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Building A Short Scale P Bass

It does look good. I’m definitely interested. If you’re looking for questions, here’s some you may have already addressed in earlier threads and I apologize if you have. Which Safe-T-Planer are you using? I’ve read that the Wagner and StewMac ones are different and the blades don’t interchange? Also what drill press do you have and do you feel the side loads from the planer have caused any accelerated wear on it? I have a bench top drill press that I’ve used a RoboSander with and the quill has some amount of play, however, it’s a Harbor Freight press so that could be more the issue then the sander. I may have pressed what I was sanding into the drum rather hard when I was young and foolish as well.
 
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It does look good. I’m definitely interested. If you’re looking for questions, here’s some you may have already addressed in earlier threads and I apologize if you have. Which Safe-T-Planer are you using? I’ve read that the Wagner and StewMac ones are different and the blades don’t interchange? Also what drill press do you have and do you feel the side loads from the planer have caused any accelerated wear on it? I have a bench top drill press that I’ve used a RoboSander with and the quill has some amount of play, however, it’s a Harbor Freight press so that could be more the issue then the sander. I may have pressed what I was sanding into the drum rather hard when I was young and foolish as well.

Hi Matt,
I mostly use my Wagner STPs. I have 4 of them, as my dad was also a user and I inherited his when he passed. We both purchased a couple replacement cutter sets for each of our planers, so I was set for many years of use.

I also purchased one of the "Woodtek" knock-offs from Woodworker.com to see if it worked as well as the Wagner.

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I prefer the Wagners, but the Woodtek is a close second.

I do not own the Stew Mac planer, as I have never seen any evidence directly from them that their planer has the same functionality. The instructions on their website still pull up the Wagner STP instruction sheet.

The Wagner (came with) and the Woodtek comes with a sharpening stone and the cutters can be easily sharpened many, many times before requiring replacement. There are short videos on my Youtube channel showing removal, sharpening, and replacement of the Wagner cutters, as well as a few short demos of surfacing wood such as fretboards.

I have no evidence that the StewMac planer can be sharpened, and it appears they have configured the cutters with two positions which ensures that a user will need to spend lots of money to keep replacement cutters on hand.

There is /was at least one other rotary planer available from South America that looked well made, but I don't have info for that.

The side load issue is much overblown, and there is actually very little side load from a rotary planer. You set your speed for 3400 rpm and with three cutters sharing the work each revolution all you get is a huge number of small shavings as the drill press doesn't even break a sweat.

A good floor model drill press is optimal, and the biggest drawback is cleaning up the mess it makes. I didn't realize it when I purchased my Craftsman Commercial Heavy Duty drill press new something like 30 years ago, but it had a GREAT quill lock that is ideal for use with the STP. It's simple to set the depth accurately and solidly, or even reset it to take a few thousandths deeper cut. Most drill presses today adjust by raising or lowering the table, since the quill lock isn't very good on many of them. My dad had the exact same drill press and I salivated when I saw his. When he saw them on sale a few years later he insisted that I purchase one and loaned me the $300 I didn't have so I could have my own. He had some great qualities that shall stick with me.

Is the STP a necessity? For me, yes. We all find the path to do the things we need to do, so there are other ways of planing, surfacing, forming edges, edge jointing, etc. but I prefer to use the STP. I've planed a LOT of lumber in 30 plus years! :)
 
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Right on. I’ve got a router thickness planing jig for bodies and larger things and a couple of other router jigs. I’ve thought about getting a STP for smaller stuff like the headstock picture you have above. What’s your YouTube channel? I’ll check out the planer videos.
 
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Right on. I’ve got a router thickness planing jig for bodies and larger things and a couple of other router jigs. I’ve thought about getting a STP for smaller stuff like the headstock picture you have above. What’s your YouTube channel? I’ll check out the planer videos.

All my Youtube stuff:

https://www.youtube.com/user/ramblinrudy1/videos

I think there's more STP stuff that will get posted here for this build.
 
The neck blank has the truss rod channel through-routed; the LMI rod uses a 1/4" slot so no special router bit or finicky saw cut is necessary. DO make sure the rod is SLIGHTLY recessed below the top surface. The slot needs to be sized so the truss rod can be easily inserted or withdrawn from the channel after the fretboard is glued on.

The 4 tee nuts are also installed that will be used to attach the neck to the body with 1/4" - 20 antique finish furniture bolts. The installation steps can be seen in the photo. Drilled, counterbored, small holes drilled for tee nut prongs, driven in, center hole covered with masking tape, and a small bead of Titebond 1 on top to lock everything in place. Don't forget to install these BEFORE you glue the fretboard on. (Yes, I HAVE done the "How did I manage to do THAT?" head-slap in the past when noticing the tee nuts still in the parts box after the board was glued on!)

XxNQHeT.jpg


Small positioning blocks are glued to the neck blank and the fretboard is glued and clamped in position with cork padded cauls. The brass rod is sized to pass through the truss rod channel and is used to "ram-rod" small pieces of moistened paper towel through the channel to completely remove any glue squeeze out from the channel. A dedicated brass rod isn't strictly necessary, but I use the technique often enough that I appreciate having made it. A CLEAN channel is important, as this design permits the truss rod to be installed or removed from either end of the neck.

nfm1FZl.jpg


The nut is positioned against the fretboard end and the headstock overlay is fitted and glued in place. The overlay has already been glued to the maple veneer and the mother of pearl logo has been fitted and installed. The logo install has been covered in my previous Fretless short scale bass build topic (link in the initial posts of this topic) and the method used to add the inlay is by far easier then adding inlay in the "conventional" manner. I'm all for easy!

The excess material at each side of the neck blank can now removed. The band saw is first used to trim the excess width to within 1/16" of the fretboard edge. A flush trim bit riding against the fretboard edge is then used to remove the small amount of remaining material.

G0Fs2Jh.jpg
 
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The rear of the headstock area is planed to reduce it to its 9/16" finished thickness. The area that forms the neck volute is left to be shaped by sanding it with a 2" 80 grit drum sander in a hand held drill.

(“He’s not using the Safe-T-Planer AGAIN, is he?”)

FYb2CRx.jpg


The neck has excess material removed from each side by making 45 degree angled cuts at each neck side. The neck blank is then clamped on the neck shaping jig and rasped to basic shape. Again, this is covered more thoroughly in the previously posted build topic for the fretless semi-acoustic short scale bass build linked in the first topic post. There's a nice downloadable PDF in that topic detailing how to shape a neck.

cJN3ZJW.jpg


A single hole is drilled at the correct location so the neck can be temporarily attached to the body for proper alignment. With the neck "attached" with a single bolt a straight edge is placed on each side of the neck angle adjusted until the projected line centers on the end of the body center line.

2WMR6Xq.jpg
 
Hi Frank,
As T Bone says, it's a lovely wood.

A couple other reasons; I had Pau Ferro boards in bass size in my stash (my ebony stock is slightly smaller) and I'm going for an overall look that blends together for the most part, other than the head stock overlay. Since I'm using a mother of pearl logo on the head stock I prefer the contrast with a ebony overlay there.

I've personally never been drawn to maple boards due to what they end up looking like after the surface finish wears through. My two Teles were maple, but that's what they came with so I lived with it.

Thanks for the question! There seems to be little to no interest in this entire topic, so I'm appreciative that anyone has any thoughts on it. :)
IU am sorry that you are getting so little response. I LOOK forward to each installment I am learning so much of the the nitty gritty of how basses are designed and made. This is a really fun thread
 
IU am sorry that you are getting so little response. I LOOK forward to each installment I am learning so much of the the nitty gritty of how basses are designed and made. This is a really fun thread

Hi Frank,
Thanks for the comment.

