Project Vista Sonic (rut row, JIO's at it again!)

[farace]

After putting it back together every selector option is working 100%, so the ground connection re-soldering was accurate. Because of that, each setting sounds better - even WILD DOG, and as @farace noted, BASS sounds best. However, other than the CONTRA BASS setting - I get buzz not touching the strings. ??? Why not CB and only the rest? Somewhat maddening. So now concentrating on the neck/fb/frets... the hard part. Oh.., and ordered "rare” NOS Burns knurled bolts/inserts for the RI bridge cover because the attachment holes are “off” ~ My VS did not incorporate this system originally so screw holes are spaced differently than this “authentic” RI of the Burns multi-use bridge cover from Denmark. I will illustrate why I ordered them once they arrive… it reminds me of when I owned my ’66 Volvo 122s Estate Wagon. Ordering parts from Sweden was always “rare and $$$”… loved that car though…wish I still had it.

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My uncle had one of those Volvos. For my ‘71 Alfa, I end up ordering parts from England and Germany. Usually the quality is better, the price is lower, and Often it even arrives sooner than if I order from a US source.

Only thought about the buzzing is to wonder if somehow Contrabass might combine things in a humbucking way, but that doesn’t seem likely. Maybe it’s filtered in a way that reduces hum.

 

[Jon Clegg]

Hey, when you get a chance, could you measure the value of that resistor? While I can read the color code, the value I come up with doesn't make sense (could be some British electronics industry from the 60s silliness afoot)

 

[JIO]

My uncle had one of those Volvos. For my ‘71 Alfa, I end up ordering parts from England and Germany. Usually the quality is better, the price is lower, and Often it even arrives sooner than if I order from a US source.

Only thought about the buzzing is to wonder if somehow Contrabass might combine things in a humbucking way, but that doesn’t seem likely. Maybe it’s filtered in a way that reduces hum.

There's one just like mine in my neighborhood. I lived in Chicago when I owned mine. It was garaged but then lost the garage and it died a hard death during the brutal winters there.

Not sure what's causing it the hum - I have a ground-wire to the bridge-plate which should have stopped that sort of hum. Will try bridging the bridge ground to the cavity - that can sometimes end hum.

 

[JIO]

Hey, when you get a chance, could you measure the value of that resistor? While I can read the color code, the value I come up with doesn't make sense (could be some British electronics industry from the 60s silliness afoot)

Once the pg is off again - I'll break out the meter and get you some readings. I can imagine it having a British-centric resistor and probably from the '50s. The whole harness looks to be made from war-surplus parts!

 

[Jon Clegg]

There's one just like mine in my neighborhood. I lived in Chicago when I owned mine. It was garaged but then lost the garage and it died a hard death during the brutal winters there.

Not sure what's causing it the hum - I have a ground-wire to the bridge-plate which should have stopped that sort of hum. Will try bridging the bridge ground to the cavity - that can sometimes end hum.

Yeah, I usually attach the bridge ground to the cavity shielding, then attach the pickguard ground by the screws, etc.

 

[Jon Clegg]

Once the pg is off again - I'll break out the meter and get you some readings. I can imagine it having a British-centric resistor and probably from the '50s. The whole harness looks to be made from war-surplus parts!

Original NOS from Bristol Beaufighter Radar

 

[JIO]

Spent some quality time working on the VS. Got rid of the grounding buzz by using the bridge ground wire to also ground the cavity. But while doing so I must have bumped something so the only setting that worked was the CONTRA BASS. (?) Another curious note is that the mini-toggle (kill switch - an add on) buzzes when touched. No other knob or metal part buzzes - just the switch. One step forward - two steps back... also spend a lot of time filing/leveling/crowning frets in the "cash register". Once back together I was pretty close to getting it 100%, just have to mark where there is still some buzzing and focus there. The 57yr old neck is not straight, but targeted filing is making it playable with acceptable action. I did a similar 'save' with my Silvertone Hornet - just in a different location. My '68 Coral Deluxe Bass didn't require any fret-work, probably because it doesn't have a truss-rod.

One more time removing the pg - hopefully the last time.

