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Whattaya think??

Discussion in 'Luthier's Corner' started by deathbloomslife, Jul 30, 2005.

  1. I got bored this evening (can't go anywhere, my car was damaged in an accident) so I grabbed a pen and some paper, and to my suprise, it didn't turn out like crap... Well, in my opinion it didn't.

    Anyway, what do you guys think about this:


    It's just a design I came up with, and settled on this wood combination:

    Pau Ferro neck on a Bubinga and Mahogany neck, with Maple strips in between. (7 piece) With Mahogany body wings, and veneer top for the headstock.

    I set up the elctronics to look like Bart. jazz pickups, and Aguilar OPB-3 preamp with an active passive switch and two volume knobs.

    The bridge is a two-piece brass bridge, similar to an Alembic or Warwick, or whatever.

    Hipshot Ultra-Lite tuners, and a graphite nut round out the bass with a single access trus rod, of which I know nothing about, lol. So that's a toss up.

    NO, I'm not making this bass now, or anytime soon. I just thought it would be cool to act like I was making it... If that makes any sense...

    Well... What do you think???


  2. Here's some tips to really drawing a layout for a bass...Try these:

    1. Before anything else, draw a centerline about 6" long on which everything else will rest.
    2. Make a mark on one end of that line - That's your nut or the witness point of the neck end of the scale length.
    3. Make a mark about 5" from the first mark on the other end of the line. This mark represents the virtual bridge or the witness point of the body end of the scale length
    4. Make a mark directly in the middle of the two marks you just made. That mark represents the 12th fret.

    Now, using that 1 line and those 3 marks, redraw one of your designs to conform to those marks as they sit on the centerline. Don't overlook any details - if the pups are to be centered - center them. If you want a 26 fret neck make one but you can't move any of the marks from where they or the layout can't be built. Now see how your ideas fit what they MUST fit?

    Now, here's the heartbreaker - and this goes for anyone doing a design or drawing of any type. Take your final rendering and look at it in a mirror. If it's balanced (symmetrical or not) it will look just as "right" in reverse as it did in the other orientation. What you are trying to overcome is the logical side of your brain putting the pieces of your drawing into order for you and not letting you see imperfections of line, form, and relationship. Flipping it in the mirror takes the logical left brain out of it's comfort zone and puts the reading of the drawing back in the right side's domain, which gives you a more unbiased opinion than the left brain would. Try it, you'll see.

    This is just a simple excercise to get you to work a little more in proportion and less in the realm of just what "looks cool". The idea here is that if it can't be built, it can't be an instrument and that CAN'T be cool.
  3. full_bleed


    May 27, 2005
    That's some good info hambone!
  4. I also agree, great info, maybe when I get some more 'downtime' I'll comback and bust out a ruler, as if I were to actually build that sucker.

    I was just screwing around, not trying to do a mock up or anything, but hey, great advise. Thanks again.

  5. There is one particular little tiny thing you've done that really deserves more study and development - it could be that beautiful.

    I wonder if any of the other builders see the out-of-the-ordinary possibility that DBL has presented? That's not a challenge just wondering. :cool:

    It's right there in the center of the bass - the junction of the neck and body. I don't think I've ever seen a fretboard follow the inner radius of the upper horn, especially so closely, all the way through to connect the lower horn. If you could work out the engineering of leaving that little amount of material and still keep the neck attached and combine that with the sleek finishing curve on the fretboard to tie it all together, you'll have a winning centerpiece design element.

    Now go draw a centerline... :D

    We all know the difference between good and great when we see it. No matter the subject, it's that one in a hundred that makes us stop and stare because there isn't anything currently residing in our heads to fill that space. The difference between a good shape and great shape is a lot of refinement. Each line - it's start, it's end and everything between have an infinite number of possible paths and positions. And as each of these details changes, so does it's relationship to the other details in the design change. In the end, one cannot predict precisely how a design will best be rendered until many of the possibilities are explored individually and in depth. One job as a designer is to see the potential in as many of these variations as possible and narrow them down. I've been known to work on a lower horn for days on the computer working an hour or two at a time just trying different approaches. I would like to think there's a formula for success but there isn't. But striving to make yourself skip a heartbeat isn't a bad way to start. I mean it - sweat over the smallest of details like this until, in your mind's eye, you see it so perfectly and clearly that you gasp at it's perfection. Then you'll know it's done and done right and you can move on to the next challenge.
  6. Well that would be a problem if perhaps it were a bolt-on bass, but the one in the picture I have drawn, is that of a neck-through.