Even if there's not much activity for the topic I enjoy passing on what I can to encourage others to build what they play if possible. I know there are many who simply enjoy watching the process of a bass or other instrument coming together, and that's a valuable aspect of forum posting.

Hopefully some readers will take something of value from the build topics I post. Each of the folks who post here have different methods of work and if someone finds an easier, quicker, more precise aspect of building instruments that better suits their particular shop environment then I consider my time and effort worthwhile.

Back to the shop! I know that this bass is going to be a fine addition to the small herd of other instruments that have come from the shop.
 
Hi Frank,
Thanks for the comment.

Even if there's not much activity for the topic I enjoy passing on what I can to encourage others to build what they play if possible. I know there are many who simply enjoy watching the process of a bass or other instrument coming together, and that's a valuable aspect of forum posting.

Hopefully some readers will take something of value from the build topics I post. Each of the folks who post here have different methods of work and if someone finds an easier, quicker, more precise aspect of building instruments that better suits their particular shop environment then I consider my time and effort worthwhile.

Back to the shop! I know that this bass is going to be a fine addition to the small herd of other instruments that have come from the shop.
Rudy44
I followed your previous build with great interest. I especially liked the fact that you DO go into such detail with plenty of clear photos. I was already into my first, from scratch, bass build when I discovered your post. It, along with builds from several other TB'rs, helped to organize my build and answered many questions I had even some questions I didn't know to ask. The result was a smoother build and a better quality instrument than I headed towards. So to you and all the gang from LC, keep ideas and inspirations coming.
 
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Rudy44
I followed your previous build with great interest. I especially liked the fact that you DO go into such detail with plenty of clear photos. I was already into my first, from scratch, bass build when I discovered your post. It, along with builds from several other TB'rs, helped to organize my build and answered many questions I had even some questions I didn't know to ask. The result was a smoother build and a better quality instrument than I headed towards. So to you and all the gang from LC, keep ideas and inspirations coming.

Hi Rafar,

Thanks for the comment. There's no better outcome of doing a long build topic than bringing to light aspects of the task that a reader was possibly unaware of and addressing problems BEFORE they occur.

With that in mind, I'd say we got a good thing going on! :)
 
The single bolt is visible in this photo. When the correct alignment is ascertained the bolt can be snugged down a bit and the rear of the neck can be marked close to where it intersects with the body. Since I'm only using this single bolt to temporarily set neck alignment it doesn't really matter what it is... only that it holds the neck in position and isn't long enough to bottom out in the tee nut.

rpPTQvX.jpg


The neck pocket is also marked on the front of the body. I prefer to place green painter's tape on the body to mark the neck pocket location. The tape can be placed exactly where the pocket needs to be located.

The routing guide was produced by attaching the neck with a single bolt to the bottom piece of plywood. The longer side pieces for the top portion of the guide were cut to have a trued edge and then positioned against the neck sides and glued to the bottom section. The center portion was shaped to fit the neck end curve and also glued in place. The neck was removed, most of the excess bottom material bandsawn out close to the top pieces, and a flush trim router bit used to pattern route the bottom section. This makes a very nice routing template that creates a pocket just large enough to let the neck fit without needing to be too tight.

uu25jrR.jpg


Another one of the PDFs posted earlier is the "String Spacing Guide" that is designed to print full size and is used to transfers string centers directly to the nut, the end of fretboard, and bridge locations. These guides are really handy and I have them for various types of instruments. It eliminates guess work, calculation, and eliminates the chance of an improperly marked string location. You simply fold the guide to match the string spacing you want to use.

You might note the small portion of the truss rod slot that is visible above the body at the end of the neck. This will be effectively closed when the truss rod is installed in the neck. The custom 21" length two way truss rod is on its way from LMI, so no need to wait on it. It is simply slid into place and a small rectangle of walnut will be fitted at the top of the slot to hold the rod in place. It can be easily removed in the future should it ever be necessary to replace the rod.

