Luminlay size/style for incoming custom Sadowsky?

[Kevan Campbell]

First, congrats

First, congrats on your new bass being built--that is special. Incidentally, I said to myself a few months ago if I could have the "one" bass to do it all, it would be the NYC model. The build quality is superb. Second, I don't have luminlay on my Jazz Bass but size #3 would be my choice. That said, I don't know what your current vision is (I wear glasses also) and none of us knows what the future holds; so bear that in mind. If this is a keeper bass from now until, then #4's may be prudent. Best of luck. Peace.

Thanks, I’m excited for this build! Lukasz has been wonderful to work with!

#4 would be great as long as it doesn’t look too weird, I wonder about the placement between the neck and fretboard.

 

[Kevan Campbell]

I just felt they started looking over sized, given the width of the dark fingerboard edge on my instrument. You are drilling out the edge of a 4-6mm fingerboard, and when you have the contrast of blonde maple neck against that dark strip, you'll find it looks best centered. There is the risk of chipping out that brittle edge by boring too large a hole. At 2mm diameter, you're only leaving about 1.5-2mm either side.

Make sure you're using a fresh new drill bit. I started by drilling out the original 1.5mm with a 1/16" bit, then enlarged with a 5/64" for clean results. Those 2mm rods fit like a glove - just dip the end in medium viscosity CA glue, wipe residue/squeeze out promptly. Mask the area, flush cut the rod off, pull tape, sharp chisel to smooth/fair the cut edge. Ran full length of fingerboard edge with ~320-400 grit paper for final smooth/leveling. A little bit of Watco or similar wiping varnish quickly restores the sealed look of that edge. I did a final buff with gray scotch pad, as I wanted to dull down the gloss for a smoother feel, as so many of us do. Pretty much a factory installed appearance.

That dark fingerboard changes the argument for rings, IMHO. After using the solid, non-ringed version, I'm very glad the glow is from the entire dot, as again, its just enough to make a difference. When first charged, you'd think they're LED's, but rapidly dim down to a much subtler glow.
I totally get the black ring on an all maple neck/fingerboard, but you do need to think a little differently on the dark stuff, as you want it 100% white or 100% glow, IMHO. High contrast is the whole idea.

On my instrument, the inactive, uncharged/glowing dots are almost exactly the color of the original white dots they replaced, so they simply got a pinch better by upsizing 30% from 1.5 to 2mm. It seems so insignificant, yet it does make a difference under daylight as well as under dim lighting when you need a glancing reference.

Good luck - I still say it's worth doing.

Thanks for weighing in! The space required for the larger dot is definitely a concern, though I do wonder if the larger dot (#4) would work if the dot was perfectly centered between the neck and fretboard (in this case, 50% on the maple side and 50% on the Morado side). The idea here would be that the fret marker would glow in dark stages but the “negative relief” or half-moon shape cut from the fretboard would function as a fret marker on bright stages at a glance?

 

[Kevan Campbell]

I replaced 3mm perloid dots with the 3mm blue Luminlay on several basses. The old dots are soft and drilled out easily.

These were maple necks with wenge or rosewood boards, and the dots center on the seam.

I have also used the 3mm blue on the face of the board.

I have a maple/ maple birdeye neck that has the 3mm blue with the black outline. Easy to see but less glowing area.

It really is an easy DIY install. I use my phone light to charge the dots.

That looks great! I’d honestly rather Lukasz and the Sadowsky crew do this for me though, I don’t have the tools or space to do this in my place.

 

[jTrolt]

(in this case, 50% on the maple side and 50% on the Morado side). The idea here would be that the fret marker would glow in dark stages but the “negative relief” or half-moon shape cut from the fretboard would function as a fret marker on bright stages at a glance?

I have to confess, in retrospect, I think that would be more helpful, seeing the interruption at the transition line of neck stock to fretboard, bright or dark stage, luminlays or without.