A while ago I posted some stuff about building a six string fan fret bass and here we go! I have also been curious about all the "wood effects tone" discussions revolving around electric instruments. So I will also be building one light weight four string with a spruce neck through, curly redwood body and a "to be determined" top and another more standard material curly maple through neck with ash body and a super rare idunnowhatitis burl top. All will have cocobolo fret boards and exactly the same pickups, pre-amps etc. Then I can make at least one 1-1 comparison to see how much of a difference there is.

So, here are the three necks to start. I usually don't taper the necks until after the truss rod has been routed so I have a parallel edge to work from, but this time I was kind of tight on material and couldn't afford to do that with the two spruce necks. The four string spruce is in the center and has the truss rod and two carbon fiber rods on it. The Maple neck is to the left with the clear plexiglass neck template on it and the one on the right is for the six string with it's template on it.

http://img.photobucket.com/albums/v57/nelson_luthier/trusslayout.jpg

The hot rod truss rods that I get from Stew Mac are slightly less than 1/4" wide. To accommodate this I took a 1/4" core box bit (round nose) with a single flute and ground it to size by "eyeball". Note, this was not a carbide bit! Worked like a charm.

http://img.photobucket.com/albums/v57/nelson_luthier/roundbit.jpg

The maple neck could be routed with a simple fence attached to the base of the router, but the tapered necks needed a little more effort. I cut a straight edge that I could screw and clamp to the neck in an appropriate location so that the collar could ride on it. I used screws in areas that were to be cut off or covered later.

http://img.photobucket.com/albums/v57/nelson_luthier/trussrout.jpg

Then I tapered the Maple neck and routed two channels for carbon rods in each using a fence clamped to the router base and a 1/8" down spiral bit.

http://img.photobucket.com/albums/v57/nelson_luthier/carbonrout.jpg

Now, making a straight scarf is fairly straight forward with a typical neck, but lot's of variables come into play when you have an angled nut with a fan fret. I feel it is necessary to have a similar break angle across all of the strings across the nut and as such it requires a compound angle on the peg head. So this is what I came up with.

http://img.photobucket.com/albums/v57/nelson_luthier/compoundscarf.jpg

The saw left a good but rough cut so I used a good sharp plane to clean it up before joining it to the neck.

Rather than try and duplicate the angle on the neck and try to align it perfectly I opted to dry clamp it where I wanted it and then drilled and inserted bamboo skewers as locating dowels prior to glue up. These won't be seen even if I did drill all the way through because I plan on veneering both the front and back of this peg head.

http://img.photobucket.com/albums/v57/nelson_luthier/bamboopins.jpg

http://img.photobucket.com/albums/v57/nelson_luthier/clamppegheadb.jpg

Then cut off and plane close to shape. I didn't take this all the way down yet since I still have to install the carbon fiber and the filler pieces at each side of the neck.

http://img.photobucket.com/albums/v57/nelson_luthier/planescarf.jpg

Then it's clamp in the carbon fiber. I use rods from Dragon Plate. Good folks and great product. The aluminum bar is a left over from an old Rockwell Unifence. Very straight and stiff to hold things flat as I clamp them up.

http://img.photobucket.com/albums/v57/nelson_luthier/graphiteclamp.jpg

I tried something new this time. I typically glue these in with epoxy, but that leaves a mess and if you don't get the amount just right you can have even bigger problems. This time I used a slow set CA gel. It was soooo easy to apply and had good open time. No mess to clean up except a very tiny squeeze out at the end that cleaned up easily with acetone.

http://img.photobucket.com/albums/v57/nelson_luthier/slo-zap.jpg

Now, those are photos from the last week or so of work. Don't go expecting me to go gangbusters like some people do around here.

All questions are welcome. If I can answer them or not.

Greg N

Very nice! I'll keep an eye on the progress of these instruments, they do sound like interesting projects.

Greg do you use dowels in all your scarf joints? In the last pic the maple neck in the front seem that you use two dowels too.

