The Zen in this build comes from your seemingly endless amounts of patience and your refusal to rush any of the steps. It appears to have come out 100% to plan. My main weakness is in my lack of patience!
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Build II - Paradox MJ5 - New design!
- Thread starter roberthabraken
- Start date
Ah I see.. yes, you're right about that..
I guess that's comparing apples and oranges.. but nice to hear you like it
I'm sure you guys have the wrong porn. It isn't food and you don't play it unless it was pre-recorded. Nowait, I think I got that wrong somewhere and I don't know where I'm going with this now. Sorry.
Last night I started carving the neck! I intend to go with a rather sleek profile, but maybe more of a D shape than C. You can see my main tools I use for this job (before the sandpaper kicks in). I mainly use rasps and files (round, half round and flat), a spoke shave (but still not satisfied with this one, so I use the blade alone for fine tuning the shape later on).
Link Removed
So, first, I start with the volute, I need to remove that ugly step created by the routing I did, without touching the routed part, because (at the center) that's already at the desired thickness (+ 0.2 mm for sanding):
Link Removed
The lump of tape is to protect the back of the headstock and indicating the shape.
When that's out of the way, as you can see here, I can carry on with the complete neck:
Link Removed
Well, I would like to have some sort of a stand to be able to clamp the neck to, but for now I just clamp the end of the neck on the table with a few cloths inbetween to protect the fingerboard, and start carving:
Here you can see I'm working my way gradually through the wood to meet the neck (remove anything that is not a bass neck) with the rasp:
After the rasp I switch to a file, slower process but less change of cutting too deep. This is from the treble side:
And this is what's going on on the bass side. The volute will be deeper and more pronounced, but I will save that for later. I need to have a better idea of the neck shape before I know how to shape the volute:
Link Removed
And some pictures from the other side, after I put it away on the shelf:
I must say it already feels superb! I know it's not finished, but you can feel where it's going and the dimensions are working well I guess. I hope the carving job comes out great in the end. Can't wait for the next run.
Link Removed
So, first, I start with the volute, I need to remove that ugly step created by the routing I did, without touching the routed part, because (at the center) that's already at the desired thickness (+ 0.2 mm for sanding):
Link Removed
The lump of tape is to protect the back of the headstock and indicating the shape.
When that's out of the way, as you can see here, I can carry on with the complete neck:
Link Removed
Well, I would like to have some sort of a stand to be able to clamp the neck to, but for now I just clamp the end of the neck on the table with a few cloths inbetween to protect the fingerboard, and start carving:
Here you can see I'm working my way gradually through the wood to meet the neck (remove anything that is not a bass neck) with the rasp:
After the rasp I switch to a file, slower process but less change of cutting too deep. This is from the treble side:
And this is what's going on on the bass side. The volute will be deeper and more pronounced, but I will save that for later. I need to have a better idea of the neck shape before I know how to shape the volute:
Link Removed
And some pictures from the other side, after I put it away on the shelf:
I must say it already feels superb! I know it's not finished, but you can feel where it's going and the dimensions are working well I guess. I hope the carving job comes out great in the end. Can't wait for the next run.
Finally! Guess we were all awaiting this moment and it's looking very nice. Well done Rob!
ps: have you considered using a 80 grit strip across the neck to shape the curve?
Guess we were all awaiting this moment and it's looking very nice. Well done Rob!ps: have you considered using a 80 grit strip across the neck to shape the curve?
Finally!
ps: have you considered using a 80 grit strip across the neck to shape the curve?
Thanks! I know it was a long wait, but it's good to feel the vibe again
Yes, I considered that, and I think I will try that in the next shaping round, but I felt it was better to break the sharp angles with a rasp first, to create a more rounded shape so using such a strip becomes more natural. However, I am concerned about scratching the binding (soft material, and good quality sandpaper of 80 grit makes deep cuts).
Last night I started carving the neck! I intend to go with a rather sleek profile, but maybe more of a D shape than C. You can see my main tools I use for this job (before the sandpaper kicks in). I mainly use rasps and files (round, half round and flat), a spoke shave (but still not satisfied with this one, so I use the blade alone for fine tuning the shape later on).
Link Removed
So, first, I start with the volute, I need to remove that ugly step created by the routing I did, without touching the routed part, because (at the center) that's already at the desired thickness (+ 0.2 mm for sanding):
Link Removed
The lump of tape is to protect the back of the headstock and indicating the shape.
When that's out of the way, as you can see here, I can carry on with the complete neck:
Link Removed
Well, I would like to have some sort of a stand to be able to clamp the neck to, but for now I just clamp the end of the neck on the table with a few cloths inbetween to protect the fingerboard, and start carving:
Here you can see I'm working my way gradually through the wood to meet the neck (remove anything that is not a bass neck) with the rasp:
After the rasp I switch to a file, slower process but less change of cutting too deep. This is from the treble side:
And this is what's going on on the bass side. The volute will be deeper and more pronounced, but I will save that for later. I need to have a better idea of the neck shape before I know how to shape the volute:
Link Removed
And some pictures from the other side, after I put it away on the shelf:
I must say it already feels superb! I know it's not finished, but you can feel where it's going and the dimensions are working well I guess. I hope the carving job comes out great in the end. Can't wait for the next run.
Don't know if it's just the pictures or just me, but man does that neck look wide a chunky! I really dig this!
Thanks! I know it was a long wait, but it's good to feel the vibe again
Yes, I considered that, and I think I will try that in the next shaping round, but I felt it was better to break the sharp angles with a rasp first, to create a more rounded shape so using such a strip becomes more natural. However, I am concerned about scratching the binding (soft material, and good quality sandpaper of 80 grit makes deep cuts).