E79aJym.jpg


Next "batter on deck" is a bridge, so I'll next move on to making the fully adjustable raw brass bridge. You'll see that it's not as daunting of a task as you might think!
 
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Hey Rudy,
A couple things popped up as I was catching up on this one -
  1. I still think it should have been titled "My Tiny P". :roflmao:
  2. Can we go back to the finger guide on your band saw? I know, that was posted like weeks ago, but like I said, I'm just now getting caught up with this build. I'm curious about why you use a finger guide rather than just using the fence, can you expand on that?
Thanks! :cool:
 
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Hey Rudy,
A couple things popped up as I was catching up on this one -
  1. I still think it should have been titled "My Tiny P". :roflmao:
  2. Can we go back to the finger guide on your band saw? I know, that was posted like weeks ago, but like I said, I'm just now getting caught up with this build. I'm curious about why you use a finger guide rather than just using the fence, can you expand on that?
Thanks! :cool:

Regarding "My Tiny P"; I'd have to reserve that for a sub-short scale build!

The finger guide for the band saw is a commonly used item when re-sawing (thick or wide wood) on the band saw. The reason is the band saw has a natural lead angle (the angle the saw wants to naturally track) that varies according to all the hardware setup and particularly even a tiny amount of uneven wear on the blade. You can easily track a line by canting the work to one direction or the other, and this can differ by several degrees from the 90 degree fence setting. If you re-saw using the 90 degree fence then the blade will do what blades want to do and that will result in the blade cutting off the line, or even worse, bowing in the middle of the cut top to bottom which results in ruined wood if you're looking for uniform thickness from your work.

There are many articles on the web pertaining to re-sawing where you can read further about the whys and wherefores of using the band saw effectively.
 
...The finger guide for the band saw is a commonly used item when re-sawing (thick or wide wood) on the band saw. The reason is the band saw has a natural lead angle (the angle the saw wants to naturally track) that varies according to all the hardware setup and particularly even a tiny amount of uneven wear on the blade. You can easily track a line by canting the work to one direction or the other, and this can differ by several degrees from the 90 degree fence setting. There are many articles on the web pertaining to re-sawing where you can read further about the whys and wherefores of using the band saw effectively.
This is kind of what I suspected. I have some resawing in my future so I'm trying to learn more about this. Can you expand on how your finger guide is set up? Is it mounted to the fence? Is it mounted separately? Is that an item one can purchase for a band saw that doesn't have one? Do you keep your fence next to it like that while resawing, or move the fence away?

I know, I'm sure there's lots of Google answers out there. but I'd really rather hear from someone specifically building guitars and someone who knows the exact process of what I want to do, such as you. :thumbsup: :cool:
 
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This is kind of what I suspected. I have some resawing in my future so I'm trying to learn more about this. Can you expand on how your finger guide is set up? Is it mounted to the fence? Is it mounted separately? Is that an item one can purchase for a band saw that doesn't have one? Do you keep your fence next to it like that while resawing, or move the fence away?

I know, I'm sure there's lots of Google answers out there. but I'd really rather hear from someone specifically building guitars and someone who knows the exact process of what I want to do, such as you. :thumbsup: :cool:

The finger came with my band saw fence and attaches with a knurled screw. I set the finger to be the proper distance from the blade and pencil a line on the top edge of the work to use as a guide. You hold the work against the finger at the bottom and guide the blade along the pencil line on the board's top edge. It's easy to change the angle of the board to follow the line, which would not be possible if you used the standard 90 degree fence.

There's a fairly recent re-sawing topic here in this forum section that shows what some other folks here use as a "finger guide". It doesn't need to be overly-complex, a simple wood guide will suffice.

Read the notes for photos 9 and 11 here for more detailed re-sawing requirements:

30” Scale Compact Semi-acoustic Fretless Bass Build
 
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