About the multiscale neck... why not use two nuts? One would be the angled one and the second one at the edge of the fretboard as usually on none-multiscale guitars so you can get the same break angle on all the strings. The second nut would need to be filed deeper though. That way you wouldnt have to make an angled scarf joint. I was planning to do that on a second project I been working on (only on my mind so far) and I guess this is a perfect oportunity for me to ask someone MUCH more experienced than me.

I use locating pins for many operations. The bamboo works great but very small dowels work fine too. I have even used small finish nails and removed them after the glue has dried. If you look closely at the first picture you can see a sewing pin in the maple neck right at the cross hairs of the neck center line and the nut. There is another at the theoretical scale length and neck center at the other end but you can't see it. I use these all the time for many alignment operations. When I get to gluing the fretboards on you will see that I drill for and set these pins in at least two frets to keep things from sliding around as I clamp up the FB. Then it is a simple matter of pulling them out once the glue has dried.

I am not sure I am getting the two nut detail you are talking about. The fan fret is necessarily an angled nut or a series of stepped nuts and frets. Now that would be something. Hell trying to bend a note though!

Greg N

I have had some repair work interfering with these builds, but I did manage to get a little done during the week.

I have been installing the peg head side extensions piece by piece as time allowed during the week and tonight I started bringing them flush with the face.

Here is the fan fret peg head with the filler/wings attached.

http://img.photobucket.com/albums/v57/nelson_luthier/fanpegheadwings.jpg

First thing to do is get rid of the bulk of the material. I do this with a plane and carefully watch where the cuts are going. I like the Japanese style planes for this work because I can rest the toe of the plane on the peg head and that automatically lines up the blade in the proper plane regardless of orientation of the piece being cut.

http://img.photobucket.com/albums/v57/nelson_luthier/fanpegheadshave.jpg

I have to avoid the carbon fiber rods since they will dull a blade with even minimal contact. The final leveling is done with a flat hard block with some 150 grit attached to half of it. This allows me to again index the cut off the existing peg head so as not to change the angle as I grind the last bit into alignment.

http://img.photobucket.com/albums/v57/nelson_luthier/fanpegheadsand.jpg

Even with this system I still have to be careful and watch my layout marks as I cut. It is really easy to move through this process and all of a sudden discover that the line where the peg head meets the nut is no longer square. Or in this instance at the intended angle.

A word of caution to anyone using carbon fiber. The dust from this material is very dangerous to inhale. By all means use a dust mask and if you can have a fan drawing air away from you and outside (where others are not). Vacuum up the debris as soon as you make it and then be cautious when emptying the bag.

Greg N

Looking good Greg!
May I ask who all these are for?
The sixer for Arthur?

where do you find the SLO-ZAP? I've looked at both of our local woodworking shops (Rockler and Woodcraft), so I'm guessing maybe a hobby store that specializes in RC airplanes ... maybe?

I haven't minded the epoxy mess too much, but for cases where I'm short on time this could be a very interesting substitute

all the best,

R

Hi Gabe,
Yes, the fan is for Arthur. The other two will be available once I have them complete and have finished with my analysis of the two woods and their effect (significant or minor) on the tone of the two instruments. You know, there is no such thing as owning just one bass. Should I put your name on one? :smug:

Rodent,
The slow Zap came from Gunnings Hobby in San Anselmo CA. Great model train and RC hobby shop. Steve would be happy to send you some if you can't find it locally.

Greg N

Hard to tell from the photos, but is the headstock at a compound angle? Here's one I'm working on at the moment. No scarf joint, but I really had to put my thinking cap on.


http://www.lecomptebass.com/images/misc/trx5/lec-trx5-mike-05.jpg
http://www.lecomptebass.com/images/misc/trx5/lec-trx5-mike-13.jpg

It really is hard to tell from photos. I tried to do a better job of describing what I am doing but failed after I realized it was becoming an essay that no one would want to wade through. So then I decided to take some pictures that might illustrate it better.

