Just finished reading both threads, the last bass was beautiful! Cant believe that was your first build, I will be following this one closely. It would be great to consider doing one of my own some day. Keep up the great work!!
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.
There's another storm brewing!
- Thread starter pilotjones
- Start date
There's technically no ramp--or, actually, I suppose the whole extended fingerboard is acting as a ramp.
Next pic will have some black edge lines added to help your eyes.
Thanks. It's really not supposed to look like a phallus though, it's based on the Ric cresting wave. If too many people did think it looked like one, that would be a negative consideration. So far I've yet to hear that comment on about the first bass, so either it's not commonly thought, or people are being uncommonly polite.Very cool-looking design. The upper horn looks like the silhouette of a fallus to me. Very rock 'n' roll
Thanks! It took me a while to finally make one myself, but it was totally worth it. Go for it!
Current state. I got the pups to be much more harmonious with the overall design, IMO. Also I adjusted the carve contours a bit, although they will end up being dependent on how they look when I carve the actual layer cake of woods, which is not accurately depicted here.
You've done partly what I was going to suggest trying, which is to make the ends of the pickups follow the curves of the fingerboard. But also to try a one-piece pickup block, keeping the shape of the bridge side of the bridge pickup and the neck side of the neck pickup... if you see what I mean.
I was about to write exactly the same Dave wrote. It certainly work as is. I would personally prefer the area to look less busy and what Dave described is the perfect way to achieve all you want in a simplified fashion. Looking good!
Cellwelder
Guest
- Dec 25, 2012
- 87
- 30
- 29
- Disclosures
- Gee, I wish I had a commercial affiliation. I could use a little more spending money...
This bass looks awesome! Can't wait to see the final product!
...And those renderings make my Google Sketchup drawings to shame with the intense amount of detail...
...And those renderings make my Google Sketchup drawings to shame with the intense amount of detail...
Back in motion
Sorted out a bunch of things. So much of this is interdependent that I've had to figure a lot out rather than leave it for later. With the nonstandard pickups and shells, nonstandard fretboard calling for nonstandard assembly, nonstandard fret markers, nonstandard bridge...
After working out design details, and talking with the CNC vendor for the fretboard, spec'ing out screws and inserts, etc, I was able to cut the first chips in a long while
(hooray!)
because I knew exactly how the fingerboard and neck/body will be married together. So here is the fingerboard temporarily mounted in all its glory to the neck beam via three strategically placed index holes.
Next up are making and testing a tool to make my fret markers, doing a test to see if the marker idea will work, and making a bit of a jig for laminating veneers to the fretboard. After the fret markers and lamination are done, it goes off the the CNC for fret slots, neck border, radiusing, cutting the pickup shells tops out, and cutting the bridge saddle pockets.
I can't wait to get past all this lamination. There's some interesting and challenging machining to be done in the bridge area, and then there's the the fun stuff - the carving of the body, neck and headstock.
Sorted out a bunch of things. So much of this is interdependent that I've had to figure a lot out rather than leave it for later. With the nonstandard pickups and shells, nonstandard fretboard calling for nonstandard assembly, nonstandard fret markers, nonstandard bridge...
After working out design details, and talking with the CNC vendor for the fretboard, spec'ing out screws and inserts, etc, I was able to cut the first chips in a long while
(hooray!)
because I knew exactly how the fingerboard and neck/body will be married together. So here is the fingerboard temporarily mounted in all its glory to the neck beam via three strategically placed index holes.
Next up are making and testing a tool to make my fret markers, doing a test to see if the marker idea will work, and making a bit of a jig for laminating veneers to the fretboard. After the fret markers and lamination are done, it goes off the the CNC for fret slots, neck border, radiusing, cutting the pickup shells tops out, and cutting the bridge saddle pockets.
I can't wait to get past all this lamination. There's some interesting and challenging machining to be done in the bridge area, and then there's the the fun stuff - the carving of the body, neck and headstock.
This build is amazing... And so is your vision and the workmanship with all those layers. Very inspiring 
Morten, thanks.