    Wow, I never thought that little idea for a line I always draw would be a "centerpiece" I guess I'll keep that in mind.

    Oh, by the way... I'm working on the centerline, lol.

  7. mybass2.

    The bottom left should kick out a little more, like in the original picture. Also, I f'd the neck up. It's not correct propotionally. But hey, I think it's pretty darned good for 2:30 in the morning. I'll try it again tomorrow.

  8. I like the overall design. I have no problems, or complaints, but I have a question. What is the black dot just to the right of the bridge pup?

  9. Try doing this stuff by computer and you won't have to put so much hard work into it while not seeing the results you want. This layout took me 8:42 minutes to create and it shows where your critical proportions are off.
  10. Thanks Hambone, very very very much appreciation for that rendering.

    I never attempted drawing it on the computer because I pretty much suck at drawing anything with curves on a computer, it always comes out so blocky.

    I appreciate the advise, and the rendering Hambone, you aure are one super cool guy!

  11. Okay, here's a new version with all the wood grains... Nothing but wood grain, no pups, bridge, strings, or anything else right now. I just got really bored.

    mybasswood. mybasswoodback.
    Mahogany headstock veneer, body wings, and center strip on neck.
    Bubinga strips (2) on neck and control cavity cover.
    Maple strips between Bubinga and Mahogany on neck (4)
    Pau Ferro fingerboard.

  12. andvari7


    Aug 28, 2004
    Nice. The shape kind of reminds me of a BC Rich Eagle, but not as exaggerated. And it works both ways.
  13. budman

    budman Commercial User

    Oct 7, 2004
    Houston, TX
    Formerly the owner/builder of LeCompte Electric Bass
    Sorta, Kinda. A guy named Jim Crawford. Take a look: http://www.bassalone.com/crawford5.htm
  14. Zetora


    Aug 16, 2004
    One very nice looking woody bass.

    May look better if it didn't look like you'd taken a picture of floor boards and used them for the main body :p though you have to use what you can get hold of I suppose.

    Very nice shape, not a fan of the lower horn but it looks good, just not for me.

    Good on ya.

  15. Whoops!...It just proves "there's nothing new under the sun" ;)

    But that's the idea for sure. I like the opposing takes with the loopy transition on the front and boxy transition on the rear. I would bet Jim's got a twisted sense of humor if we got to know him.

    The trick would be to design a junction that has enough beef without relying on the fretboard for strength along that area. Jim's single horn there has a lot of reinforcement coming from that. I don't really think it would be all that hard, I've just never thought about it.
  16. Zetora


    Aug 16, 2004
    If you had it a neck through, you could still get away with the double cut away, just have a topwood to cover the neckthrough and you have that extra support, just make sure you dont cut to close to the body at the body to neck area of the neck through if you get what I mean.

    But a single cut looks to work well.

  17. I'm not sure I understand what you guys are talking about when you say that it lacks in support somewhere. As a neckthrough the wings just glue to the neck, which runs the length of the basses body.

    I also agree that the wood grain looks pretty "iffy." I just got the samples from Warmoth, and put it all together in paint. Thats all I have, and all I know.

  18. Zetora


    Aug 16, 2004
    Lol ignore the comments, I wasn't thinking right and was thinking as if it was bolt on. As its neck through thats style fret board would work fine with no extra support.

    Dont worry on my mindless babble :p

  19. Oh okay.

    Well, kinda ignore me if I read something in correctly, Im on medication for a car wreck injury, and they do take their toll on me.

  20. Zetora


    Aug 16, 2004
    Nah your not reading wrong, tis me.

    What happened if you dont mind me being curious? Hope it was nothign too serious.