Hey, you asked for some input on your spec sheet, some of us gave our 2¢ on specific choices, and some of us went belligerent... but it sounds like you are all-in on exactly everything you have spec’ed.
So go get it, and enjoy!
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Warmoth Bass build
- Thread starter The_Conqueror
- Start date
So go get it, and enjoy!
I’ve done a fair number of Warmoth builds - if you really know what you want, it’s a great way to get a custom bass for a reasonable price. Like any one off, it’s your dream; if ypu sell it, you’ll lose financially. Not something limited to a Warmoth build, it’s just part of any custom instrument.
My comment on your build:
Mahogany is a heavy wood for a body. You use that wood if you want a heavy bass. Chambering is what you do when you want a light bass. So you’re aiming at...what? Those 2 specs seem at odds with each other.
Oh.. one more thing. The back of the body - why are you painting it? Mahogany is a good looking wood, it’ll look nicer if you just do clear on it.
My comment on your build:
Mahogany is a heavy wood for a body. You use that wood if you want a heavy bass. Chambering is what you do when you want a light bass. So you’re aiming at...what? Those 2 specs seem at odds with each other.
Oh.. one more thing. The back of the body - why are you painting it? Mahogany is a good looking wood, it’ll look nicer if you just do clear on it.
In defense of mdogs (not that he needs defending), the question asked is a difficult one to answer and mdogs offered information that he thought was relevant. The same information has been repeated, maybe more diplomatically, by others. I guess I’m just saying that it’s best if replies aren’t assumed to be toxic and that those that offer their opinion aren’t told to keep their mouths shut.
It appears you are looking for validation, not guidance.
With that, I say
With that, I say
This is a great point to think about. Chambering also runs a risk of being prone to feedback. For metal, I'd say solid body might be a safer bet. If you want it lighter, you might go with a dinky p shape, which is cool for metal. If I were going for beautiful mahogany, then I would also prefer transparent finish or stain, side jack, and rear routed controls - but it's your dream bass.
The jack on the side like that is sweet. My Power Jazz Bass Special was given that treatment though instead of a plate it was routed directly into the body pretty deep on an angle so the cable actually sits in the body, it’s positioned just right to put the cable up over the strap and it slides right into the body so there’s no loop of cable angling by the bridge or knobs!
With it positioned a couple inches below the strap pin that will look slick!
With it positioned a couple inches below the strap pin that will look slick!
You've obviously done a lot of homework and put a lot of thought into that build sheet. I'd have two thoughts:
1) Maple over mahogany in a bass (a combination we don't see very often, unfortunately) works as well as it does on a Les Paul: The maple adds some sparkle and the mahogany keeps it warm. It's a smoother tone that still retains some bark to it without the weight penalty of an all-maple (or alder or ash) body. Coupled with an ebony fingerboard (which will add a little zing as well, and it really is extra help for the truss rod as it's so very stiff), I like the choices.
2) I'd think over the 24-fret extension. Not because of whether or not it works well as Warmoth is typically pretty well thought-out and built stuff, but you might want to cozy up to a conventional Jazz, mark off how much deeper the 24-fret fingerboard would extend into/over the body, and see if you still have enough maneuvering room between where it will end and the neck pickup. This is purely up to you, but if you haven't done that, you might do this just to be sure. Whether a 21, 22, or 24-fret fingerboard, the distance between the nut and the bridge saddles does not change and how deep into the body it will reach could be an issue for some.
Best of Luck, and hope it turns out as you envision it.
1) Maple over mahogany in a bass (a combination we don't see very often, unfortunately) works as well as it does on a Les Paul: The maple adds some sparkle and the mahogany keeps it warm. It's a smoother tone that still retains some bark to it without the weight penalty of an all-maple (or alder or ash) body. Coupled with an ebony fingerboard (which will add a little zing as well, and it really is extra help for the truss rod as it's so very stiff), I like the choices.