______________________________________
Punch Time
Ingredients:
1 old lathe tool inherited from great uncle
Tools and resources:
Grinder
Round file
1 hour
Result:
1 Veneer square punch. Also makes veneer square holes.
A better one could be made with an actual tool room grinder, but this should suffice.
______________________________________
Punch Time
Ingredients:
1 old lathe tool inherited from great uncle
Tools and resources:
Grinder
Round file
1 hour
Result:
1 Veneer square punch. Also makes veneer square holes.
A better one could be made with an actual tool room grinder, but this should suffice.
I did a test piece for the fret markers last night. No in process pics, but hopefully I'll get some when I do the actual piece. It's based on what you see in the previous post.
Test piece out of the clamps:
Tonight I'll cut it up to see whether the idea works!
Test piece out of the clamps:
Tonight I'll cut it up to see whether the idea works!
I can't even... just... yes. Every time this thread gets updated, that is my face. True story. Really looking forward to the bridge work - I always love me some creative engineering and machining. Looks fantastic so far, PJ!
Thanks, all. I love coming up with new stuff, even if it means I'm cogitating a while between steps. It's like when you finally get a tough puzzle in a video game after some "oh yEAHHHHhhhhhhhh" realization, only way better. Now that I've done two unique kinds of fret markers, I'm going to have to come up with something inventive again for the third...
And I scored a Tennant! Yes! (DW fan)
_____________________________________________________
Fret Marker / Lamination Set-up Work
Yesterday I precut my veneers for this section, set up the index holes and the toothpick alignment holes, and placed my reference lines. Then I took another look at the CAD, adjusted the two markers that will lay over the body so that they will work with the eventual contour (something I had missed before, and which would have really screwed things up if not caught).
Then I got to punching the holes.
The black veneer handled a little differently this time, so I got a bit of tear, but I did some minor repair and it should work out OK.
Today I should be able to finish making the clamping setup, which I have already started. If there's enough time, I'll get to do the actual lamination. I am both a bit nervous as well as excited about that. It is both requiring great accuracy in placement--no slippage allowed since this will be CNC'd on the opposite side off of the same indices--and also will be the largest surface area lamination of all, with potential problems from the somewhat rippled black layer, and worse time constraints, and unusual clamping. I don't think I could ever do this using a water-based glue, since the veneer swelling would kill it both dimensionally and by introducing warpage.
Here's a pic of the layers to be assembled, since it is highly unlikely I'll get any in-process pics when I actually do it.
And I scored a Tennant! Yes! (DW fan)
_____________________________________________________
Fret Marker / Lamination Set-up Work
Yesterday I precut my veneers for this section, set up the index holes and the toothpick alignment holes, and placed my reference lines. Then I took another look at the CAD, adjusted the two markers that will lay over the body so that they will work with the eventual contour (something I had missed before, and which would have really screwed things up if not caught).
Then I got to punching the holes.
The black veneer handled a little differently this time, so I got a bit of tear, but I did some minor repair and it should work out OK.
Today I should be able to finish making the clamping setup, which I have already started. If there's enough time, I'll get to do the actual lamination. I am both a bit nervous as well as excited about that. It is both requiring great accuracy in placement--no slippage allowed since this will be CNC'd on the opposite side off of the same indices--and also will be the largest surface area lamination of all, with potential problems from the somewhat rippled black layer, and worse time constraints, and unusual clamping. I don't think I could ever do this using a water-based glue, since the veneer swelling would kill it both dimensionally and by introducing warpage.
Here's a pic of the layers to be assembled, since it is highly unlikely I'll get any in-process pics when I actually do it.
Last edited:
Glued up
Got everything ready--the spare markers, the tools you hope you won't need but you want to have just in case while the glue is wet, plugged the index holes with wax, a lot of covering of the cauls--and set up the area. Did a full dry clamp-up, and for the first time I marked where to place clamps. This is pretty much just before I started.
It went well. One marker slipped out of place while spreading the next layer of glue, but I caught it and put it back, and I'm pretty sure they got set in the sandwich properly. Clamped it up, and now its time to wait 24 hours before I take the clamps off. I wish I had more clamps.
Hopefully not to many clamps will be glued to the cauls, or cauls glued together. I went through three additional pairs of rubber gloves while clamping and tightening, trying to keep things clean.
