No" was the answer. "Full size" "OK - no problem." "And could it have a Maestro Vibrola?" (that's one of these) "Don't see why not." "And the Steinberger banjo tuners?" "Yup - they're a bit pricey but they are back on the market" A side comment - they are also the best tuners I've ever used...and they were at one stage fitted as standard on the Epiphone budget version of the Firebird!!!!! "And a multi-laminate neck?" "Absolutely. Yes" "And can the top be ebony?" PAUSE "Ebony? Ebony?? Ebony????? Er...No! Apart from the weight - and this is going to be a mighty hefty guitar in the first place - you just can't get ebony in that kind of width." But I slept on it. Then did some research. And I was sort of right - you can't get ebony wide enough for 1/2 of the immense width of a 335 body. But you CAN get it a few inches narrower. Generally not all black, but hmmm... And what if we had a multi-laminate through neck visible at the top (think Aria's/Alembics and a few others - this sort of thing)? Then you could get something like this... And yes...that's an actual piece of bookmatched ebony because, yes, that's now my new project.
  7. Great job! Last time I tried to wire a semi through the soundholes I had to lie in a darkened room for a few hours to re-compose myself. I vowed I would NEVER do it again. With just the normal number of switches this would be impressive but with this many! Guitar looks splendid too.
  8. Yup - that will all sand out. It takes a while and you feel you are getting nowhere but eventually it will get there
  9. And the finished shots Oh - and just to prove that it does indeed fit in a Hiscox electric guitar case Matt has promised me a soundfile (you really don't want to hear one played by me ) - I'll post the link when I get it. Thanks for looking. I'll try to kick off the next build thread before the end of the weekend : -think semi acoustic vibe - think Trini Lopez florentines - think ebony top EBONY TOP?????????
  10. Thanks! It's a low B but actually the strings that Matt chose (he has another 30" 5-string) are pretty standard weight and felt and sounded OK. I'll dig out the spec when I get a moment (I remember they are La Bellas but can't remember the particular type)
  11. Thanks, Scott Ref the pinstriping, the only actual new one is that one round the hatch. But on this one I actually remembered to add some of the pinstriping that I have done in the past
  12. Hi Apols for being in absentia much of the last 6 months - I had a lot of small project catching up to do and got to the point where it was more important to 'just knuckle down and get on with it, Andy!' rather than ramble on in mega-threads about the crazy way I go about stuff The next project I'm going to do is a corker and I promise I will fully document it, but here's a quick and dirty update of the last full project, completed a few weeks ago. The basic spec that Matt - the prospective owner - gave me was: - back of a fag-packet sketch - 5 strings - 30" scale - single cut - single SimS Superquad - Walnut top - Through-neck - it had to fit in a Hiscox electric guitar hard case He was also happy for me to try a couple of things I hadn't tried before. This was his sketch: He wanted it relatively light...so I chose English Oak (one of the heaviest british native species) for the back My usual notched neck approach: Plenty of chambering, as well as a back scoop. Oh - and some purpleheart just to add a bit more weight : Used the method I've tried before to get neck binding with demarcation stripes for free by using body binding strip : One of the reasons I like through necks - you can be brutal with the body carve. Upper fret access done and back scoop just about to start! : Then to the front to try to take out some of the 'beluga whale' look that single cut basses can sometimes suffer from: And one new gamble experiment - cutting a control plate from the back wood. Before I glued the top, I routed the control chamber from the top to within 3mm of breakthrough, then used a Dremel to cut round the remainder with a 1mm bit: Which gave me a grain-matching hatch: And the chamber of which I would later bind with acoustic guitar roundel purfling strip: Which gave me one of my neater-than-usual hatches : Next post, the finished pics
  13. Thanks for the extra info @GarrettS OK - in general terms, my thinking and experimentation is very much like yours. Over a number of builds, and then a series of lightweight builds (c 5.25lbs - 5.75 lbs for 6 string electric and the above full-scale bass at 6.5lbs) I came to a number of conclusions: - You can basically build a neck. This can hold the bridge, and the pickups, fretboard and tuners - and pretty much everything else is optional - The body is a convenient place to hang the electrics and strap buttons but, functionally, it doesn't actually need to do much else - So the freedom to what you do with the body is immense So yes - the centre of the body of that bass is around 30mm. But even that was for the luxury of having full size pots and conventional fixing of the pickup. This one was pretty much neck thickness for the whole thru-neck body: And yes - this had a slot routed in the top (similar to your thoughts of routing a slot for the back) to slot over the through neck) - so yes, your thoughts are entirely feasible. Other things I noted from your outline spec, and these, of course, are only my own judgements (and never assume I know what I'm talking about) - - left shifted by 18.5cm. Yes - haven't measured it but a Les Paul or ES335 must be about that much? As long as you have the reach it's not an issue. Remember, a Bass is 34" scale length! - 25mm thickness of the solid middle bit. Yes - as long as you can sort how to fix the pickups, there doesn't need to be any wood underneath them - 1cm top wood. As I say, I think that at that thickness, it is unlikely that you will have the top wood vibrating enough to cause feedback issues. On the same logic, of course, it won't be enormously acoustically loud. This one below is heavily chambered as well as having the back carve but has a pretty much standard electric unplugged sound - maybe just a little louder - and sounds just like any other 2 humbucker plugged in. This has a playing weight of 5 1/4 lbs...and that is in spite of the back being weighty english oak: If I'd just routed the chambers all the way through instead of keeping a back on it, it would be been pretty much the concept that you have in mind - a top and sides but hollow at the back. Functionally and sonically, it would have worked just fine, which is why I don't think there is much wrong with your design thinking
  14. I've watched your videos a couple of times now, @GarrettS and still don't see any major 'no-no's', based on my understanding so far. But having said that - because in this sort of thing context is everything, with suggestions that are right in one context being sometimes absolutely wrong in another - I'm not clear about a couple of things: Question 1 - You make one or two references to acoustic sound and unamplified playing. I'm not clear whether this is intended to be an electro-acoustic you are designing or a thinline electric? If it is electro-acoustic, then the top needs to be much, much thinner (it is the vibration of the top that produces the tone with the back there largely to 'bounce' the sound forward). If it is planned as an electro-acoustic, then yes, feedback needs to be considered. Also, the rigidity and positioning of the back plate/panel would need to be considered But if it is planned as a solid-topped guitar (and to me, a relatively rigid 1 cm top says that is what this is planned to be), then feedback, with or without a soundhole, is unlikely to be an issue. Likewise, in this case the back panel becomes largely there to stop the hardware snagging your shirt Question 2 - I'm not sure what cross-sectional shape you are planning for your top? Is it planned to be flattish, or flat along a spine from fretboard end to tail end but curved either side of that, or 'contact lens' shaped The answer to this question influences the bridge/pickup heights and - in some instances - the neck/body angle. In the meantime, I'll drop in a few thoughts on some of your other questions in the next hour or so
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