[Project Diary] Ric inspired short scale bass

[ctmullins]

Regarding a scratch plate, it's either a scratch plate on the front, or control cavities on the back.. the exception being bespoke instruments such as 13ghosts's amazing green machine. A scratch plate just makes economical sense. (Time, and $s).

What kind of economical sense? It’s just as much work to do a front cavity and cover it with a pickguard as it is to do a back cavity and cover it with a cavity cover.

But once it’s done, it’s done, and then you have to look at it every day.

 

[gtirard]

If have basses with (Nordstrand Acynonix) and without (G&L L2000) pickgards, I like both.

My initial design for the project was without a pickgard, so I'd be happy to keep it pure and simple.

When my luthier friend told me it would easier for him to make a pickgard because of the specific pickups I have chosen (not sure why), I thought "why not?" and tried to design one. I think it would look cool with a black perloid pickgard over a matte black finish, and it's also practicle because on the cat I use the pickgard to hold a pair of picks.

Nothing is definitively decided, but I'd like to take into account my luthier friend's requests, he's super nice to do this build for me, it's also his project, I'd like him to be as pleased with the result as I am. I'd be happy both ways.

 

[Old Ozzie Guy]

Thanks you!

Yes, it's a Kahler tremolo.

In the mid 80s, I had a Gibson 335 with a Bigsby. I dug a big hole in its top, chiseled the nut, and fitted a Kahler. Wow, I had a 335, that could 'dive bomb'! Oh, the foolishness of youth!.
I'm still eyeing both of your bass's. So much thought,(outside the box), put into both..just Brilliant.

 

[13ghosts]

When my luthier friend told me it would easier for him to make a pickgard because of the specific pickups I have chosen (not sure why), I thought "why not?"

Then go for it! Pickguards can be a nice design element.
One cool example is the following, which is "clear acrylic and sprayed a carefully hand-picked "off white" under it.":

Body was cut/sculpted from a single slab of alder that I designed referencing pic's of an actual Performer - I extended the upper horn to align closer to the 12th fret balance point.

5 inset/collared bolt neck anchors, string-thru, deep scalloped bely-bevel. A very well-balanced and comfortable 8.5lb bass.

Master Luthier Dan Ransom/SF made the 24 fret maple/ebony fb neck to my spec's which didn't follow the vintage Performer. It has a 1.5" ebony/brass hybrid nut and tapers to a standard Fender heal - wider than the Performer by 1/4'.

I also designed/cut the pg of clear acrylic and sprayed a carefully hand-picked "off white" under it. It gives it a depth that a white pg doesn't come close to. Pat Wilkins (SO/CAL) did the awesome Firemist Gold Metallic finish on the body & neck/hs face. EMGX pu's and 9v pre - GHS Progressive flats, individual bridge-units, string thru, Strat jack, rotary tr, chromed brass cabinet 'skirts' and nickel Ibanez knobs (VVT)

I called it the "Supersonic" - not being aware that Fender already had a "Supersonic" series. Oh well... I redefined the 'spear' shaped Performer hs to more reflect the curvaceous bodies' outlines. I was told it looked like Entwistle's "Buzzard" bass... and again, I wasn't aware of it before designing my hs shape for the Supersonic. As an interesting side note - Dan Ransom who made the neck, built one of the early "Buzzard Bass" necks for John Entwistle. (true) It was Dan who informed me that my hs design was like Oxes! Foiled again!

Love the design of these Gotoh tuners - perfect for this bass.

An early pic prior to adding 12th and 24th fb dots -

glamour shots -

The sexiest pic of it ... all that's missing is candles & ambient music! I'll need to do a recording using it - it's a great sounding J/bass. I've 'willed' this bass to Bond Girl Cherie Lebow. I brought it to a BG rehearsal years ago and she strapped it on/played it briefly. Seeing her with it at that moment told me it was going to eventually be her bass. I'll bring it to our next rehearsal and get a pic of her with it. You'll see what I'm talking about.

 

[Old Ozzie Guy]

Pickguards can be a nice design element.
One cool example is the following, which is "clear acrylic and sprayed a carefully hand-picked "off white" under it.":

Wow, another stunning looking, slightly 'out there', instrument. My Sandberg, has an ebony fretboard, I love how it feels, sounds. I don't understand why ebony isn't used more in bass guitars.
It's great that folks are willing to try , experiment, and put hard earned $s , into their dream instrument. More power to you..all !!

 

[gtirard]

Quick update:

• The good news: I have received the second High Gain pickup that @Kendescending has super nicely sent to me, the luthier confirmed it works perfectly. The breadboard is now complete, ready for testing and experiment.
• The bad news: my luthier friend is now having 2 weeks off, so I'll have to be patient before I can try different pickup placements. I'll keep you posted.

 

[RLK]

Quick update:

• The good news: I have received the second High Gain pickup that @Kendescending has super nicely sent to me, the luthier confirmed it works perfectly. The breadboard is now complete, ready for testing and experiment.
• The bad news: my luthier friend is now having 2 weeks off, so I'll have to be patient before I can try different pickup placements. I'll keep you posted.

View attachment 7197859

Going with the Bo Diddly design - cool!

 

[gtirard]

I had a new work session my luthier friend yesterday evening.

I'm really sorry I couldn't film or record anything, but it was very easy to find the best pickups positions:

• I believe the new pickup @Kendescending sent me is perfectly identical to the other one, so they pair very well and have the same output level.
• I didn't bring my personal amp, but on my friend's amp they seem to sound great: punchy and full sounding, just like I expected. I think it's a bargain because they're not expensive (Retrovibe High Gain pickups)
• The best position for the bridge pickup was easy to find: the position you see on the photo is where we get all the punch, anything closer to the bridge sounds thin.
• The bridge pickup sounds great when positionned as close as possible to the neck. Anything closer to the bridge makes the difference between the two pickups too subtle to be interesting.
• The John East preamp sounds great and is very flexible, just like I expected.

The next step is to find the wood for the body.

 

[Old Ozzie Guy]

That "looks" good to me. I love pick up just below the neck, it usually means FAT. I also like the idear of the treble pick not to close to the bridge. That should give you 2 usable independent sounds, + what ever blend wanted.
Exciting..can't wait to see, and hopefully hear , the finished instrument..

 

[ctmullins]

Agree, those are the positions I tend to use and enjoy the most.