Epoxy is the path of least resistance. You could take a dremel and texture the bottoms to match the center stripe.
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.
SBO 23 - The Long Black
- Thread starter Alex Xander
- Start date
Perhaps route out cavities from the other side, then glue a back on?
And now I am trying to figure out how to lure interesting insects to participate in my next build. My shop is currently full of paper wasps, but they aren’t inclined to go where you point them.
And now I am trying to figure out how to lure interesting insects to participate in my next build. My shop is currently full of paper wasps, but they aren’t inclined to go where you point them.
I can see it now: the mosquito in amber bass!
If you're gonna do that, add some little plastic army men.
Saw this one the other day, and putting a Luke Skywalker action figure in the cockpit would be impossible to resist....I do believe I just might gig a bass with little green army men in it.
Attachments
I’m battling with mud wasps. They don’t sting, but they have a great knack for laying eggs in all sorts of undesirable places, like air tool inlets!
Man, I like the way you guys think!
I do believe I just might gig a bass with little green army men in it.
So many great ideas, guys!
In the end, I went with a boring option. I took the bearing off a pattern following bit and used the 1/4” shaft as the guide. That allowed me to route under the top and give the illusion of a hollow body. Purely ornamental, but not a bad ornament.
This body is now screaming at me “piezo with minimal controls”, but it’s going to be a job to hide the preamp and buffer boards given the realestate taken up by the “sound holes”.
Top edge before the horn. Means making a crazy long drill to the bridge, but the sliders on the SCP are my new favorite controls.
Or, go no control with a pizeo and just use a volume pedal.
Or, go no control with a pizeo and just use a volume pedal.
Im leaning towards a simple on/off micro switch. Still lots of head scratching and measuring to do before I commit to anything.
I built a piezo jazz bass in walnut . Also loved the idea of a clean , no pickup look . Installed piezo bridge , routed 50mm x 50mm cavity in the back containing custom buffer and battery , and a single volume control and Jack socket in a 51 P bass control plate . I can dig out some photos if interested .
Your wish is my command . I'll see if I can find pics of the back but essentially is just a void with a diecast ali box set in to it . The output of piezo pickups is quite high so I built a simple Jfet buffer with unity gain . With no tone control you will get finger noise but downstream EQ sorts that out , and you get the beautiful simplicity of a single control .
Nice... I'm a huge fan of the piezo/no control thing.
I'm currently working on a minimalist Explorer Bass, but am having some difficulty with the bridge, I'm going for no metal south of the nut.
I'm currently working on a minimalist Explorer Bass, but am having some difficulty with the bridge, I'm going for no metal south of the nut.
I’d forgotten I had an Alumitone death bar pickup looking for a home, so the Gidgee Long Black is getting some chrome hardware.
This will be 6 strings, tuned F#BEADG, or EADGCF with the E an octave lower than normal. The XL scale seems to prefer fairly high tension strings. At F# they will be around 50lbs a string and at E somewhere around “normal” tension.
My wife used a recent break from work to refinish the floors in our daughter's bedroom. I insisted we finished the floors with Osmo Polyx. By “chance” there is enough left over to finish a whole bunch of basses. Anyway, here it is with a single, light coat. I think I’ll be using a fair bit of Osmo in the future.
If I were a metal player, I think I’d be super excited about this build. A hot, snarling pickup in the bridge position, a thin and fast neck, coupled with some well executed low tuning. Despite being anything but a metal player, I’m still excited.
This has me thinking that my WBO entry might just be “The Best Bass for Metal”, if the theme ends up going that way.
This will be 6 strings, tuned F#BEADG, or EADGCF with the E an octave lower than normal. The XL scale seems to prefer fairly high tension strings. At F# they will be around 50lbs a string and at E somewhere around “normal” tension.
My wife used a recent break from work to refinish the floors in our daughter's bedroom. I insisted we finished the floors with Osmo Polyx. By “chance” there is enough left over to finish a whole bunch of basses. Anyway, here it is with a single, light coat. I think I’ll be using a fair bit of Osmo in the future.
If I were a metal player, I think I’d be super excited about this build. A hot, snarling pickup in the bridge position, a thin and fast neck, coupled with some well executed low tuning. Despite being anything but a metal player, I’m still excited.
This has me thinking that my WBO entry might just be “The Best Bass for Metal”, if the theme ends up going that way.
Neck time, for my 6 string long black.
This one is an 11 piece, using Gidgee, red cedar and silver ash. I can’t remember if I commented on this earlier, but the combination of gidgee and cedar is mixing the hardest and softest woods I have at my disposal.
This is a very heavily reinforced neck. Two epoxy bedded truss rods, with two 3mm x 12mm 304 stainless bars running up the middle. It’s strong enough that I will happily put my 115kg in the middle of it and it barely flexes.
There is very little information online about the engineering properties of gidgee, or it’s close cousin mulga. Suffice to say, it is heavier, harder and stiffer than anything else in my wood stash, including ebony and some bloody hard Australian woods.
This is the only picture I have before glueing up, which I took so that I knew where it was age to drill neck screw holes.
Fretboard is ironbark, the best wood for metal. It will polish to a shine, just like ebony.
By the time I trimmed the neck to shape, most of the cedar was gone. This is a seriously stiff neck. How will it sound? Only @Bruce Johnson would know. I’m guessing bright, and I’m guessing the low F# won’t be short on sustain.
This one is an 11 piece, using Gidgee, red cedar and silver ash. I can’t remember if I commented on this earlier, but the combination of gidgee and cedar is mixing the hardest and softest woods I have at my disposal.
This is a very heavily reinforced neck. Two epoxy bedded truss rods, with two 3mm x 12mm 304 stainless bars running up the middle. It’s strong enough that I will happily put my 115kg in the middle of it and it barely flexes.
There is very little information online about the engineering properties of gidgee, or it’s close cousin mulga. Suffice to say, it is heavier, harder and stiffer than anything else in my wood stash, including ebony and some bloody hard Australian woods.
This is the only picture I have before glueing up, which I took so that I knew where it was age to drill neck screw holes.
Fretboard is ironbark, the best wood for metal. It will polish to a shine, just like ebony.
By the time I trimmed the neck to shape, most of the cedar was gone. This is a seriously stiff neck. How will it sound? Only @Bruce Johnson would know. I’m guessing bright, and I’m guessing the low F# won’t be short on sustain.
Last edited:
