The Hossenfeffer V Bass Build

[Gilmourisgod]

So.... the builders itch has returned. Thinking about some kind of Rickenbacker 4005 mashup, not a strict 1:1 copy. I always thought the upper horn of the 4005 looked a little... bulbous.. or something. The 4005XC is cool too, but I think I'll land at something that incorporates some of the details and proportions of the Rimini Italia Bass 4, from which I shamelessly stole the "F-Hole" for a previous build. I may go with the Ric cat-eye design instead, we'll see how it looks. I'll try a Ric style "hooked" cresting wave upper horn too. Looking to to ruthlessly exploit the TB Hive Mind on some suggestions. This is what I'm thinking so far:

Semi-Hollow body. I don't think I have the chops (yet) to build a true hollow-body, but I'm open to being shamed into it. It would be nice if the finished product had some minimal acoustic volume, about like an unplugged Hofner, but I don't want a feedback machine either. At the moment I'm thinking a full neck-through center beam to support bridge and (2) pickups, with hollow chambers either side. In that case, maybe (2) symetrical F-Holes? The 4005 "teardrop" pickguard is cool, but doesn't work with two F Holes.

32" or 30" scale? My Lemmy is 32" and just love this scale, bit I've always wanted a short scale too, so I'm a but torn. Thoughts?

Bubinga fingerboard with "sparkle" crushed MOP inlays. I tried this on the HF II with mixed results. The resin I used never took a really glossy transparent polish, so more science needed. 1-1/2" nut width with brass nut.

I think I have enough checker binding left over to do the back edges of the body like a 4005, definitely want a rounded front on this one. Enough sharp edges to go around on my previous builds. Might bind the headstock, definitely the fingerboard.

Two humbucker pups, Master Volume/Blend/Master Tone, my favorite setup. Mono output.

Chrome or nickel hardware. been scrounging around a little trying to find a cool looking 4-string trapeze string anchor and tune-o-matic style adjustable bridge. I'm not real fussy on string spacing, usually set it via my bridge selection. Suggestions appreciated.

Not sure on the headstock, Ric style or something different?

My last (3) basses have been transparent natural finish, think I'll paint this one black (or British Racing Green)

I'll post some draft drawings once I get it hashed out a little, in the meantime, please suggest away!

 

[nixdad]

Subscribed!
I can't wait to see what you create here, Alex.

 

[mikewalker]

I will lobby to see a 30 inch scale version based on the middle one (as you spec, no top binding!)
That's a dream bass for me (the 4005XC fell off my radar due to top binding...)

 

[Gilmourisgod]

Drawing them up now, I’ll do a few versions, one 32”, one 30”, different headstocks, etc. and take a vote. I checked out the Gretsch bridge, which looks cool, but they are all wood bridges with a metal saddle, I think I just want all metal tune o matic style.

 

[Gilmourisgod]

Found this tailpiece on Ebay, it has a nice simplicity without the cheap looking wire infill on the Hofner style tailpieces. I'll try to find a tune0o-matic style bridge with a similar string spacing.

 

[Novarocker]

Subbed for sure. This is right up my alley.

 

[Gilmourisgod]

First couple drafts, I could use some "constructive criticism". This is a mashup of different parts, more or less the Rimini Italia body, but with more "Ric-Like" upper and lower horns, thicker than the 4003, more like a 70's 4001, but not the bulbous, slightly.... anatomical... looking upper horn on the 4005. I really like the scooped out tail area common to both the 4005 and the Rimini, which gives clearance for the trapeze tailpiece. The farther I wandered from the basic 4005 design the worse it looked, unsurprisingly, but I like both versions here. The double cat-eye version might result in a touch more audible semi-hollow tone, but not enough to be the deciding factor. I'm currently seeing this as a solid top, heavily hogged out for some chambering, with a deep set neck. I might run it right through to the bridge so everything is on one beam. The back would be a separate applied panel with checker edge binding, maybe a control cavity cover (unless I do the pickguard version).

I have the bridge as shown in the drawing, it's a Tune-O-Matic style called the "BB-Tom-C", looks like a decent piece of kit. It has a radius baked-in, looks like 12" or so, so any height adjustment is via the two posts, which have lock-down screws. The saddles are adjustable for intonation with lock screws.

BB-TOM-C Chrome Tunematic T-O-M Style Bridge 4-String Bass w/Studs | eBay

Adjustable saddles. String spacing is 2-1/8"(54mm). Stud spacing is 3-11/16"(93mm). Includes lock down style mounting studs.

www.ebay.com

The tuners are just place holders for now, probably go with Ric label Schaller elephant ear or Hipshot HB-5's.