2) I'd think over the 24-fret extension. Not because of whether or not it works well as Warmoth is typically pretty well thought-out and built stuff, but you might want to cozy up to a conventional Jazz, mark off how much deeper the 24-fret fingerboard would extend into/over the body, and see if you still have enough maneuvering room between where it will end and the neck pickup. This is purely up to you, but if you haven't done that, you might do this just to be sure. Whether a 21, 22, or 24-fret fingerboard, the distance between the nut and the bridge saddles does not change and how deep into the body it will reach could be an issue for some.
Best of Luck, and hope it turns out as you envision it.
Not quite the truth. While selling Warmoth gear may not be super easy, it isn't a nightmare. And you're not gong to lose 75%. That would be selling $1200 worth of Warmoth parts for $300. I've personally done better than that on the several Warmoth sales I've done. Something like 50% is probably more accurate. If you're selling Warmoth parts for 25 cents on the dollar, ping me next time you have something to sell.
OP - Flame maple with red dye sounds great. The pearl PG might be a bit busy. Black or plain white might be a good backup plan.
I recommend Gotoh res-o-lite tuners. I recently switched to them from Hipshot and find them to be both lighter and smoother operating. Win-win.
I'd expect the bass to weigh ~9 lbs with those specs. And it will play wonderfully.
Be warned that Warmoth parts are not a pure bolt-together kit. They're close but you'll have to drill holes in the body for the pickguard mounting screws and holes in the neck for the tuner mount screws. And holes in the body for the strap buttons. I think the pickup mounting holes are pre drilled but I don't recall.
I recommend having Warmoth do all the finishing. They do a great job and having a Warmoth finish is a huge factor in helping ensure your bass and/or parts have reasonable resale value in the future.
Oh, yea 24 frets. Sounds cool but you'll have a terrible time reaching them with the limited cutaway in the body and the bolt-on neck joint. And it will pretty much guarantee you have to take the neck off to do truss rod adjustments. With a 20 or 22 fret neck you can create a neck tool opening in the body to adjust the truss rod without pulling the neck off.
One thing to consider is the G4 body with PJ pickups and no pickguard. Several problems are solved. And/or consider a 2x2 tilt-back headstock. Or not.
One thing to consider is the G4 body with PJ pickups and no pickguard. Several problems are solved. And/or consider a 2x2 tilt-back headstock. Or not.
This isn't flame but it is ash with the clear red finish fading to black. And 2 diff pickguard.
The build sounds good the only thing I would do different is the high mass bridge your removing wood and adding extra metal, I would go a traditional hip shot bridge, I have recently put an Audre pre in a jazz they do a lot of different combs at good prices enjoy your building
I would go for light weight tuners, a Babicz bridge and graphite rods.The Babicz is a wonderful bit of engineering and remarkably light. Chambering the mahogany will help with weight, but I suspect you'll be well north of 9 lbs when it's all said and done. I'm also not sold on the 24 fret neck. Access to those upper notes will be very constricted, and makes truss access a pain. I'm not seeing much reward there. And really. How often would you use those last 2 or 3 frets?
Wow, thanks! I'd say that the red to black fade, pearl pickguard and chrome hardware goes together even better than I expected! Looks sick, I love it!
Overall, I think you generally know what you want, but you just wanted to have other forum members look over your "spec sheet" in case there's something you might not have considered.
I see three things you might want to think about before committing to a Warmoth bass with those specs:
- Consider if you really need a high mass bridge. To me, they just add weight and do nothing to improve tone. In my experience, they can sometimes actually suck tone off the high end. For a Jazz style bass, I'd recommend going with a vintage style bent plate bridge with the threaded saddles which allow you to set your own string spacing quite easily.
Brass nuts are, IMO, useless as well. They were all the rage in the 70's and 80's when everything was about "more mass and more sustain". But honestly, how often do you need that much sustain on an open note? And as soon as you fret a note, the nut is out of the equation anyway. About 1 out of 25 notes I play are open anyhow. And if you use a compressor, the whole sustain argument starts to become irrelevant. I'd go with a bone or a GraphTech nut...cheaper and lighter.