Indeed. Better start with a rasp
Something like the strip in the picture will help you to get a nice shape. Tightening or widening the angle at which the strip hits the neck you should be able to get the profile you like without touching the binding. It worked for me, of course you might not like it but it's worth a try. ciao!
I find it a little odd that you are carving the neck first and then the volute/heel lastly, at least from my own working practices. I always carve the volute and heel profiles first of all, rout the neck's thickness taper so the two meet and then "join the dots" using rasps, spokeshave, etc. Of course, it always comes down to what works for yourself but I would be a little concerned that trying to match a small area such as a volute/heel profile to a large one can be a lot of work.
Perhaps dialling in the heel and volute now you have removed most of the material would be the next step? The rest of the neck is just fettling and connecting the two.
It never fails to surprise me how much material needs to be removed when carving necks....they make a huge mess! :-D
Perhaps dialling in the heel and volute now you have removed most of the material would be the next step? The rest of the neck is just fettling and connecting the two.
It never fails to surprise me how much material needs to be removed when carving necks....they make a huge mess! :-D
If you mean the width of the neck / fingerboard: it's a five string and I'm around the same width as Jazz Bass V of that well known brand.
If you mean the thickness: I'm not done yet.
I pencil the center line and the transition areas. The rest is done on auto pilot
When I'm reaching the almost desired thickness, I will use paper templates to check my final progress.
Indeed. Better start with a rasp
Thanks for the tip. I'll try it like that.
I did that on my first bass, but I do not like cutting deep into the neck at a small spot. That way, I cannot 'feel' the profile while carving. Secondly, I found it uncomfortable to carve to small sections and do a lot of work on the inner section of that later on, having to connect to the already finished parts without leaving any lines or marks and without scratching the finished surface.
The way I approach it now is slow but steady, lots of control. Connecting the volute or heel to the center will not be done lastly, but is an integral process of the carving, little by little as I progress with my carving. We'll see how it works. Until now I like this method better.
In addition to that: the order of the work doesn't seem to influence the amount of work, imo.
Ah, I see. I cheat and make small card or paper (depends on what I have within reach!) templates for the profile at the area immediately before the heel and volute transitions so I know I have the shape I want. I know exactly what you mean about needing the room to feel the profile develop, however it always feels different gauging it without strings on either way....kind of a misleading feel if anything! Probably the biggest difference is that I use spindle sanders to get the profile in, and a use them to shape the majority of my volute also. That probably swings the way I work if you see what I mean.
Yeah, I see where you're coming from on that one. If you get the opportunity to borrow the use of a spindle sander on a future build, I bet you a couple of brews it makes you do this backwards.
I promise I won't get you drunk and make you use the spindle sander, honest.
Your choice of pickups for this one almost made me go Delano for my own build also, Robert. They are priced quite highly though. I might reconsider this for the second build however I don't think anybody does a six-string MM pickup.
These JMVCs you're using make me wonder whether a couple of closely-spaced angled six-string J pickups with MM size poles might be a fun proposition....I also wonder how much GAS and build syndrome your bass is putting out into the rest of the world!
How's the body finishing coming along? Have you had chance to test out the dyes/stains?
(...)
I promise I won't get you drunk and make you use the spindle sander, honest.
Your choice of pickups for this one almost made me go Delano for my own build also, Robert. They are priced quite highly though. I might reconsider this for the second build however I don't think anybody does a six-string MM pickup.
These JMVCs you're using make me wonder whether a couple of closely-spaced angled six-string J pickups with MM size poles might be a fun proposition....I also wonder how much GAS and build syndrome your bass is putting out into the rest of the world!
How's the body finishing coming along? Have you had chance to test out the dyes/stains?
I see, yes, such tooling would probably lessen the amount of work and changes procedures and order.
The pickups aren't cheap, but I fell in love with the sound they produce. And being a believer of woods for looks and pickups for sound (exaggerated), I want good quality pickups
. Can't wait to find out how they sound in my bass.Don't know what my build causes, maybe impatience and astonishment about how slow one can build
Hahahaha....it pains me because I have a horrible tendency to rush things on basis I need results to feel I have done anything.... :-D
I'm totally with you on the pickups/electronics over the wood thing. Wood is important up to a point and beyond that you are really fighting over the last 1%. Pickups don't really care about anything other than being electromagnetic transducers so as long as everything is tight, well built and the strings are allowed to vibrate without sponge-y necks, crappy hardware or bad fitment then you've got a good bass. It surprises me how many builders forget to cover the important bases (no joke intended) and think that throwing expensive wood together will make a good bass by default.
No. I totally respect your decision to make this bass slowly, surely and with defined purpose. You are more or less guaranteed a great instrument because of it.
I'm totally with you on the pickups/electronics over the wood thing. Wood is important up to a point and beyond that you are really fighting over the last 1%. Pickups don't really care about anything other than being electromagnetic transducers so as long as everything is tight, well built and the strings are allowed to vibrate without sponge-y necks, crappy hardware or bad fitment then you've got a good bass. It surprises me how many builders forget to cover the important bases (no joke intended) and think that throwing expensive wood together will make a good bass by default.
No. I totally respect your decision to make this bass slowly, surely and with defined purpose. You are more or less guaranteed a great instrument because of it.
we'll see..
Don't give me this "we'll see" bit! >:-/
I'm sure that given the right time and opportunity this will turn out great. So what about that red?
I'm sure that given the right time and opportunity this will turn out great. So what about that red?
Prostheta said:
Actually, opposed to earlier in the building process, I am really considering leaving the bass blank, only using a wipe on poly for protection. It's just looking great as is and I do like the look of natural wood. I still have my reasons for choosing the red dye anyway, so nothing decided yet.
Yes, although a translucent finish would still show it off, albeit it being red. So finish is debatable, pickguard guess not, it's just too cool and unique, also contributing to the design.
