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The Hossenfeffer III Build

Any advantage to these "compensated" nuts? I used an Axemasters brass nut on the Hossenfeffer II, I don't think it makes any difference tonally, but I like how they look, so I'm getting either their stock brass nut or the compensated one. Same price either way, a good idea, or smoke and mirrors?

Standard
USA MADE AxeMasters 1 1/2" / 38mm BRASS NUT made for Fender JAZZ Bass Guitar | eBay

Compensated
AxeMasters 1 1/2" COMPENSATED BRASS NUT made for Fender JAZZ Bass and similar | eBay

Expanded string slot spacing. P-bass string spacing on a Jazz nut? Too crowded to fingerboard edge?
AxeMasters EXPANDED SLOT SPACING Brass Nut made for Fender JAZZ Bass Guitar | eBay

SAOSK6v.jpg
 
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Sounds hokey. Compensation (AFAIK) being moving the witness point off the theoretical position, it would mean that your strings were not zeroed at the zero fret position. Normal compensation is done at the bridge end - with standard fret positions I'm dubious that it would be good at the nut end. I'd need a good deal more than handwaving to change my mind, and all I see there is handwaving and "we said a magic word, perhaps it will open wallets."
 
Sounds hokey. Compensation (AFAIK) being moving the witness point off the theoretical position, it would mean that your strings were not zeroed at the zero fret position. Normal compensation is done at the bridge end - with standard fret positions I'm dubious that it would be good at the nut end. I'd need a good deal more than handwaving to change my mind, and all I see there is handwaving and "we said a magic word, perhaps it will open wallets."
That's what I thought at first as well, but they just appear to be higher or lower slots based on assumed string diameter.
 
That's what I thought at first as well, but they just appear to be higher or lower slots based on assumed string diameter.
No, they are cut toward the bridge , or back from the nut center line to mildly change the string length to compensate "temper" the intonation for the first few frets, part of the Buzz Feiten system.
 
I’ve had guitars that were sharp in the first few frets; this can happen if the nut slots are too high, and/or too much fretting pressure is used, both of which stretch the string too much, pulling it sharp. I minimized the issue by filing the nut slots as low as possible, but a compensated nut would have also helped.
 
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Sounds hokey. Compensation (AFAIK) being moving the witness point off the theoretical position, it would mean that your strings were not zeroed at the zero fret position. Normal compensation is done at the bridge end - with standard fret positions I'm dubious that it would be good at the nut end. I'd need a good deal more than handwaving to change my mind, and all I see there is handwaving and "we said a magic word, perhaps it will open wallets."

That's what I thought at first as well, but they just appear to be higher or lower slots based on assumed string diameter.

No, they are cut toward the bridge , or back from the nut center line to mildly change the string length to compensate "temper" the intonation for the first few frets, part of the Buzz Feiten system.
*I don't believe that there will be much benefit on a bass guitar*
That Said:
Far from hogwash/popycock/snake oil. There is logically some merit and some science behind it.

Here's what MusicMan has to say about it:
MUSIC MAN GUITARS
Your guitars have a different kind of nut. What is it called and what is its purpose?

The nut is called a Compensated Nut. We have a patent on this design.
The purpose of this new nut design is to improve note accuracy all over the fretboard. This is most apparent at the lower frets.

There is no special tuner, setup, or intonation required.

This nut is standard on all Music Man guitars and basses (of course except guitars equipped with Floyd Rose tremolo systems).

The Compensated Nut has been engineered to improve your Music Man instrument's potential to play perfectly in tune up and down the fretboard. Each string has an individual intonation pocket that slightly changes the effective string length, causing notes that traditionally play sharp to be more in tune.

The design has been optimized for standard string gauges and tunings, but will be of benefit when used with alternate tunings, string gauges, and playing styles.

Buzz:
How It Works
How it Works:
The Buzz Feiten Tuning System solves tuning and intonation problems with 2 simple steps:

Shelf Nut
Our exclusive Buzz Feiten Tuning System¨ (BFTS) Shelf Nut moves the strings closer to the first fret according to our Patented Formula. This eliminates sharp notes at the first three frets.

Each Shelf Nut is precision machined from high quality bone for superb tonal response.

The strings are moved closer to the first fret a precise distance based on the scale length, fret width and string gauge of your guitar. The slight overhang of our nut (the 'Shelf') does this without altering your guitar in any way. So it's even fine for vintage guitars.

2. Intonation
Your guitar's bridge is adjusted according to our Patented Pitch Offsets, creating balanced intonation over the entire fingerboard - every fret - every string.