This seems to work best as a short scale, 22 fret bass. The fingerboard will be Bubinga, gonna try the "sparkle" sharkfin inlays again with crushed MOP. I wasn't entirely happy how they came out on the HF2, the resin I used never really polished up to water-clear as a I hoped. I'll do some more Science this time.

For controls, my usual KISS approach: Master Volume/Blend/Master Tone. Mono output. The pickup positions are still a little up for grabs. Advice appreciated.

 

[Wyrdlow]

First couple drafts, I could use some "constructive criticism". This is a mashup of different parts, more or less the Rimini Italia body, but with more "Ric-Like" upper and lower horns, thicker than the 4003, more like a 70's 4001, but not the bulbous, slightly.... anatomical... looking upper horn on the 4005. I really like the scooped out tail area common to both the 4005 and the Rimini, which gives clearance for the trapeze tailpiece. The farther I wandered from the basic 4005 design the worse it looked, unsurprisingly, but I like both versions here. The double cat-eye version might result in a touch more audible semi-hollow tone, but not enough to be the deciding factor. I'm currently seeing this as a solid top, heavily hogged out for some chambering, with a deep set neck. I might run it right through to the bridge so everything is on one beam. The back would be a separate applied panel with checker edge binding, maybe a control cavity cover (unless I do the pickguard version).

I have the bridge as shown in the drawing, it's a Tune-O-Matic style called the "BB-Tom-C", looks like a decent piece of kit. It has a radius baked-in, looks like 12" or so, so any height adjustment is via the two posts, which have lock-down screws. The saddles are adjustable for intonation with lock screws.

BB-TOM-C Chrome Tunematic T-O-M Style Bridge 4-String Bass w/Studs | eBay

Adjustable saddles. String spacing is 2-1/8"(54mm). Stud spacing is 3-11/16"(93mm). Includes lock down style mounting studs.

www.ebay.com

The tuners are just place holders for now, probably go with Ric label Schaller elephant ear or Hipshot HB-5's.

This seems to work best as a short scale, 22 fret bass. The fingerboard will be Bubinga, gonna try the "sparkle" sharkfin inlays again with crushed MOP. I wasn't entirely happy how they came out on the HF2, the resin I used never really polished up to water-clear as a I hoped. I'll do some more Science this time.

For controls, my usual KISS approach: Master Volume/Blend/Master Tone. Mono output. The pickup positions are still a little up for grabs. Advice appreciated.

The double cat-eye gets my vote, purely based on the aesthetics! I never liked the look of those pickguards, but that's just me. The horns look great - a definite improvement to my eyes. I've no doubt it'll be another cracker, whatever you decide.

 

[Koshchei]

First couple drafts, I could use some "constructive criticism". This is a mashup of different parts, more or less the Rimini Italia body, but with more "Ric-Like" upper and lower horns, thicker than the 4003, more like a 70's 4001, but not the bulbous, slightly.... anatomical... looking upper horn on the 4005. I really like the scooped out tail area common to both the 4005 and the Rimini, which gives clearance for the trapeze tailpiece. The farther I wandered from the basic 4005 design the worse it looked, unsurprisingly, but I like both versions here. The double cat-eye version might result in a touch more audible semi-hollow tone, but not enough to be the deciding factor. I'm currently seeing this as a solid top, heavily hogged out for some chambering, with a deep set neck. I might run it right through to the bridge so everything is on one beam. The back would be a separate applied panel with checker edge binding, maybe a control cavity cover (unless I do the pickguard version).

I have the bridge as shown in the drawing, it's a Tune-O-Matic style called the "BB-Tom-C", looks like a decent piece of kit. It has a radius baked-in, looks like 12" or so, so any height adjustment is via the two posts, which have lock-down screws. The saddles are adjustable for intonation with lock screws.

BB-TOM-C Chrome Tunematic T-O-M Style Bridge 4-String Bass w/Studs | eBay

Adjustable saddles. String spacing is 2-1/8"(54mm). Stud spacing is 3-11/16"(93mm). Includes lock down style mounting studs.

www.ebay.com

The tuners are just place holders for now, probably go with Ric label Schaller elephant ear or Hipshot HB-5's.

This seems to work best as a short scale, 22 fret bass. The fingerboard will be Bubinga, gonna try the "sparkle" sharkfin inlays again with crushed MOP. I wasn't entirely happy how they came out on the HF2, the resin I used never really polished up to water-clear as a I hoped. I'll do some more Science this time.

For controls, my usual KISS approach: Master Volume/Blend/Master Tone. Mono output. The pickup positions are still a little up for grabs. Advice appreciated.

