Some minor progress with another long black. The epoxy has cured and I've planed the wings of the ebony and rosewood bass. This rosewood has the most beautiful smell.
For the neck, I decided not to use rosewood, but to make use of a neck I built for my 12 string build, but ultimately decided not to use. It's a 5 piece ironbark neck (9 piece if you count the veneers). As I've stated here before, ironbark is seriously hard, and seriously stiff. The stuff on this neck was cut over 100 years ago, so I'm quite confident I'm going to end up with a very stiff neck, great for the low F# tuning this bass will have.
I'm not sure whether to put carbon bars in this neck. It's already rigid enough that I have no issue putting my 110kg in the centre of it with the ends suspended.
The body is taking shape, and once I work out why my jointer is cutting a convex edge, this will get glued up.
It doesn't appear to be the case in the photos, but the centre of the body is cut from the same board that sits under the epoxy. With a finish on, it should all tie together.
For the neck, I decided not to use rosewood, but to make use of a neck I built for my 12 string build, but ultimately decided not to use. It's a 5 piece ironbark neck (9 piece if you count the veneers). As I've stated here before, ironbark is seriously hard, and seriously stiff. The stuff on this neck was cut over 100 years ago, so I'm quite confident I'm going to end up with a very stiff neck, great for the low F# tuning this bass will have.
I'm not sure whether to put carbon bars in this neck. It's already rigid enough that I have no issue putting my 110kg in the centre of it with the ends suspended.
The body is taking shape, and once I work out why my jointer is cutting a convex edge, this will get glued up.
It doesn't appear to be the case in the photos, but the centre of the body is cut from the same board that sits under the epoxy. With a finish on, it should all tie together.
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