- I'd reconsider using the Duncan Quarter Pound pickups in your build. To me, they're some of the worst sounding bass pickups ever. I can't understand why people buy those things...scooped city. Why skimp on your dream build? Invest in some Lindy Fralins. Or even a EMG Geezer PJ set. But to me, $20 Artec pickups sound better than those Duncans, unless you specifically want that scooped tone.
- Body wood: Keep in mind that Warmoth bodies are generally up to 1/8th of an inch thicker than stock Fender bodies. I don't know why this is. Someone told me it has to do with the licensing agreement between Fender and Warmoth...but I don't really know for sure. So that extra wood is going to make the body heavier than a Fender body, all else being equal. But you mentioned chambering, so that will help. I don't like mahogany for basses. Not enough bottom for me. It's fine for guitars, though. I'd go for ash, alder or even (*gasp*) basswood, since you're going for a flame maple top.
- Your side mounted Strat-jack idea sounds interesting but for the sake of simplicity, it might be easier to go with a conventional top-mount for that, like Fender does on the Aerodyne Jazz. I think it looks cool. But if you have it figured out, then go for it. Hopefully Warmoth can accommodate you with the special routing you might need.
Just clarify my thoughts. As far as the Strat jack - in my previous post I suggested locating a standard jack location on the bottom side of the body in the typical spot. This also opens up a hole on the front for another consideration.
I did not mean move the Strat jack there. Put in a standard connection.
IMO, a threaded through the strap cable with right angle makes it unnecessary. Once I learned this, I have never pulled a cable in 40+ years of gigs. I have stepped on it plenty, but physic prevents it ever leaving the jack. The simplest solution to something you considered.
That would be my only suggestion. The Strat is a cool look though and as always, if you want to add a happy little cloud do it. It's your canvas!!! That Bob Ross was prophet.
I did not mean move the Strat jack there. Put in a standard connection.
IMO, a threaded through the strap cable with right angle makes it unnecessary. Once I learned this, I have never pulled a cable in 40+ years of gigs. I have stepped on it plenty, but physic prevents it ever leaving the jack. The simplest solution to something you considered.
That would be my only suggestion. The Strat is a cool look though and as always, if you want to add a happy little cloud do it. It's your canvas!!! That Bob Ross was prophet.
I use high mass bridges not for tone but to help offset neck heaviness and to provide drop-in string changes.
I kinda agree with @micguy on the mahogany body's weight. The styles of music the OP gave are energetic styles and I wonder if Warmoth can give him a weight number on a chambered body with a maple top. It would be a main consideration as mahogany is heavy as heck. And a side mounted jack is usually a Tele style, not Strat style.
One more thing I'll add is this, when I bought my Gecko from them it was the only bass they sold with a 24 fret neck that wasn't an extension of the neck with poor access to the frets past the 21st fret. Unless things have changed at Warmoth you might want to consider what a PITA it will be for truss rod adjustments on a Fender style neck.
One more thing I'll add is this, when I bought my Gecko from them it was the only bass they sold with a 24 fret neck that wasn't an extension of the neck with poor access to the frets past the 21st fret. Unless things have changed at Warmoth you might want to consider what a PITA it will be for truss rod adjustments on a Fender style neck.
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Oh, yea 24 frets. Sounds cool but you'll have a terrible time reaching them with the limited cutaway in the body and the bolt-on neck joint. And it will pretty much guarantee you have to take the neck off to do truss rod adjustments. With a 20 or 22 fret neck you can create a neck tool opening in the body to adjust the truss rod without pulling the neck off.
One thing to consider is the G4 body with PJ pickups and no pickguard. Several problems are solved. And/or consider a 2x2 tilt-back headstock. Or not.
wow, thanks my man! Really cool to be this welcomed. I’m going to look into some of your points before ordering the parts. Have a great day and thanks again!
