Damn... That's engineering right there.
You should seriously look into some venture capital. Some people would go nuts over this!
You should seriously look into some venture capital. Some people would go nuts over this!
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
New top for my 'Swappable Top' bass
- Thread starter tZer
- Start date
The ninth pic down in the recent series shows the back of the core instrument with all 9 hex bolts in place.
When they're all in and tightened down, this instrument feels exactly like any other 'single body' instrument. Frequently I'll hand it to someone to check out and they don't even notice the holes and bolts in back until I point it out to them.
I was concerned at the onset that there would be issues with the body being two parts like vibrations but there are none. When assembled, this instrument looks, feels and sounds like any other - rock solid.
...and I can swap out the look and feel of my 'SwapTop' (TM pendingwhenever I change my strings.
More to come!
Whoever coined the SwapTop name is a genius
You'll find my consultancy fees are very reasonable - how about a more detailed explanation of how you applied and blended the trans tint burst by way of payment? Do we have a deal
Your idea has certainly got legs. Surely it's only a short step away to developing various base assemblies in various configurations (4, 5, 6 strings - different scale lengths as required) so that somebody could get a base unit with a neck and string spacing that they felt really comfortable with and then.....
If you mounted all the pups and electronics to the top???
(maybe even combining the old Shergold idea of modular electronics as well)
Imagine, I could then do a rock gig with a Ric SwapTop (TM), then do a session with a P-Bass SwapTop (TM), or a J, or a MusicMan or even a Gibson Mudbucker gig, all with the familiarity of the same neck
Absolutely Amazing. I hope your patent goes through fine and someone backs you to get these on the market. A bass to match every shirt in the closet. 
Whoever coined the SwapTop name is a genius
You'll find my consultancy fees are very reasonable - how about a more detailed explanation of how you applied and blended the trans tint burst by way of payment? Do we have a deal
Your idea has certainly got legs. Surely it's only a short step away to developing various base assemblies in various configurations (4, 5, 6 strings - different scale lengths as required) so that somebody could get a base unit with a neck and string spacing that they felt really comfortable with and then.....
If you mounted all the pups and electronics to the top???
(maybe even combining the old Shergold idea of modular electronics as well)
Imagine, I could then do a rock gig with a Ric SwapTop (TM), then do a session with a P-Bass SwapTop (TM), or a J, or a MusicMan or even a Gibson Mudbucker gig, all with the familiarity of the same neck
You see the idea clearly. It's definitely NOT a "NASCAR" style, swap on the fly thing. That's too gimmicky. It's much more a 'swap and use for a while' thing. You want a classic sunburst J-style for a few gigs - there ya go. Then you want a tuxedo-like black and white affair for a wedding gig - swap it.
The electronics could easily be integrated into the tops too - and that's a possible option as I explore this concept. Different pup configs on one core instrument are also possible.
The burst with Trans Tint is like a walk in the park. I use Denatured Alcohol and dye and a tee-shirt the I cut into small, wiping rags. I also masked off the binding with blue painters tape - and even though you still get dye on the binding, it's not as bad as if you didn't mask it at all.
For the latest sunburst, I started by dumping about a 1/4 cup of alcohol into a bowl and dropping in about 10-15 drops of amber dye. Fold the rag so it has a flat, 'edge-free' wiping surface, dip in the dye and wipe all over the entire face.
I let that dry for a few minutes - then did it again - and again.
Next - I added the same ratio with the red to a bowl and started very slowly from the outer most edge wiping in little circles around the perimeter to gradually bring the red in.
Now the dye will begin very wet - so I cover a lot of territory staying very much to the edge of the perimeter to get an even outer band and as the rag dries, I gradually move in. This both blends the line and adds gradually less and less dye as I VERY GRADUALLY move in.
The key is to stay as far outside as you can as long as you can. It's much easier to bring the drier rag in and get a nice blend than it is to go too far, too fast and have to try to lighten it.
But you can lighten it if you need to - and I did - but it's not a big deal. I just started with the amber from the center again and worked outward. Was the amber rag dried and I approached the red boundary, the amber rag acted the same as the red rag and both smoothed and blended the two colors.
Once I got the red faded in toward the center as much as I wanted, I did the same procedure with the black - but I started with much less dye - about 5 drops instead of 10 to 15.
And with the black, I cannot stress this enough - stay the the extreme outer edge as much as possible. So I stayed on the slight bevel and forearm ease around the perimeter of the top exclusively with the black. It pretty much was like painting a black stripe - no real blend - using the edge of the bevel as a boundary. Once I had the outer most edge as dark as I wanted and the rag was VERY dry, I did the 'blend move' on the edge of the black and red zones. A very dry rag and a little elbow grease - and it faded the black into the red nicely.
That was it. Then I let it dry for a day, wiped it down with naptha and hit the top with a layer of vinyl sealer before spraying copious amounts of lacquer onto it. Once you get a good layer of lacquer onto the top, the colors start to pop like crazy!
One 'hassle' (but it's not that bad) is that the color will bleed out onto the binding both while applying the dye and during the clear coating stage. But spend some quality time with some 220 grit sandpaper and gently sanding the binding back to white is actually sort of therapeutic.
Hope that explains it well enough. This (along with all the other operations) is one of my favorite things to do. It's really easy to use dyes and rags. In my experience (VERY LIMITED), it's easier than spraying. But I do not have a professional spraying setup and that could make all the difference. But it's very easy to control and I can't wait to do the next dye-job!