I think these two photo's show what I am trying to say. The one on the left is not a fan fret but it shows the peg head in the traditional parallel to the fret board orientation. Because I wanted the break angle over the nut (actually the zero fret in this instance) to be the same it caused the peg head to rotate slightly out of the traditional orientation to the fret board.

http://img.photobucket.com/albums/v57/nelson_luthier/fanpegheadangleI.jpg

http://img.photobucket.com/albums/v57/nelson_luthier/fanpegheadangleII.jpg

A necessary evil if you don't want to have different break angles.

From the look of your photo you have opted for a more shallow break angle at the treble side than the bass side. Is that correct? Not that one is better than the other. Just curious. By doing what I have done I have the added pleasure of having to predict the angle of the pull of the string not at the face of the peg head but about 1/4" above the face of the peg head as that is where the string will meet the capstan (peg) of the tuning machine.

Greg N

Nice Kanna nelson!

From the look of your photo you have opted for a more shallow break angle at the treble side than the bass side. Is that correct? Not that one is better than the other. Just curious. By doing what I have done I have the added pleasure of having to predict the angle of the pull of the string not at the face of the peg head but about 1/4" above the face of the peg head as that is where the string will meet the capstan (peg) of the tuning machine.

No, both sides of the headstock are at the same angle. That's what gives it that compound twisted look.

How did you cut the angle Bud? By hand like Greg or did you use a jig?

How did you cut the angle Bud? By hand like Greg or did you use a jig?


I established the nut angle, then traced the tilt-back angle on the sides of the neck blank using a template I made for a 13 degree tilt-back. I made two marks on the end of the neck blank where the lines I traced on the sides ran out. I tilted the bandsaw deck so the blade lined up with those two marks on the end. I freehanded the cut and cleaned it up on the belt sander. It wasn't as complicated as I thought it was going to be. I then set up a fence and thicknessed the headstock. I think I had to bust out the hand saw to cut all the way through because of the funky angle. Making the volute on the back of the headstock with the beltsander was kind of a pain, but it worked well.

Hard to tell from the photos, but is the headstock at a compound angle? Here's one I'm working on at the moment. No scarf joint, but I really had to put my thinking cap on.


http://www.lecomptebass.com/images/misc/trx5/lec-trx5-mike-05.jpg
http://www.lecomptebass.com/images/misc/trx5/lec-trx5-mike-13.jpg

that's pretty cool, bud...the stacked laminates like that are often used on building the heels (and headstocks) of acoustic guitar necks.

that's pretty cool, bud...the stacked laminates like that are often used on building the heels (and headstocks) of acoustic guitar necks.


This isn't stacked. That's just pencil lines you're seeing. I must have been doodling trying to figure out how I was going to cut that compound angle. I glue up large, double blanks that I cut two necks from.

Next steps.

Today I pulled out some of that burl I sliced up two years ago for peg heads and flattened it out with my iron. Amazing how easily these potato chips flatten out.

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13a.jpg

The next series shows the face veneer already joined and glued and sanded. I am backing it up with a sheet of black dyed veneer for looks and strength. If you look carefully you can see the pins I use to hold the veneer in place while I clamp up. I locate them where two of the tuners will be so I don't even have to worry about pin holes.

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13b.jpg

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13c.jpg

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13d.jpg

Then I plane off the excess at the fret board close and finish off with sand paper on a hard block. The paper is self sticking and I only put it on half the block so that the other half can ride on the neck for alignment without grinding any away.

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13e.jpg

I made this jig a while ago for routing the truss rod adjustment nut pocket quickly and cleanly. Works slick.

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13f.jpg

I will be putting a black veneer on the back of the peghead as well. This is both for strength and it's bitchin' looking too. First I set up my Wagner Safe T Planer and a jig to taper the neck. Lot's of bass builders these days don't do this but I find a slight thickening as you climb up the neck helps in a tactile way to orient just where you are. Stand up players depend on this so why not do it for electrics!

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13g.jpg

Then I thin down the peg head a bit with the Wagner and finish it off with my little home made drum sander.

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13h.jpg

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13i.jpg

The drum sander leaves a curve that I will use for a small volute detail later. I glued up the veneers in a similar fashion to the face veneer and didn't take photos.