 

[JIO]

It was the last time removing the pg - all settings worked with the pg unattached (as I thought) so I figured it was another grounding issue.., which it was. As you can see, by wrapping all the shielded cavity perimeter - it created the classic "Faraday Cage" between pg & cavity and "sealed" the deal. Also grounded the mini-toggle which eliminated buzz when touched. Some basses are just easy - they don't require special handling and are a breeze to set-up and play. On the other hand.., some basses are high maintenance, requiring fussing with. Enter the Vista Sonic. I'm not complaining though - I've learned much dealing with this 57yr old. When I realized how wonky the neck was, I wondered if I'd made a mistake finishing the neck. I mean, my luthier Dan Ransom could have made me a replica neck that would be Plek'd etc. It wouldn't have had the unique gear-box truss-rod imbedded in it... but it would have been a very nice neck that looked exactly like the original. But diligence, patience and persistence (and luck) achieved the goal. I have one more pass (maybe two) at getting the frets to be cooperative - but it's very close and it will happen. Tomorrow - enough for today.

 

[Dynacord]

It was the last time removing the pg - all settings worked with the pg unattached (as I thought) so I figured it was another grounding issue.., which it was. As you can see, by wrapping all the shielded cavity perimeter - it created the classic "Faraday Cage" between pg & cavity and "sealed" the deal. Also grounded the mini-toggle which eliminated buzz when touched. Some basses are just easy - they don't require special handling and are a breeze to set-up and play. On the other hand.., some basses are high maintenance, requiring fussing with. Enter the Vista Sonic. I'm not complaining though - I've learned much dealing with this 57yr old. When I realized how wonky the neck was, I wondered if I'd made a mistake finishing the neck. I mean, my luthier Dan Ransom could have made me a replica neck that would be Plek'd etc. It wouldn't have had the unique gear-box truss-rod imbedded in it... but it would have been a very nice neck that looked exactly like the original. But diligence, patience and persistence (and luck) achieved the goal. I have one more pass (maybe two) at getting the frets to be cooperative - but it's very close and it will happen. Tomorrow - enough for today.

View attachment 3841095

I love Dan though on a vintage bass I'd still prefer to keep it as original as I reasonably could (so long as basically functional) - so I, for one, think you made the right choice in this case... A third option could be to remove frets, plane the board and then refret. Not cheap/quick but it's still original wood and would retain the new paint job.

 

[JIO]

I love Dan though on a vintage bass I'd still prefer to keep it as original as I reasonably could (so long as basically functional) - so I, for one, think you made the right choice in this case... A third option could be to remove frets, plane the board and then refret. Not cheap/quick but it's still original wood and would retain the new paint job.

Yah, my aim as always in resurrecting these DIY abused vintage gem's is to do do it a cost effectively as possible. I love these basses but am not a wealthy "collector" who can afford to buy a vintage bass I really think is cool. I got the VS for a very affordable price because it was stripped and missing critical (re: not to be found) parts. Same with the Hornet, same with the Coral. Too many critical missing parts or the neck in too bad condition and I'd probably pass on it. I love the challenge to make something like that playable again and even if I don't have the specific skills to do something to fix it, I learn how so I can save spending more money on it.

I did spend more than I wanted to on the Burns RI bridge cover just to have it more 'complete'. Speaking of which, I got the cover and the holes to connect it do not match the body holes - close but off. My VS had only pg screws holding it on. (small holes) So though the Burns Guitars and Amplifiers fb page I discovered that certain Burns basses/guitars from that time had Ric-style knurled machine-screws with inserts for the cover and a limited number of original NOS bolts/insets are available... for a cost. So since I already have the cover... anyway, I'll need to carefully drill for the inserts which being bigger than the original holes will allow me to position them correctly.

They were also used (like on a Ric) for the mute-bar - another missing part I don't have but care less about as like most mutes, players mostly removed it anyway. You can also see the bridge insets in this pic. Will need to do some tests installing the insets as I don't want to mess up the finish. If I can't do it cleanly I won't install them. First step is a new sharp Forstner drill bit.

 

[Fender_Bender]

You could always try the old “clamp it down into a backbow for a week” and see if that helps. Alternatively, lighter gauge strings.

 

[JIO]

You could always try the old “clamp it down into a backbow for a week” and see if that helps. Alternatively, lighter gauge strings.