SDB Guitars
Commercial User
Man, that is pure gold, right there. The homage to a classic body shape without being a copy is nice, and the idea of modular electronics is intriguing. You could even use pin style connectors like EMG has for fast pickup or tone control change-ups.
Thanks, Tim, er, Shawn!
I really like the homage to Rickenbacker. Like many here, my earliest memories of wanting to be a bass player are steeped with that Rickenbacker shape. Geddy, Chris Squire, Paul McCartney, Pete Farndon, and so on... that shape was pure rock 'n roll.
The swappable electronics is definitely doable and I'll be chatting with my new friends at LS Electronics about that sort of thing very soon.
Now, if you'll excuse me, I have some scuff sanding and lacquering to attend to!
I really like the homage to Rickenbacker. Like many here, my earliest memories of wanting to be a bass player are steeped with that Rickenbacker shape. Geddy, Chris Squire, Paul McCartney, Pete Farndon, and so on... that shape was pure rock 'n roll.
The swappable electronics is definitely doable and I'll be chatting with my new friends at LS Electronics about that sort of thing very soon.
Now, if you'll excuse me, I have some scuff sanding and lacquering to attend to!
I love the concept and your work, but I hate the hex bolts being visible on the back.
Two words: NEODYMIUM MAGNETS...
Two words: NEODYMIUM MAGNETS...
Either that or perhsps recess them further and cover them with cool pickguard-matched circular caps. Whaddaya think of that idea?
Either that or perhsps recess them further and cover them with cool pickguard-matched circular caps. Whaddaya think of that idea?
I considered caps but abandoned that idea. While at first the idea of the holes being obvious sort of bothered me, I've grown OK with 'em and caps would be (to me) just one more 'loose detail' to keep track of. While I know this idea requires one accept a certain amount of extra effort, I still want to minimize the amount of things that could fall off or get lost.
I may be rationalizing, but I am actually OK with the holes and I've actually grown to like them. While from the front the bass looks like any other, the back clearly identifies it as one of mine. The back is the back - prone to buckle rash - the place where guitars permit less than appealing aspects of a tremolo system show - it's the back.
The exposed holes is a subject of this design that I decided I was spending too much time trying to mitigate. Covering them is definitely something I felt would add to the hassle-factor and really - what's the difference between seeing the holes and seeing a series of caps?
But this is definitely an area where there is room for modification. The magnet idea is interesting. Some guide pins to ensure alignment and some sort of 'pry space' to pop them apart - very plausible.
I wonder if the magnets are strong enough to create a secure join between the two body parts, would they potentially interfere with the pickups? Hmm...
Along those lines, what about some potent neo-mags down the center line that serve a dual purpose - secure the top and behave as pickups? There would have to be some 'top holder mags' around the perimeter too - but hmm... interesting... Where's my drawing board?
Very very nice! Those finishes look great! What kind of dye are you using? Also, with the extra bolts, etc, what's the weight like? I look forward to seeing more! Subscribed!
I am using Transtint® Dye (I get it from the Woodcraft store that's conveniently located directly across the street from my office - damn them!).
I am pretty new to all this, but I've found these to be very easy to work with and after a little practice, I feel like I can accomplish almost any transparent finish I want using these and lacquer.
The bolts add virtually nothing to the overall weight. I put my 'Swaptop' on a scale the other day and it weighs in at 9.5 lbs. Just like my MIA Fender Jazz V.
I can easily trim some weight (if needed) though chambering. I considered doing that because I thought this design would be heavy. But after seeing that it was really no heavier that any other bass I use, I decided a weight loss plan was not needed.
JMac4strngr and fitani (and others) Thanks!
Update on stuff: I am trying to get my ducks in a row to be able to offer these instruments with the soon to be trademarked 'SwapTop' replaceable top system, on the open market. There... I said it...
I am currently talking with people trying to figure out everything I need to do this right. I know I cannot do it myself - nor do I want to. I am going to focus on players like myself who are not rich but very passionate about playing, their instruments, and who want cool, quality basses/guitars that offer expanded opportunities for personalization and customization. While many player can all have the same core model (hopefully), each of those instruments can be as unique as the player in look and sound.
I expect this is going to be a long and painful process getting things registered, start-up capital, finding time, finding more time - but I cannot ignore the feeling that this is something I need to do.
I am open to advice and suggestions and have already gotten some from fellow TBer's. If anyone has experience taking their idea from drawing board to viable business, please share! I can use all the help I can get.
Oh, my poor wife... Wait until all this reality starts to hit home...
Update on stuff: I am trying to get my ducks in a row to be able to offer these instruments with the soon to be trademarked 'SwapTop' replaceable top system, on the open market. There... I said it...
I am currently talking with people trying to figure out everything I need to do this right. I know I cannot do it myself - nor do I want to. I am going to focus on players like myself who are not rich but very passionate about playing, their instruments, and who want cool, quality basses/guitars that offer expanded opportunities for personalization and customization. While many player can all have the same core model (hopefully), each of those instruments can be as unique as the player in look and sound.
I expect this is going to be a long and painful process getting things registered, start-up capital, finding time, finding more time - but I cannot ignore the feeling that this is something I need to do.
I am open to advice and suggestions and have already gotten some from fellow TBer's. If anyone has experience taking their idea from drawing board to viable business, please share! I can use all the help I can get.
Oh, my poor wife... Wait until all this reality starts to hit home...