Great look, but I'd go for 24 frets. Part of what makes the 4005XC remarkable is its totally unimpeded access to the two octave neck, which I use completely.

 

[nixdad]

First couple drafts, I could use some "constructive criticism". This is a mashup of different parts, more or less the Rimini Italia body, but with more "Ric-Like" upper and lower horns, thicker than the 4003, more like a 70's 4001, but not the bulbous, slightly.... anatomical... looking upper horn on the 4005. I really like the scooped out tail area common to both the 4005 and the Rimini, which gives clearance for the trapeze tailpiece. The farther I wandered from the basic 4005 design the worse it looked, unsurprisingly, but I like both versions here. The double cat-eye version might result in a touch more audible semi-hollow tone, but not enough to be the deciding factor. I'm currently seeing this as a solid top, heavily hogged out for some chambering, with a deep set neck. I might run it right through to the bridge so everything is on one beam. The back would be a separate applied panel with checker edge binding, maybe a control cavity cover (unless I do the pickguard version).

I have the bridge as shown in the drawing, it's a Tune-O-Matic style called the "BB-Tom-C", looks like a decent piece of kit. It has a radius baked-in, looks like 12" or so, so any height adjustment is via the two posts, which have lock-down screws. The saddles are adjustable for intonation with lock screws.

BB-TOM-C Chrome Tunematic T-O-M Style Bridge 4-String Bass w/Studs | eBay

Adjustable saddles. String spacing is 2-1/8"(54mm). Stud spacing is 3-11/16"(93mm). Includes lock down style mounting studs.

www.ebay.com

The tuners are just place holders for now, probably go with Ric label Schaller elephant ear or Hipshot HB-5's.

This seems to work best as a short scale, 22 fret bass. The fingerboard will be Bubinga, gonna try the "sparkle" sharkfin inlays again with crushed MOP. I wasn't entirely happy how they came out on the HF2, the resin I used never really polished up to water-clear as a I hoped. I'll do some more Science this time.

For controls, my usual KISS approach: Master Volume/Blend/Master Tone. Mono output. The pickup positions are still a little up for grabs. Advice appreciated.

Hey Alex -
I like where you're going with this. Both designs are quite handsome, and I like your concept of the upper bout having the signature Ric "tang." If you go with a flat top towards the front part of the body and on the sides, it also provides the opportunity to incorporate checkerboard binding on the top as well as on the back. I am interested to see how you blend the chambered body with this approach, which is a MUST for the concept. I know the neck through design makes sense on several levels, however, I LOVE the unique X-braced body of the 4005 which has the set neck. The bass has a wonderful "heft" that solid body basses cannot reproduce, but it's not boomy. I own a Fender Starcaster bass which has the solid block through the body - the bass sounds great (especially when strung with flats and played with a pick,) but it lacks the hollow character of the 4005.

Controls-wise, I've personally really grown fond of the pickup selector switch over the past 10 years, which is VERY different from my time in the biz in the 80's & 90's when the blend knob was everywhere - you know what's right for you, so trust your gut!

Pickup-wise, it's truly surprising how many tone capabilities are possible with the 4005 spacing. However, have you thought about a triple toaster pickup setup with the middle pickup in the traditional P-Bass slot? I prefer the look of only 2 pickups, but the 3 pickup approach could be interesting in capable hands.

Good luck, and please keep us posted!

Chris

 

[ctmullins]

My man.

Loving everything about this.

Except, perhaps, the placement of the bridge pickup so close to the bridge. I did that on mine, and it makes that pickup useless on its own.

Unless you're Jaco.



Which you're not....

 

[Gilmourisgod]

I think I want to avoid top edge binding this time. It looks great, but I'll admit it wears on my forearm a little. I want something light, short, and comfortable to play. I could do either a traditional roundover (3/4" shown here) or a scooped "reverse" roundover like on the Rimini Italia. As far as pickup placement, I might try the Ric layout, which is theoretical 24th and 36th fret locations, that might pull it away from thr bridge a little, don't know yet. The neck pup is right around theoetical 24th as is.

I have never actually played, or seen in person, a 4005, ever, anywhere. Unplugged, do you get any acoustic volume? I'd hate to go through all the trouble researching X bracing, carving a top, etc. and find it has essentially no more acoustic properties than a full chambering job. That's one reason I'm considering the double cat-eyes, maybe a little more internal volume?

Been looking at these Toaster Humbuckers by Retrovibe. Interesting, as they have coil tap options. The wiring woud require some TB advice, but I think I could pull it off. Probabaly have to add a switch or pull-pot. They are also essentially flat-backed, which means I could mount the neck pup tight to th board without having to hog out a lot of my neck tenon.