Your Bridge Is Adjusted to BFTS Pitch Offsets
----------------
bodytuning.gif

The following tuning methods were specifically developed for guitars with the Buzz Feiten Tuning System®.

Tuning with an Electronic Tuner

Electric guitars
  1. Tune slowly and carefully. A little more time now will mean more playing enjoyment later.
  2. When using the Korg DT-7 tuner, use a medium attack with your picking hand, center the green "in tune" light for approximately 1.5 seconds, then it should drift slowly flat (to the left).

    DO NOT TUNE SHARP AND WAIT FOR LED TO "SETTLE" TO PITCH !
    If you use this method, when you play hard with other instruments, your guitar will sound sharp. (Be especially alert to the G string... that string has a tendency to "spike" sharper than the other strings, because it has lower tension.)

    The Korg DT-7 automatically senses the string you are playing, allowing you to accurately tune to the precise pitch for each string.

    The Korg DT-7 is the fastest, most accurate and most reliable way to tune your guitar, and, because of its exclusive BFTS intonation mode, allows you to check intonation on your Feitenized guitar.

  3. If you use a tuner other than the Korg DT-7, you can simply tune to all "E's" i.e.


    1st
    E
    Open
    2nd
    B
    5th fret
    3rd
    G
    9th fret
    4th
    D
    14th fret
    5th
    A
    7th fret
    6th
    E
    Open, 5th fret Harmonic
    You can also use this method to tune by ear, using the Open E string (1st) as your reference string.


Acoustic guitarsIf you use a Korg DT-7, set the switch to "Acoustic" and follow the same guidelines described above.

If you use a different tuner, you can also tune using the "All E's" method described above.


12 Strings:
  1. Tune the 2nd string of each "pair" of strings using the methods described above.
  2. To tune the 1st string of each pair (octave), use the following methods:

    a) Using an electronic tuner:
    Tune normally.

    b) Using a Korg D-T-7:
    Set the rear slider switch to "Chromatic", and tune normally.


Another company Home
 
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This is ending up being more of a communal design critique than a build thread so far, for which I am solely to blame, having asked for it, so....

Attempt #2
I have incorporated the Nut Sa......er HEART OMEGA cutout into the Option 2 design headstock. This could easily get a little bigger or smaller, open to suggestions. I'm still on the fence, particularly as my Wife prefers the Bigsby/Fender-esque version, a not inconsequential factor, as any married builder can attest. We'll see, for now, opinions! I still have to chase down the string paths, I'll be a guinea pig and order the Axemaster compensated Jazz brass nut, and locate the saddles when I get the bridge. it looks like I can get a straight pull on the E and G strings, but angled on A & D. I think that's OK as long as the angle isn't so extreme the strings bind in the nut.

I have a set of gently used Seymour Duncan soapbar humbucking pups on the way (thanks to a generous TB'er!), and managed to find the Warwick bridge shown at a ridiculously cheap price from a European vendor, hopefully it actually shows up. Showing some indication of the extent of body edge contouring, elbow and belly relief, heel carve, etc. Since this is a passive bass, I don't need the giant control access cover Alembic uses, the cavity is only slightly oversize for a three-knob setup. I suppose I could squeeze a battery and small preamp in there if I decide to go active later on? I'd like to cut this cover out of the plank forming the sapele mahogany blank so it's continuous grain-matched. Having never done that, any advice on technique appreciated. I'm picturing some nail-biting routine with a coping saw, or maybe just making an MDF template and running a 1/32" downcut spiral Dremel bit around it to cut the cover out of the plank? What works?

fRJq4Wu.jpg

Looking at it onscreen, maybe move the F-Hole slightly closer to the where the forearm contour extends on the left?
 
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I like the not-N.S. in the peghead, but that particular iteration looks top heavy to me when seen with the body.
And, the F hole should definitely move closer to the left edge and away from the playing area, imo.

There are a few different and creative methods for the control cover that have been utilized here on the LC, of course I can't remember specific threads atm. Gimme a minute... ;)
 
On a less encouraging note, I drove over to my local wood supplier, a Cabinetmaker who has sold me some nice lumber over the years, including stuff like flame maple, walnut, purpleheart, and mahogany...... only to find locked doors and and an empty shop. I hope he just moved, and isn't a Covid casualty. I'd be surprised if it was a financial closure, everybody who can swing a hammer on Cape Cod has more work than they can do, and the lumberyards can barely keep up with demand. If he's gone, I'm back to long drives or mail order. Anybody in the South Shore area around Boston know a good lumber vendor? There's Downes & Reader in Stoughton, but last time I was there they didn't have much in stock, and would only sell me uncut boards.
 
