Club St. Germaine

[Bernie Connors]

Connected with Geoff last month, he was working on the top and the ramp bar on my fretless Bustard 6 string - sent me a picture of the neck blank just as he was putting in the carbon fibre reinforcement. Incidentally, he was travelling to my area and we tried to meet up but we missed each other by a day as I was out of town.

Awesome! I'd like to see the pics you have if you're willing to share them.

 

[kittywithabanjo]

No updates, I did have a discussion about getting a double guitar case for my Shrike but, ended up staying with the Access bag.

 

[JeroB666]

I haven't really asked for an update since I've been to busy to even realize it's July . If I hear anything I'll let you know!

 

[konaaayukeeenee]

I haven't really asked for an update since I've been to busy to even realize it's July . If I hear anything I'll let you know!

What're the specs for yours? The one with all the different top woods looks interesting!

 

[Pablo Primo]

What an amazing bass!! Ash body, ash/Purple Heart neck and ebony board is now my favorite recipe. Everytime I play a bass with these specs it's a keeper

 

[JeroB666]

What're the specs for yours? The one with all the different top woods looks interesting!

Similar to the first one here below, but the new ones have different woods. The fretted rainbow is a mix of stuff, dyed blue Maple Burl, Quilted Maple, Pale Moon Ebony, Walnut Burl, Flamed Shedua separated by 3 mm Ebony with birdseye maple fretboard and the other is dyed top with ebony. I also went with oil finish this time!

Style: Bustard bass, 6 string fretless, set-neck construction.
Scale: 34" scale length (865 mm), 17.5 mm bridge spacing, 54 mm nut width
Body: Black Walnut body/Maple pinstripe accent line. Claro Walnut Burl top
Neck: 9-piece laminate neck: Black Walnut (3), Gabon Ebony (6 mm) (2), and Maple pinstripes (1.5mm) (4). Dual action stainless steel truss rod with spoke wheel adjustment, carbon fibre neck reinforcement bars (4).
Fretboard: Gabon Ebony fretboard, 28 positions. Aluminum and black side dot markers. No lines or front markers Compound radius (10-16"). Epoxy coated, satin.
Headstock: Burl Walnut facing, front and back with Maple pinstripe accent lines. Pewter logo.
Pickups/Electronics: 2 x MJS dual coil pickups in Black Walnut rampbar with Gabon Ebony cap and maple pinstripe. Graphtech Ghost piezo saddle pickups. Trickfish Flexcore 4-band preamp with bass, lo-mid, hi-mid and treble controls with mid-frequency select switches for lo-mid and hi-mid controls. Graphtech Acoustiphonic Advanced piezo buffer and magnetic/piezo mixer circuit.
Magnetic volume, magnetic blend, piezo volume (with push-pull piezo mid-contour) and 3-way magnetic/piezo selector (mag only, mag and piezo, piezo only).
Hardware: Hipshot A bridge, 0.687" (17.5 mm), brass, black. Graph Tech Ratio tuners, black. Dunlop dual-design Straplok buttons. Black Walnut knobs with Gabon Ebony caps and Maple pinstripe, hollow aluminum indicator. Back mounted output jack (Gotoh Plate, black + Pure Tone multi-contact stereo 1⁄4" jack)
Finish: Clear gloss lacquer.

 

[konaaayukeeenee]

Bit quiet around these parts lately...

 

[JB Player]

Yup we're patiently waiting for our builds

 

[JeroB666]

I was supposed to get mine this month, but ended up traveling with the family so I told Geoff to deliver in September or later instead haha. Sorry!

 

[kittywithabanjo]

He told me this month as well, was about to glue my neck to body a few weeks back,

 

[Bernie Connors]

I don't think I posted this yet but I have a new build started!

Bustard
6 string
Set-neck
Headless
31" scale
16.5mm spacing
26 frets

Roasted Poplar body
Dark accent laminate
Spalted Curly Cocobolo top
Heel accent TBD by Geoff

One-piece Roasted Maple neck
Dark East Indian Rosewood fingerboard - 7mm thick
22mm at first fret and 23mm at 12th fret
Asymmetrical neck profile w/ treble side being thicker
Mandolin frets with hidden fret ends
Hollow Aluminum side dots
Hollow Aluminum front dots in Germaine layout
Scalloped Brass nut
Small "headstock"
Spalted Curly Cocobolo headstock cap w/ dark accent laminate

Trickfish dual coil pickups in stock covers
Ebony ramp
Passive volume / volume / tone
Front output jack

Riviera bridge pieces
Riviera headstock pieces
Dunlop recessed strap locks
Hipshot o ring knobs
Aluminum control cavity cover

Oil/Wax finish

 

[kittywithabanjo]

Ooh so nice.

 

[who]

Asymmetrical neck profile w/ treble side being thicker

This is interesting. I've only played a couple of asymmetrical necks, but I feel like they're usually done with the bass side being thicker. I know that your builds are always well thought out, so I'm curious about the rationale behind this!

 

[konaaayukeeenee]

Set-neck
31" scale

Roasted Poplar body

One-piece Roasted Maple neck
Dark East Indian Rosewood fingerboard - 7mm thick

Aluminum control cavity cover

I'm also curious about how you decided on these specs. e.g. how come you're going with a set-neck instead of neck-through? And is there something you found you prefer about a one-piece neck compared to the multi-piece necks of past builds?