Retrovibe Replacement Hot ’69 Rickenbacker® Style Toaster® Humbucker Pickup 4-wire for coil tap – Retrovibe

 

[Gilmourisgod]

Hey @nixdad , was it you who posted that photo of the X cross bracing internal 4005 shot? Got a link?

 

[nixdad]

Hey @nixdad , was it you who posted that photo of the X cross bracing internal 4005 shot? Got a link?

Hey Alex -
Yes - here you go:

Chris

 

[nixdad]

Alex -
Someone else's 4005 project:

This may be from Rickenbacker:

Another link you may wish to review: Another Homage to the Rickenbacker 4005 - The "Mickenbacker"

 

[Novarocker]

I gotta say, either way would be great, but for some reason I'm normally a sucker for pickguards. That's what I'd probably go with.

I dig retrovibes pickups. Infact, now that I think about it, I got a pair of his "hot" toasters sitting around if you're interested.

 

[Novarocker]

Meant to add, maybe to cut down on potential gaudiness of the pg by having the front point end about at the thumb rest in the picture you have in post #1.

 

[HaphAsSard]

First couple drafts, I could use some "constructive criticism". This is a mashup of different parts, more or less the Rimini Italia body, but with more "Ric-Like" upper and lower horns, thicker than the 4003, more like a 70's 4001, but not the bulbous, slightly.... anatomical... looking upper horn on the 4005. I really like the scooped out tail area common to both the 4005 and the Rimini, which gives clearance for the trapeze tailpiece. The farther I wandered from the basic 4005 design the worse it looked, unsurprisingly, but I like both versions here. The double cat-eye version might result in a touch more audible semi-hollow tone, but not enough to be the deciding factor. I'm currently seeing this as a solid top, heavily hogged out for some chambering, with a deep set neck. I might run it right through to the bridge so everything is on one beam. The back would be a separate applied panel with checker edge binding, maybe a control cavity cover (unless I do the pickguard version).

I have the bridge as shown in the drawing, it's a Tune-O-Matic style called the "BB-Tom-C", looks like a decent piece of kit. It has a radius baked-in, looks like 12" or so, so any height adjustment is via the two posts, which have lock-down screws. The saddles are adjustable for intonation with lock screws.

BB-TOM-C Chrome Tunematic T-O-M Style Bridge 4-String Bass w/Studs | eBay

Adjustable saddles. String spacing is 2-1/8"(54mm). Stud spacing is 3-11/16"(93mm). Includes lock down style mounting studs.

www.ebay.com

The tuners are just place holders for now, probably go with Ric label Schaller elephant ear or Hipshot HB-5's.

This seems to work best as a short scale, 22 fret bass. The fingerboard will be Bubinga, gonna try the "sparkle" sharkfin inlays again with crushed MOP. I wasn't entirely happy how they came out on the HF2, the resin I used never really polished up to water-clear as a I hoped. I'll do some more Science this time.

For controls, my usual KISS approach: Master Volume/Blend/Master Tone. Mono output. The pickup positions are still a little up for grabs. Advice appreciated.

Because I'm a sucker for needless compromises (shaping an illusion of integrity?),
how about you ditch the pickguard and either
1- move the controls to the right as in option A, but reverse the bottom cat-eye hole so that it still mirrors the top one but with the pointy end toward the front pickup
or
2- make a scaled-down, slender faux-guard that barely surrounds the control knobs and also points toward the front pickup, and with its point in line with the front end of the (sole, top) cat-eye, effectively making the miniguard pull triple-duty as a Fender-style control plate (only white instead of chrome), a callback to both the 300-series guard and a vague, reversed mirrored answer to the cateye.

I would also consider reshaping the point at the far treble end of the headstock so that it too, not just the bass end, mirrors the body cutaways.

 

[Gilmourisgod]

I find myself leaning towards the double cat-eye, given only (3) controls, the pickguard definitely looks oversized, but that's true of the 4005 as well. I'm going to try a couple other scale options too, 32" and Ric 33.25". I can't move the bridge and tailpiece farther left, so any extension right will increase my reach. If I go to 33.25", I might be able to squeeze in 24 frets. I feel like pickup placement is part alchemy and part aesthetics, I tried the 24th and 36th Ric positions, but that puts the two pickups pretty close togther on a 30" scale. That spacing can't have been an accident on the 4003, but it's out the window as soon as you fret a note. Any advice on placing the treble pickup correctly? The neck pup is definitely going tight to the board.

 

[ctmullins]

I’m happy with a bridge pickup a couple inches from the bridge saddles.