The seeds for my Next Clement are firmly planted and just waiting for the money tree to bear some fruit!
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This one, from a few pages ago
Ash body (might be too light if chambered - Alder maybe)
Figured Maple top, Neck (wenge Stringers - maybe), Board and pup Covers (and knobs I guess)
Gold 'ware
6 string
Fretless (maybe white lines on the 'board)
Felicia (with a slight down turn on the lower bout and extra rounded / contoured)
Chambered
Peizo
OBP3 Pre
Nord Parallel Dual Coils
Some sort of light colored accent veneer between body and top.
Or something like that!
WD,
I had forgotten about that great idea; would recommend the alder body for fretless - warmer singing tone IMHO 2p. Unless you series wire the duals you will need 6 knobs with a piezo onboard? What scale are you going to use?
I have wondered myself about the chambering and different scales whether there are any considerations tonally, body to neck weight (neck dive) 30" 32" 34" 35" . Does the length determine anything special in a chambered bass? Anyone have good solid input on this subject.
I had forgotten about that great idea; would recommend the alder body for fretless - warmer singing tone IMHO 2p. Unless you series wire the duals you will need 6 knobs with a piezo onboard? What scale are you going to use?
I have wondered myself about the chambering and different scales whether there are any considerations tonally, body to neck weight (neck dive) 30" 32" 34" 35" . Does the length determine anything special in a chambered bass? Anyone have good solid input on this subject.
She'll be a 34", thats what I'm used to. Might drop the string spacing from 19mm - which I have on 177 and 164 to 17mm or 18mm. The Knobs and switches are just from the previous templates I used for #177, so the knob count is not exact. My main concern on the body wood is the neck dive. Felicia is pretty small, chambering will make it lighter still and a big 'ol 6 string neck may not balance quite right. But to match the 'Goldenrod' look, it has to be light coloured.
I've asked Tom about a Gold (colour - not 14karat!) 'C' logo in the headstock!
I've asked Tom about a Gold (colour - not 14karat!) 'C' logo in the headstock!
that would be awesome!!!!
count me in on the gold logo! .
the specs on mine would be something along the lines of ed's sixer. kim shape, probably, alder or ash (not swamp) body, maple neck, fretted. some nice fingerboard and topwood. maybe I should do something exciting for electronics... delanos maybe?
we'll see.
count me in on the gold logo! .
the specs on mine would be something along the lines of ed's sixer. kim shape, probably, alder or ash (not swamp) body, maple neck, fretted. some nice fingerboard and topwood. maybe I should do something exciting for electronics... delanos maybe?
we'll see.
well, I do have one 6-string solidbody in the cards. I might opt to midify it, but that's just for convenience. I want the solidbody feeling of this instrument, and I really enjoyed the Ash-feeling of the yamaha TRB6 that I had a few years ago. So I want the tightness and brilliance of ash/maple.
And then I want the convenience of MIDI, and not having to add the outboard MIDI-controller from Roland on my bass. It's a somewhat cheap solution, but also somewhat visually displeasing.
But I guess I have 2 in the cards... cause I'd like to have Tom build me a retro-bass.
Maybe with Darkstar or lipstick pickups... would be cute.
And then I want the convenience of MIDI, and not having to add the outboard MIDI-controller from Roland on my bass. It's a somewhat cheap solution, but also somewhat visually displeasing.
But I guess I have 2 in the cards... cause I'd like to have Tom build me a retro-bass.
Maybe with Darkstar or lipstick pickups... would be cute. Midi sounds like a lot of fun, and the demo of the Axiom(?) system with the Ghost Peizo was pretty amazing.
But I think that will wait until I'm sorted in a new house with a bit of extra space to get a studio set up permanantly. At the moment, I'm totally strapped for space. As it is, playing at home is a struggle.
But I think that will wait until I'm sorted in a new house with a bit of extra space to get a studio set up permanantly. At the moment, I'm totally strapped for space. As it is, playing at home is a struggle.
Don't know how solid this info is but on my heavily chambered 32 scale Anne, there is no neck dive. I think the maple/ebony neck is balanced due to the larger body and piezo pup.
Word of warning. If you are used to a certain string spacing, stay with it or only change by 1mm. The Ibanezes I had were 16.5mm and felt way too narrow. The 2 C six strings are set at 18mm and since Tom makes the necks thin, I could actually go up to 19mm without feeling bulky.
I think we are all different in this respect. Personally, i have a very hard time changing scale length (going from 34" to 35" throws me off), however, switching between 16.5/17/18/19 is not a problem for me. I share NoFretz advice, before you order a different string spacing or scale length, go check them out properly first
About the balance, my experience is that as long as the upper horn is long enough, it will balance well. When the upper horn is extending up to the 14th fret or so, the bass will most likely balance very well. The reason is simple physics. the 12th fret is the "centre" point of the scale length. Add up the mass behind and the mass in front, and you will see that there's most likely not enough mass at the headstock to dive.
About the balance, my experience is that as long as the upper horn is long enough, it will balance well. When the upper horn is extending up to the 14th fret or so, the bass will most likely balance very well. The reason is simple physics.
the 12th fret is the "centre" point of the scale length. Add up the mass behind and the mass in front, and you will see that there's most likely not enough mass at the headstock to dive.
I thank y'all for the responses on neck dive chambered basses.
Now, if any one can claim differences if any on chambered scale lengths. Would the different scales produce noticeable tonality characteristic differences. Longer string vibrations are more pronounced, right? Therefore, I imagine a chambered 35" Jon and a 32" Jon would not sound alike. Or maybe the longer scale would just shake more?
Now, if any one can claim differences if any on chambered scale lengths. Would the different scales produce noticeable tonality characteristic differences. Longer string vibrations are more pronounced, right? Therefore, I imagine a chambered 35" Jon and a 32" Jon would not sound alike. Or maybe the longer scale would just shake more?
You may be right. I have no idea, cause I have no experience with chambered basses but my own
There wasn't such a major difference between my 34" and 35" Jon fretlesses, though, although they were both solid body. But a shorter scale would probably sound different.
I have to draw a blank on this one, though, I think maybe Tom has to chip in on this
There wasn't such a major difference between my 34" and 35" Jon fretlesses, though, although they were both solid body.
But a shorter scale would probably sound different. I have to draw a blank on this one, though, I think maybe Tom has to chip in on this
Talking about MIDI, found this new thing... looks very much like the system that was installed in the Peavey Midi bass that was on sale a few years ago. What amazes me is that they put such a system in something as "boring" as a Jazz bass....
http://www.industrialradio.com.au/
I mean, go MIDI, exploit something new, so get 6-strings and 28 frets, is my suggestion!
Would be awesome to get such a system in a Clement bass..... *drool*
http://www.industrialradio.com.au/
I mean, go MIDI, exploit something new, so get 6-strings and 28 frets, is my suggestion!
Would be awesome to get such a system in a Clement bass..... *drool*
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