 

[Bernie Connors]

This is interesting. I've only played a couple of asymmetrical necks, but I feel like they're usually done with the bass side being thicker. I know that your builds are always well thought out, so I'm curious about the rationale behind this!

Hello!

The inspiration comes from Mike Bendy's Fodera Mini MB Presentation. I emailed him about how they developed this specific neck carve as it's unique compared to most, like you said. Here's part of his response.

The inspiration actually comes from the asymmetrical neck on Matt Garrison's famous Chestnut MG.

We essentially took that concept and adapted it to a 6-string neck width for my Mini MB.

For me, the big advantage is comfort, particularly when playing chords on a 6-string. The additional support on the treble side feels very natural in my hand, while the thinner bass side makes it easier to navigate the wider neck. It's incredibly comfortable and never feels like I'm fighting the instrument.

Mike and I have similar sized hands and my issue with some necks in the past is that they aren't meaty enough in the right places. So the more I thought about how an asymmetrical carve would feel in the thumb and forefinger pocket, the more it made sense for me and how I prefer a neck to feel. I'm really excited to check out this approach on my upcoming Bustard. I also asked Geoff to make the neck a few mm's thicker from front-to-back to increase the mass a little. A 16.5mm neck is on the small side if you have big hands so these two adjustments should really help.

Feel free to ask any more questions you have. I dig geeking out on this stuff.

 

[Bernie Connors]

I'm also curious about how you decided on these specs. e.g. how come you're going with a set-neck instead of neck-through? And is there something you found you prefer about a one-piece neck compared to the multi-piece necks of past builds?

Hello!

I answered the asymmetrical carve question in the previous post so please reference that one, as well.

For set-neck vs neck-thru, I can't say I really have a preference for one vs the other; this bass just kind of developed as a set-neck and I never questioned it or changed it. Geoff is such a talented luthier that I know either will be great. Also, I dig the look of a solid body that doesn't have a tone block so this delivers on that aspect. I love a tone block, though, so I can go either way on this. Just a cool approach on this bass with the body and neck looking so similar which brings a cohesiveness to back of the bass aesthetically.

For the neck, I asked Geoff for his input. He said that multi-piece necks in general do provide more stability but with this neck being roasted, there should be no issues related to stability. I like the look of a one-piece neck so we just went with that.

Below is a picture of the roasted poplar body on bottom and roasted maple neck on top. The coloring looks incredible even before any finish is applied! Geoff picked out killer stuff.

 

[JeroB666]

I've always thought about that asymmetrical neck but my hands are smaller to I always gravity to the thinner throughout.

Also I might swing by to say hi to Geoff on my way to Halifax next week! I'll try take pics for the group.

 

[konaaayukeeenee]

Hello!

I answered the asymmetrical carve question in the previous post so please reference that one, as well.

For set-neck vs neck-thru, I can't say I really have a preference for one vs the other; this bass just kind of developed as a set-neck and I never questioned it or changed it. Geoff is such a talented luthier that I know either will be great. Also, I dig the look of a solid body that doesn't have a tone block so this delivers on that aspect. I love a tone block, though, so I can go either way on this. Just a cool approach on this bass with the body and neck looking so similar which brings a cohesiveness to back of the bass aesthetically.

For the neck, I asked Geoff for his input. He said that multi-piece necks in general do provide more stability but with this neck being roasted, there should be no issues related to stability. I like the look of a one-piece neck so we just went with that.

Below is a picture of the roasted poplar body on bottom and roasted maple neck on top. The coloring looks incredible even before any finish is applied! Geoff picked out killer stuff.

I see! I love reading about how people choose their specs on custom basses!

Now what about the 31" scale over 32/33" and the aluminium plate instead of matching wood?

I was trying to decide between 31" and 32" myself but went with 32" cause of the potential 'warbling' issues of the B-string on short scales...but occasionally I wonder if I should've just gone with a 31" since it'd be even better ergonomically for me.

 

[who]

Mike and I have similar sized hands and my issue with some necks in the past is that they aren't meaty enough in the right places. So the more I thought about how an asymmetrical carve would feel in the thumb and forefinger pocket, the more it made sense for me and how I prefer a neck to feel. I'm really excited to check out this approach on my upcoming Bustard. I also asked Geoff to make the neck a few mm's thicker from front-to-back to increase the mass a little. A 16.5mm neck is on the small side if you have big hands so these two adjustments should really help.

All makes a ton of sense. I'm always amazed at how huge Mike Bendy's hands when I watch one of his demos.

I see! I love reading about how people choose their specs on custom basses!

Now what about the 31" scale over 32/33" and the aluminium plate instead of matching wood?

I was trying to decide between 31" and 32" myself but went with 32" cause of the potential 'warbling' issues of the B-string on short scales...but occasionally I wonder if I should've just gone with a 31" since it'd be even better ergonomically for me.

Are you getting a St. Germaine? If so, what are your specs?

 

[kittywithabanjo]

Now i been playing my 32" scale bass alot i been loving it, its great for Santanas Soul Sacrifice were you are string bending at the end of the part. (For about 7 minutes)