If the peg head details look large that is because they are. I will be leaving these big for the moment and do a final shaping later.

Thanks for looking!

Greg N

P.S. Sorry about changing necks mid post there. Went from the sitka fan fret to the 4 string maple neck. What was I thinking?

http://img.photobucket.com/albums/v57/nelson_luthier/fan4-13i.jpg


That's a slick little machine there. I've been wanting to build one for a long time for that exact job. I've been using a stationary belt sander, which works OK. What are you using for the drum.

Making the volute on the back of the headstock with the beltsander was kind of a pain, but it worked well.

Bud can you post a pic of the volute?

I use this little home made job more often and for more things than my big Delta Power fed unit. If I had to give up one or the other I think I would keep this.

Greg N

Just saw the question about the drum. It is a 3/4" shaft covered with oak and turned true on a lathe. Then I made it even more true by gluing sand paper to a block and running it face up on the table. Since then I have seen people making a series of disks out of MDF with a hole saw and then stacking them up together. Lot's easier than what I did.

GN

Bud can you post a pic of the volute?


I don't have a shot of the fanned-fret volute. I still need to carve the neck. Here's a differrent bass. Same technique. This headstock has a maple veneer on the back.

Is that bass a multiscale? What I want to figure out is (not sure how to explain it in english) if the volute is wide enough to cover at the nut all the fan from the biggest to the smallest scale. I ask all this cause a multi scale have been knocking at my head lately as a second project and never seeing one before so I have a few black spots about its construction that I want to clarify in my head first and one of these are the scarf joint and volute.

I do my volute on an oscilating spindle sander... here's what it looks like on the latest fanned-fret bass I'm working on.

http://sdbguitars.com/neck_fretted_with_tuners.jpg

Sometimes I veneer the back, sometimes I don't. In this case, I decided not to...

That's a well defined volute. Mine typically come out more subtle and I wish I had left them larger.

OK. Back to the build.

I'll put the necks to the side for now and start in on kerfing the fret boards. Easy stuff first. The jig below is the latest in the evolution of my fretting system. Before this I had a simple miter box with a pin locater that worked with templates from LMI.

http://img.photobucket.com/albums/v57/nelson_luthier/fret_jig_pin.jpg

Now I am powered up with a trim saw and a slotting blade.

http://img.photobucket.com/albums/v57/nelson_luthier/fanfrettingsaw.jpg

http://img.photobucket.com/albums/v57/nelson_luthier/fanfrettingpin.jpg

Note the kerf at the bottom of the fence. It allows dust a place to go instead of getting trapped between the fence and the template throwing things out of square.

While this is slightly faster I am not sure it is a great advance over the hand system. Both seem to take more time to set up and take down than to actually do the cutting! The fret boards are taped to the jig with double sided scotch tape. As long as you are careful you don't need to "tattoo" the pieces together.

Tomorrow I will attempt the fan fret. :help:

Greg N

I had a little time to spend this evening so I laid out the fan and made the kerfs on the last FB. After doing an accurate layout with my scratch n chalk system I created a spacer block that matched the exact distance form one side of my trim saw to the center of the blade and used that to set the angle of a simple clamped on fence.

http://img.photobucket.com/albums/v57/nelson_luthier/fankerfingI.jpg

Then remove the block and make the cut.

http://img.photobucket.com/albums/v57/nelson_luthier/fankerfingII.jpg

I love this little saw.

Next step is to cut the taper into the FB. Usually I will just lay out the angle of the taper and then remove an additional 1/8" or so from each side to account for binding. This time though I want to do a tapered binding (don't ask why) so I laid out a 3/32" binding at the nut and a 1/4" binding at the 22nd fret. A simple sled and some Destaco clamps holds it in place while I cut.

http://img.photobucket.com/albums/v57/nelson_luthier/taperfanFB.jpg

The binding will be curly maple. I have some cut that is perfectly quartered so one face has curl and silk. Should I use that for the face or the edge of the FB? Decisions. Decisions...


Greg N

Nice I dig the tapering sled, cool idea.