Got everything ready--the spare markers, the tools you hope you won't need but you want to have just in case while the glue is wet, plugged the index holes with wax, a lot of covering of the cauls--and set up the area. Did a full dry clamp-up, and for the first time I marked where to place clamps. This is pretty much just before I started.
It went well. One marker slipped out of place while spreading the next layer of glue, but I caught it and put it back, and I'm pretty sure they got set in the sandwich properly. Clamped it up, and now its time to wait 24 hours before I take the clamps off. I wish I had more clamps.
Hopefully not to many clamps will be glued to the cauls, or cauls glued together. I went through three additional pairs of rubber gloves while clamping and tightening, trying to keep things clean.
Done with the fretboard laminations!
Got the subject out of its clamping sarcophagus. The clamps did not stick badly, and the dams worked nicely to keep the epoxy away from the bolts.
Here's the mummy out of its tomb
(note: my phone cam started acting VERY strangely today, and this is the best I can get the pics, after trying to correct WB etc. Weird, and bad. My real camera is in the shop.)
Out of its wrappings, and ready for some cleanup
Cleaned up the edges on the bandsaw, redrilled the index holes through the veneer, and pinned it in place on the neck beam
The board now is very even in thickness, and is about .010 thicker than I had expected, and is dead flat. All good things. There is no sign of the markers having slipped out of place, which is very good. There is one wrinkle mark from the lining paper on each side, but they shouldn't cause any problems.
Got the subject out of its clamping sarcophagus. The clamps did not stick badly, and the dams worked nicely to keep the epoxy away from the bolts.
Here's the mummy out of its tomb
(note: my phone cam started acting VERY strangely today, and this is the best I can get the pics, after trying to correct WB etc. Weird, and bad. My real camera is in the shop.)
Out of its wrappings, and ready for some cleanup
Cleaned up the edges on the bandsaw, redrilled the index holes through the veneer, and pinned it in place on the neck beam
The board now is very even in thickness, and is about .010 thicker than I had expected, and is dead flat. All good things. There is no sign of the markers having slipped out of place, which is very good. There is one wrinkle mark from the lining paper on each side, but they shouldn't cause any problems.
Last edited:
NTD
Today I got to pick though and take some tools from my friend's father's bench. They are selling their house to move into a condo, and so I have have the honor of continuing to use some tools that were used during his long tenure building some of the world's best pianos at Steinway.
Two highlights:
This is a small block plane, only five or maybe six inches long. It's a Stanley No. 9 1/4.
If anyone can tell me how the flip lever on the thing that retains the blade works, please tell. Or if they know a good tutorial site--I haven't found one yet.
I now finally have a clamp with a reach long enough to get to the center of a guitar body. Which is pretty important since I will be gluing down a full-length fretboard.
This will reduce the amount of bridge-type clamping I have to do. I just wish I had several of these. There were other clamps, too, which is awesome.
There were a lot of other tools, too, which I'll get around to using soon enough.
Today I got to pick though and take some tools from my friend's father's bench. They are selling their house to move into a condo, and so I have have the honor of continuing to use some tools that were used during his long tenure building some of the world's best pianos at Steinway.
Two highlights:
This is a small block plane, only five or maybe six inches long. It's a Stanley No. 9 1/4.
If anyone can tell me how the flip lever on the thing that retains the blade works, please tell. Or if they know a good tutorial site--I haven't found one yet.
I now finally have a clamp with a reach long enough to get to the center of a guitar body. Which is pretty important since I will be gluing down a full-length fretboard.
This will reduce the amount of bridge-type clamping I have to do. I just wish I had several of these. There were other clamps, too, which is awesome.
There were a lot of other tools, too, which I'll get around to using soon enough.
Last edited:
+1
I have one very similar in my garage somewhere, I must seek it out and have a look.
On one of my planes there is a similar lever. just push it to one side to release the blade, and to the other to tighten. It doesn't seem to fully release the blade, though. Just enough to let the screw in front of it be turned by hand. Keep in mind that the lever may be stuck if the screw were tightened with a screwdriver.