Not gunna' happen at this juncture... I worked on it more today and have it 98% there. Will let it sit a while, test/play it again and once it's settled/done - I'll do the final fret polishing. Also, I deliberately want it with the strings I'm most familiar with (D'Addario's - in this case the nickel EXL160M's; medium scale/medium gauge). Using flats would have allowed a whole lot less fret-work... but I like the option of round-wound distinction. After getting it sorted, I'm really liking how it sounds - especially in the BASS setting. Sounds sorta like a P-bass. CONTRA BASS is boomy bass overload, and TREBLE could be good for a baritone vibe, but a friend heard the WILD DOG setting earlier tonight and said it sounded like a banjo... I think if I wanted to form a band to grate on peoples nerves it would incorporate a banjo, an accordion, and maybe a fiddle - and possibly bag-pipes.

 

[JIO]

A pic on my work table with the RI bridge cover sitting in place. The tuners were really hard to turn so I used some awesome lube I have for bicycle chains (bottle with yellow cap- Dumonde Tech Lite) and they now turn "like butter".

 

[JIO]

So after spending hours fussing the frets - I find this perfect tool at Stew Mac. It's an under-strings fret leveling tool! I got the 18" (longest) bar, and a roll of sandpaper tape. It is exactly what I needed as you tune your strings to pitch, wedge the white plastic riser at the nut so the inverted T clears the strings, and sand the frets level. It's perfect for wonky necks like the VS and my Silvertone Hornet. (and probably future projects) It also doubles as a fretboard leveler (fretless or new build) but having the ability to level at pitch is awesome. It will even out the 'here & there' fretwork I've already accomplished (the hard way) leading to more perfectly even frets up and down the neck. (no buzzing) I also got some fingerboard shields (thin stainless steel plates with a fret width cut out for filing/crowning/dressing frets and protecting the fb) and a diamond-dust crowning tool. These are shop grade tools ($) but considering the last few abused vintage builds I've done - they will be used again. I just wish I would have seen this a few days ago!

 

[Jon Clegg]

A pic on my work table with the RI bridge cover sitting in place. The tuners were really hard to turn so I used some awesome lube I have for bicycle chains (bottle with yellow cap- Dumonde Tech Lite) and they now turn "like butter".

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It's a shame that Burns chose out-of-phase for the Wild-Dog setting; It's one of those things that can have some utility on a guitar but seems pretty worthless on a bass IMHO. I setup one of my basses with all kinds of options (HB-HB, split-coils, out-of-phase) but usually just run with combinations of the pickups as humbuckers and always in-phase. An in-phase combination of the bridge and middle would probably be useful.

 

[JIO]

It's a shame that Burns chose out-of-phase for the Wild-Dog setting; It's one of those things that can have some utility on a guitar but seems pretty worthless on a bass IMHO. I setup one of my basses with all kinds of options (HB-HB, split-coils, out-of-phase) but usually just run with combinations of the pickups as humbuckers and always in-phase. An in-phase combination of the bridge and middle would probably be useful.

So how would I do that?

 

[Jon Clegg]

From your drawing, it looks like the bridge pickup is the reverse phase one, you should be able to just flip it per this:

 

[JIO]

From your drawing, it looks like the bridge pickup is the reverse phase one, you should be able to just flip it per this:

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Most excellent Jon - I can definitely do that! (pg off one more time!) So will that be (more or less) like a Jazz bass with both N & B pu's on full once reversed? The center pu of the VS is approximately where the split-coil P pu divides, or where a '51 P single would be, which I've noted gives it a P-like tone. (a J neck pu would land 1" higher/toward the neck) The bridge pu (on the VS) is approximately the same location as a '70s J. However, the VS pu's being slightly angled/slanted would present subtle differences in tone.

 

[JIO]

Didn't realize "Spanky & Our Gang" (from '67) were British as they are rockin' Burns amps & guitars (12 & 6) and a Burns Jazz Bass. (yes, BoL had a Jazz Bass also) Their J-bass was basically an extension of the VS - mostly identical except for a body/pg redesign.

 

[Jon Clegg]

Most excellent Jon - I can definitely do that! (pg off one more time!) So will that be (more or less) like a Jazz bass with both N & B pu's on full once reversed? The center pu of the VS is approximately where the split-coil P pu divides, or where a '51 P single would be, which I've noted gives it a P-like tone. (a J neck pu would land 1" higher/toward the neck) The bridge pu (on the VS) is approximately the same location as a '70s J. However, the VS pu's being slightly angled/slanted would present subtle differences in tone.

Pretty much. One of them may be padded down slightly by the 920 ohm resistor.