And edge the figure man! When you're playing you want to see the side since you shouldn't be looking at the fretboard anyway. :)

Oh yeah nice fingerboard on the fan fret. :)
Dirk

When you're playing you want to see the side

That is my gut reaction too, but then I think that the face is where you want it to pop! The silk looks so nice I want to see it everywhere.

The sled is really simple. Notice that the clamps are attached to a separate board. That is so I can move it to various locations on the sled as I use it for different purposes. The fan on this one was much wider than the two four strings so I had to move the clamp locations to accommodate. I have thought of various ways to create a movable base for the clamps and while possible have never taken the time to make one. Just unscrewing and re-screwing is quick and easy enough for a part time builder like me.

Also notice the clamping block between the FB and the Destaco's. Very necessary to support the delicate board as the blade makes it's cut.

Greg N

Moving on with the prep of the fret boards I glued some curly maple binding on the edges. They still need to be cut to final shape, but before I do that I will do the initial shaping of the compound taper. I do that with this jig that I first discovered in an article in American Luthier.

http://img.photobucket.com/albums/v57/nelson_luthier/FBradjig1.jpg

The stack of blocks you see is for various radii as I need. I can switch them quickly since they all have two holes that align with the pins on the ends of the jig. Each one has two different radii and I select the size I want for the nut and body sides and install it as appropriate.

http://img.photobucket.com/albums/v57/nelson_luthier/FBradjig2.jpg

The FB is held in place with vacuum. I really need to fix the two long FB extension sections of the vacuum system but for tonight the main center section held just fine.

http://img.photobucket.com/albums/v57/nelson_luthier/FBradjig3.jpg

I only do this to define the general shape of the FB. Later I will refine this after it is attached to the neck with a long straight block and sand paper.

Next, I want a thin band of black to separate the binding visually from the neck. So I set up a simple router and fence to make the rabbit cut and then glue up the veneer.

http://img.photobucket.com/albums/v57/nelson_luthier/FBbindrout.jpg

http://img.photobucket.com/albums/v57/nelson_luthier/FBbinding.jpg

More coming soon.

Greg N

I have been busy with other things lately but did get a chance this weekend to do some work on the basses. While I do like the structure of a through neck I don't like the look. I prefer a solid top look and some subtle carving too. To that end I relieve the neck at the body to accommodate the top. I also use locating biscuits to keep things lined up as I glue.

Here is the maple neck and ash wing sister.

http://img.photobucket.com/albums/v57/nelson_luthier/gluewings4-08.jpg

http://img.photobucket.com/albums/v57/nelson_luthier/gluewings4-08II.jpg

Next I cut a piece of scrap 1/4" ply to fit around the neck loosely and then super glued more 1/4" ply tight to the neck to make an accurate template.

http://img.photobucket.com/albums/v57/nelson_luthier/topnotchtemplate4-27.jpg

Then clamp that jig to the cherry top for the spruce neck bass and rout.

http://img.photobucket.com/albums/v57/nelson_luthier/routtop4-27.jpg

Perfect fit.

http://img.photobucket.com/albums/v57/nelson_luthier/topfitted4-27.jpg

I cut the top to rough shape and then glued it up in a vacuum bag with a sheet of black veneer between for detail. I forgot to take pictures though. Sorry.:hiding:

Then on to shaping the top. This is one of the really fun parts for me. It's all hand work by preference. Planes, chisels rasps. I set myself up to have low level light coming across my bench so I can better see the shape as it emerges. Slow but satisfying as the wood chips collect around my feet. My kind of meditation. Ohmmmmm.

http://img.photobucket.com/albums/v57/nelson_luthier/shapingtop4-27.jpg

The cherry top with spruce is about half done. The other with the unknown wood top with maple neck will be shaped later with my pattern router so that I keep them as close as possible to each other. This is partly an experiment to see how the two different material choices effect the tone and to what degree.

http://img.photobucket.com/albums/v57/nelson_luthier/startcarving4-27.jpg

The difference in weight is becoming very noticeable. Funny thing though, the Spruce neck feels quite a bit stiffer than the Maple at this point.

Greg N

Doesnt your wife hate having your dog leaving all those chips around the house?? :p

Lookin' good...

Thanks for the comments.

Did some more carving on the body and inlaid the fret boards. Changed the binding too. The tapered binding looked OK but I felt it got to fat at the bottom. So I shaved them off and installed some ebony making a double tapered detail. No pictures now but you will see them eventually.

Since I am attempting to compare two of these instruments I thought it best to pull out my pattern router so that I could get them as close as possible. These things are good for rough in and that's about it in my mind. Not the meditative experience that carving the original was but it served it's purpose.

http://img.photobucket.com/albums/v57/nelson_luthier/patternsister.jpg

Next, Clean it up with planes, rasps and such. I suppose I could get a closer cut on the pattern router but I don't think that would really have made this go any faster.

http://img.photobucket.com/albums/v57/nelson_luthier/levelsisterback.jpg

Greg N

Greg any update with these?

I am feeling a little ashamed about not being further along. Work and life gets in the way sometimes. I also have had a flood of repair work lately that has kept me from working on these. The fan fret has not been worked on since the body was glued up. The two sisters have simple oval dots inlaid and the fret boards are attached. I am in the process of shaping the necks now.

Damn, I just realized that I routed the electronics cavities on the sisters and didn't take photos. I promise to document that process when I do the fan fret.

Greg N

Been working between this and that. I have kind of put the fan fret to the side for the moment and concentrated on the two sister bass'. The fret boards have simple oval dots on them and have been attached. Necks are close to the final shape but still need a little work.

Last night I did a little work on the pickup pockets. I have a jig made from scrap Corian that works for the Bartolini narrow soap bars that I plan to use. It is set up for use with my inlay collar and 1/8" bit. I do this because the outer radius of the Bartolini's corners are less than the 1/2 " of my normal top bearing bit.

http://img.photobucket.com/albums/v57/nelson_luthier/sisterroutpickup.jpg

After defining the outside of the cut I use a forstner bit and my drill press to remove the bulk of the material.

http://img.photobucket.com/albums/v57/nelson_luthier/sisterdrillpickup.jpg

Then finish off with a top bearing bit.

http://img.photobucket.com/albums/v57/nelson_luthier/sisterroutpickupII.jpg

I'll have to dress up the cut where the top bearing bit doesn't quite cut right to the shape of the Bart's but that is an easy task for a sharp chisel.

I have also routed for the electronics and the battery case. I like to use this little dovetailed door detail on the battery case. One screw to secure it and easy access.

http://img.photobucket.com/albums/v57/nelson_luthier/sisterbatterycase.jpg

Much better than those plastic battery cases don't you think?

Greg N

Much better than those plastic battery cases don't you think?

Greg N


well, maybe...if you're into wood and stuff like that ;)

It would be nicer with a magnet instead ot the screw cause I like backs to be as clean as possible and that is one more reason why I like neckthroughs. Do you drill from the battery cavity to the pickup cavity or you go right from the battery to the control cavity? It would be a bit tricky to drill a hole from the control to the battery cavity and through the neck. I guess it could be done if a back or top its going to be used so can be done before gluing those to the body core.

It would be nicer with a magnet instead ot the screw

Been there. Done that. Works OK but I either get too much resistance and can't get it open or it falls out when the player gets too rambunctious (and the RH drops). The little door is sensitive to moisture changes. Take it to a humid climate and you might not be able to get it open without some creative prying.

The path for the battery wires and the bridge ground (if you want one) is routed prior to the top being laminated on. It's a real bitch otherwise but can be done.

Greg N

So, do you cut the battery door before you glue the back on? And if so, how do you do it? If not, same question. I notice that the grain lines up, so it would seem its the piece of wood that came out of the hole.

It's actually a piece that came from the scrap just below the hole. The dovetail cut precludes being able to use the same piece that is removed from the pocket. It is also a very snug fit so there would have been no room for a blade to make the cut either.

I don't typically cut this pocket until after I have roughed in the shape. In a production setting the battery case could be routed in at a much earlier stage, but until I stopped whittling the shape of this particular body I had no idea where to fit the case!

