It feels good to be here

[ON the ONE]

That's more like it. Thanks guys for the idea! This feels very comfortable. I cant wait to play it!

[pilotjones]

Nice. Like a topographic map.

[bakerbass]

Just subscribed. Love it.

[Hopkins]

Its definitely different. The craftsmanship is top notch, but I'm not sure if I like it or not aesthetically.

[miziomix]

Cool. It looks interesting and different. I would take inspiration form that detail and develop an overall design consistent with it. This might end up with a novel look.

yeah... I know... I hear you

[ON the ONE]

Miziomix, I think you're right about shooting for an overall asthetic. I started by just playing around with the steps for the heel but it almost seems isolated or out of place with it on the one area only. Next time I will organize steps to fall into various contrasting woods. I may do some steps elsewhere on this instrument but it quickly gets too busy looking. I think the look of the heel will flow better when the neck is carved, perhaps some single or double steps elsewhere on the body will tie it all together. Maybe one on the headstock? Only time will tell what I'll end up with. Please tell me if it's going too far!

[pilotjones]

I think the general idea of the steps is a good one. The lines you've done though are rather complex, and have little relation to the rest of the instrument so yes, it does seem to be a fish out of water as a design element.

In a future iteration, with it harmonious with the overall design, it could be very nice, very art deco.

[ON the ONE]

So true. I had art deco in the back of my mind but ended up with "under the sea" instead. I think I will continue experimenting on this body for a more focused second shot. Ahh, a new concept in the test stage. I feel warm. A few more touches with the stepping here and there can't be too far out. Compared to a few basses I've seen this is downright conservative. Spalt and some Ritter designs come to mind. I am very thankful for the feedback, keep it coming.
Thanks

[ON the ONE]

4 string is fretted and carved. The maple is very much to my liking. Properly cut woods are a joy to work. I have 3 more identical blanks. Dead quartered, nice even, deep flame, and crazy stiff. Two more that are too small for bass. They may be re-sawn into matching fretboards.
Carving that figure is so much easier with zero runout.

[SallyGrowler]

Originally Posted by ON the ONE

That's more like it. Thanks guys for the idea! This feels very comfortable. I cant wait to play it!

Maybe match the back of the headstock with this topography?

[miziomix]

Originally Posted by ON the ONE

Miziomix, I think you're right about shooting for an overall asthetic. I started by just playing around with the steps for the heel but it almost seems isolated or out of place with it on the one area only. Next time I will organize steps to fall into various contrasting woods. I may do some steps elsewhere on this instrument but it quickly gets too busy looking. I think the look of the heel will flow better when the neck is carved, perhaps some single or double steps elsewhere on the body will tie it all together. Maybe one on the headstock? Only time will tell what I'll end up with. Please tell me if it's going too far!

I must have missed your reply... even though I get automatic notifications.... sorry

Actually, I would not replicate the steps elsewhere, maybe just take inspiration for the shape of the neck scarf.

But I would work on the overall. The detail of the steps is intriguing. The rest should be consistent - but that doesn't necessarily mean repeating the steps motif everywhere it fits.

Usually one starts with an overall design and then refines it until he finds a signature element. In your case, it's the other way around. You have the signature. Now you have to look for the overall. Reverse engineering

You mentioned Art Deco. That's a very good starting point. Were you thinking of anything specific? architecture? an object? a dress? anything? Watch as many Art Deco images as you can. That might inspire you to come up with an interesting design which now should be consistent with the heel and thus fairly unique.

Just... my humble advise is.... don't look too much at guitars. That's the best way to end up with a design that looks a bit too familiar Then you'll spend the rest of your life trying to convince people that your design doesn't look like a Ritter - which BTW looks like a Carl Thompson and a Rickenbaker, albeit in a very Ritteresque way

If I remember correctly the Gibson Firebird was designed by a guy who previously designed cars one heck of a lesson eh?

I hope i have helped you with my hopefully not too abstract reply

[ON the ONE]

It's been a bit but I'm still at it.
I've realized that this thread is somewhat of a rule breaker. I missed the bit about one build per thread. Our gracious mods haven't shut me down yet so what I'll do is document one build through to finish and then the other. If it becomes a problem, I'll divide the threads.
Progress has been slow lately but I'm going to put the P/J through first because the hardware is a bit less pricey.
The neck is all fretted and carved, nut slot cut and nut roughed in. I made some adjustments to the heel to change the height of the finger board over the body. I will hopefully get some higher quality neck bolts around somewhere soon and also drill bridge holes.
I'm thinking of trying tru-oil for that one. I've always been curious and my spray setup is not quite where I'm happy yet. That's another story all together.

[ON the ONE]

You're right about finding inspiration outside of the instrument realm. The only current builder to nail it IMHO is Michael Dunn of Vancouver CA.
He's got a fantastic style in his Selmer type guitars.
I was mentally trying to channel Frank Lloyd Wright the architect. He's got the best lines in the biz for my money.
I am 100% heeding your advice about being subtle with stepping all over the body. It is too busy. I've already begun the second body in this style with an improved outline and better ergonomics.
Wish me luck in the reverse engineering dept. stay tuned after my P/J is done and thanks!

[miziomix]

Originally Posted by ON the ONE

You're right about finding inspiration outside of the instrument realm. The only current builder to nail it IMHO is Michael Dunn of Vancouver CA.
He's got a fantastic style in his Selmer type guitars.
I was mentally trying to channel Frank Lloyd Wright the architect. He's got the best lines in the biz for my money.
I am 100% heeding your advice about being subtle with stepping all over the body. It is too busy. I've already begun the second body in this style with an improved outline and better ergonomics.
Wish me luck in the reverse engineering dept. stay tuned after my P/J is done and thanks!

Good luck then. and I'll be watching

[ON the ONE]

Here are some shots of a bit more progress. This was the first coat of finish for the P/J. Also, a control cover to be drilled.

[ON the ONE]

Aaand, TaDa!!
Finished the P/J finally and am loving it!
It has ended up with a few different specs on the electronics and finger board. I harvested organs from another bass so I could just finish it and be playing. I will be swapping out all the electronics shortly. I decided to use my braz. Board in a different bass, this one is a very resonant piece of PaoFerro. I like the tone at least as well as Indian rw or maybe better. Not sure why it gets such a rap for being "cheap". It's resonant and on the lighter side of dalbergias. Also not very controversial IME.
More shots to follow,
Cheers.

[ON the ONE]

Head shot. Too bad chromes don't have black wraps... I'll find something for the actual photo shoot.

[ON the ONE]

Ok. It still feels good to be here. After much lapse , one of two basses is completed. In motion is the second bass. Fretting tonight. I couldn't be happier. Not the nervous kind.

[ON the ONE]

This fret board is an attempt to tie the front of the bass to its stepped heel. That figure makes it work for me.

[lbridenstine]

That fretboard looks really nice! What'd you put on it?