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This is ending up being more of a communal design critique than a build thread so far, for which I am solely to blame, having asked for it, so....

Attempt #2
I have incorporated the Nut Sa......er HEART OMEGA cutout into the Option 2 design headstock. This could easily get a little bigger or smaller, open to suggestions. I'm still on the fence, particularly as my Wife prefers the Bigsby/Fender-esque version, a not inconsequential factor, as any married builder can attest. We'll see, for now, opinions! I still have to chase down the string paths, I'll be a guinea pig and order the Axemaster compensated Jazz brass nut, and locate the saddles when I get the bridge. it looks like I can get a straight pull on the E and G strings, but angled on A & D. I think that's OK as long as the angle isn't so extreme the strings bind in the nut.

I have a set of gently used Seymour Duncan soapbar humbucking pups on the way (thanks to a generous TB'er!), and managed to find the Warwick bridge shown at a ridiculously cheap price from a European vendor, hopefully it actually shows up. Showing some indication of the extent of body edge contouring, elbow and belly relief, heel carve, etc. Since this is a passive bass, I don't need the giant control access cover Alembic uses, the cavity is only slightly oversize for a three-knob setup. I suppose I could squeeze a battery and small preamp in there if I decide to go active later on? I'd like to cut this cover out of the plank forming the sapele mahogany blank so it's continuous grain-matched. Having never done that, any advice on technique appreciated. I'm picturing some nail-biting routine with a coping saw, or maybe just making an MDF template and running a 1/32" downcut spiral Dremel bit around it to cut the cover out of the plank? What works?

View attachment 4080586
Looking at it onscreen, maybe move the F-Hole slightly closer to the where the forearm contour extends on the left?
Winner! Gagnon! :hyper::hyper::hyper::hyper::hyper:
 
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More shameless advice-fishing:
I've never used a spoked heel trussrod, but I'd like to try one here to keep the headstock clean. I'd prefer it be flush or even recessed like Alembic does it, with a cover plate, and it has to be two-way. Thre's this one from Stewmac, overpriced (of course) but no doubt good quality. It looks like this one would be exposed above the body though, not loving that feature.
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More shameless advice-fishing:
I've never used a spoked heel trussrod, but I'd like to try one here to keep the headstock clean. I'd prefer it be flush or even recessed like Alembic does it, with a cover plate, and it has to be two-way. Thre's this one from Stewmac, overpriced (of course) but no doubt good quality. It looks like this one would be exposed above the body though, not loving that feature.
[Invalid or Expired Link Removed]
It looks like the wheel comes out at the bottom of the end of the block. I'm not sure how much lower one could get one. I suppose the gear size could be increased or decreased, but on the drawing it looks pretty low. The 3D mockup makes it look weird.
 
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Have you looked at the Allied Lutherie TRs? They are a bit spendy but beautiful:
Flexstrong Truss Rods
Thanks for the link, those do look pretty slick, I gotta read up on that. I have been leaving around 3/16" "meat" under my trussrods, If that one would allow me go a little thinner, it might be worth it. I like a flat "D" profile, and so far both my Ric builds are a bit chunkier-necked than I had hoped, basically because I was afraid to shave them any thinner. If it pops out the through-neck back while you are carving, no amount of Power Swearing will fix it. Alembic has a plate over their rods, but I think they still use two single action. Anybody know?
 
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Been scrounging the internet looking for some Alembic-esque graduated oval MOP inlays without success. Looks like vinyl stickers have completely saturated the market. I found some oval MOP, but all the same size. Another approach might be to cut oval recesses with a Dremel and do the crushed MOP flakes embedded in clear resin per the HF II. I wasn't entirely happy with the resin I used, Envirotex Lite, which is supposed to be extremely hard and clear, but I never got it polish up as clear and sparkly as I hoped. I suspect it wasn't fully cured when I buffed it out, I may try polishing it again now that it's been in there around 18 months with Flitz Metal Polish, which is what the Resin Art ladies say to use.
slybd86.jpg
 
Envirotex and and Glaze Coat are just plain soft and don’t buff, not to mention picky about curing temp. They also brown horribly in the sun.

Smooth-on Tarbender is much harder and less finicky, BUT has kind of questionable surface adhesion—probably OK for small recessed inlays, but not great for large surfaces.
 
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