Greg N

I am trying to get the six string fan caught up to the other two. Did some carving on it today and attached the Fret board. As I carve I seem to collect all sorts of different tools and keep them handy at the bench. I stopped part way through and took this shot of the progress.

http://img.photobucket.com/albums/v57/nelson_luthier/Shapingbody.jpg

Yes, I do start with that old draw knife then move on to the larger spoke shave, slick chisel, two smaller spoke shaves, curved violin planes, skew knives and other edged tools. I love watching the shape emerge. Next will come rasps, files and scrapers for the tight inside curves that the edged tools don't do too good a job at, especially the end grain stuff.

Eleonn, Here is a shot for you!

http://img.photobucket.com/albums/v57/nelson_luthier/standinginchips.jpg

Greg N

:D:D:D

Question. In discussing options for the fan fret six my client is thinking it would be a good idea to hide all the controls save for the volume. He says he finds his instruments settings and then leaves them there. No fussing around. What do you guys think? I could use trim pots in the electronics cavity and after finding the initial settings just leaving them there. I can always add typical controls later if need be.

Would this be too strange?

Greg N

Question. In discussing options for the fan fret six my client is thinking it would be a good idea to hide all the controls save for the volume. He says he finds his instruments settings and then leaves them there. No fussing around. What do you guys think? I could use trim pots in the electronics cavity and after finding the initial settings just leaving them there. I can always add typical controls later if need be.

Would this be too strange?

Greg N

I don't think that would be strange at all...many people like the "set and forget" approach....

what you may consider doing, however, is mounting the trim pots on a PC board and then attaching that board so that you can have little holes drilled in the control cavity cover for access with a small screw driver...that way they would be hidden, but fairly accessible for a quick pre-gig "tweak"

I too play with everything 'full up', and this brings up an interesting dilema. Do you just hide it in the control cavity and not have quick access, or do you eliminate all controls except the volume, or do you do the access thru the backplate thing?

I have hooked up my p/u directly to the output jack before and got amazing punch and tone. I have gone direct from the volume pot and it wasnt quite as good, but better than when its going thru everything.

If the customer does in fact want to have adjustability, maybe something like an acoustic preamp control plate on the upper bout would be unobtrusive. Not the preamp, just the graphic EQ type sliders. If they were sunk down a 1/4" or so, he wouldnt be able to hit them accidently, but still be able to nudge them if necessary. And they wouldnt show on the front. Clean look, no unecessary clutter, no accidental tweeking, but quick access when needed.

EDIT: It just occured to me that sliders allow you 'see' where your settings are.

Funny you should mention sliders. That's what I am using on the two sisters I am building along side the fan fret.

http://img.photobucket.com/albums/v57/nelson_luthier/slidepots.jpg

These would work just fine under the cover. Might even be able to mount them so they are just under some similar slots on the back side so you could adjust them with a tooth pick without removing the cover if the need arose.

Hmmmmm...

Greg N

Looking sharp Greg!

Wow, I haven't posted anything about these since May!

I have sprayed the finish and buffed out. Now come the electronics.
http://img.photobucket.com/albums/v57/nelson_luthier/sisters7-08.jpg

I have been told that the mystery wood is Macore. Hmmm. Looks like some of the pictures I can google up, but not like others. It don't matter to me any way. I think it's bitchin'.
http://img.photobucket.com/albums/v57/nelson_luthier/macore7-08.jpg

The cherry ain't looking too bad either.
http://img.photobucket.com/albums/v57/nelson_luthier/figcherry7-08.jpg

Greg N

Those are indeed quite bitchin... I just read through the entire thread and they look amazing.

Greg any update with the multiscale one?

I have shelved the fan fret for the time being. It's an economic thing with the client. He wants to move forward, but I can't do that in good conscience right now. I won't add that debt when I know he is out of work. Needs come first and wants second.

http://img.photobucket.com/albums/v57/nelson_luthier/fanfret7-08.jpg

Greg N

Wow, those sliders are a neat idea..

Looks great. ;)