YAFB ...

[MichaelOz]

Yes, Yet Another First Build. Time for me to fess up and say it out loud: "My name is Michael, and I started building bass guitars".

I'll probably take my time getting up to date with this but here's a little background.

Ordered a Dingwall Z2 in September last year and was rather edgy (or "impatient", if you will) at the start. We have our own little bass community here in the land of Oz (aptly named OzBassForum), and while scrolling through the topic there I noticed a number of builds, but more specifically builds that were done as part of a course. To take off the edge I looked into that a little more and signed up to this instrument-making course which started with hands-on work late January.

So while this is my first build I have a lot of guidance - we discuss what's next, and how to do it - but also a lot of encouragement to try my own "stuff". It's a great way to get into building, and I think there's less disappointment at the end compared to doing it solo. Not exactly cheap but then, there is so much to learn that, for me, it's been absolutely worth it.

I started thinking about what I'd like to do WAY before the hands-on start, and here are my design parameters:

- small body; timbers I chose are rock maple for the bass side, and mahogany for the treble side. You may have come across this concept before (it is definitely Dingwall-inspired). My attitude: if wood plays a role and this works, great; if it does not play a role I haven't lost anything. Finish: not sure yet. Red (candy-appley) is on the list since it will work well with the wenge, but trans white/black burst is a possibility as well;
- 35" scale, 5 string; lucky enough to get a nice piece of wenge that turned out to be big enough to get two necks (but not fretboards) out of it. Initially I had planned to have 24 frets but I have (as you will see) a VERY long neck and might go with 28 which is half my age by the time I finish this build . Thin fret wire, no dots on the fretboard (which will probably be wenge as well);
- I scored a pair of cheap Bartolini Mk1 pickups, and I'll pair those with a Glockenklang 3-band pre-amp. We'll see how that works out, will always be able to fit other soap bars into the slots;
- all black hardware (Hipshot A-style bridge, Warwick tuners.

Anyway, what does it actually look like? I'll show you a progression of designs from start to final.

This is how it all started:

Version 6 went to a very "waste-ey" design:

That was slightly modified to V8:

I was quite happy with that but David (who is our instructor) suggested a less extreme approach. And there it is, on the right-hand side:

Quick explanation: There are many influences in this design. I'm not a "designer" but I'm happy to combine ideas I like into something that speaks to me. If you look carefully you'll see Dingwall, Sandberg (the old ones),Warwick, Yamaha, Ibanez and many more cues. No apologies for that.

OK, I'll post this now and continue in a follow-up.

Regards,
Michael

 

[MichaelOz]

With the design out of the way it was time to get our hands dirty. There are currently 10 of us building mostly basses, and one guitar. We are using a furniture-making workshop and are encouraged to do some homework, too.

Day 1 - meet your wood.

Rock maple on the top, mahogany at the bottom. Glue it up, machine one surface, and thickness - I went down to 38 mm. Trace the outline:

then have a go with the big bad bandsaw:

Not bad for a first go but obviously a lot of rough edges there. I wasn't too worried about that since there is a lot of shaping to follow.

After a lot of routing I ended up here:

As you can see the neck pocket goes all the way to the neck pickup. The bridge is recessed (about 2 mm) - just because I can .

Control cavity rout JUST touched the pickup routs - saves drilling holes:

Finally got rid of the edges by rounding over with a 1/2" first, then one bigger (I believe it was 5/8" but not sure):

Still tonnes to do.

This is after some homework:

As you can see I scalloped the bottom cut (this comes from my Sandberg), and obviously rasped, filed, and sanded A LOT. This is the body-to-neck transition:

Still rather unrefined. I'll leave it here for now ... .

 

[MichaelOz]

OK, time for a little more.

Deeper scallop, and a lot more rounding.

Neck-to-body transition now better (but looking at this, and I haven't done any more with it to date, I will take off more to get a "close to neck-through" transition).

The next pic shows the final shape of the tummy and forearm cuts:

Flows nicely for me.

You will notice in the background that I've worked on the knob arrangement and aesthetics. Here's a better pic:

The knobs will be recessed by about 4 mm, and I sanded the transition to be as smooth as possible (by the way, this is not what it looks like now - it's better).

I'll leave it here for now. We started with the neck last week, and I hope to advance that reasonably quickly.

Thank you for looking, and stay tuned .

Regards,
Michael

 

[MichaelOz]

Let's continue with the neck.

I managed to get a nice piece of wenge and thought I'd try and get two necks worth out of that (minus fretboard - that's a different story).

Still one piece bit both headstock tops sawed off, and sanded back. You can see the lines indicating cutting "areas" (plenty of meat so not really an issue).

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This is before machining/routing the back of the neck to get to 20 mm thickness:

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Sideview showing the volute area - remember that the actual neck will lose about 6 mm at around the first fret):

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Back of the headstock/volute area:

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Outline of the headstock shape - nice and compact (remember, it'll have to fit 5 tuners!):

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And the last one just highlights the grain - just beautiful:

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Wenge is such a nice wood to touch. I love the porous nature of it, slight imperfections that make every piece rather unique.

So, next I'll rout the grooves for the truss rod and the two carbon fibre rods (only have material for one neck) and hopefully glue (or put in place) those elements. Shaping the headstock should be fairly straightforward, shaping the width should be relatively easy, and shaping the neck profile should be nice and challenging

 

[MichaelOz]

The it was all about making long incisions in the pristine piece of wenge to hold the truss rod and the 2 carbon fibre rods to make sure there's no movement despite considerable lack of heft in the final neck.

David had a little hand router with a 10 mm collar - that was the starting point. I marked out centre line, and two lines 5 mm each side. Then fixed metal bars to the neck (using double-sided tape) along the +5 lines. On the body end of the neck I fixed a "rout stop" (one of the wenge wedges from last week) to prevent me from going too far. All that can be seen perfectly in the above picture. Here's another view without me spoiling the aesthetics:

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I then simply routed down to truss rod depth plus about 1 mm to give me a little bit of depth to add a small piece of wood pushing the truss rod down in the centre to avoid rattling. I finished it off with a slightly deeper rout at the body end to get the end of the rod (which is square) sit flush.All worked out perfectly.

Then repeat for the carbon fibre rods. Marked out the centre lines for the rods, moved out 5 mm each side but when putting down the steel bars I added 0.2 mm to the width (using a Vernier set to 10.2) to allow for a tiny bit of wriggle room to allow for the addition of epoxy for glueing. David had a 1/8" router bit (rods are 1/8"), and with the gap set at 10.2 the router collar was able to move just the tiniest bit sideways.

Finished it all off with a stop at each end, then sat down the router, started up, and took off about 1 mm of depth with each pass to a depth of 8.8 (rods are 8.6 deep) to make sure they're just below, or flush, with the neck surface after glueing.

Here's the jig on the neck:

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The groove was one or two mm short (removed that with a chisel at the end) but otherwise perfect. I dreaded setting up the whole contraption for the second rod but didn't have to: I had the two stops that were also glued (with double-sided tape) to the metal bars - perfect width. So I took the whole thing (two metal bars attached to the two wood stops) off the neck, used new sticky tape and put it back down in the new spot. I was quite prepared to remove the two stops but somehow managed to set the whole thing down within less than 1 mm of where it should have been. NO WORRIES

. A lot of fiddling around and time saved!! So, rinse, was, repeat.

That second rout was a little too short because the rod was a tad longer than the other one so I simply squared off the ends with a chisel and extended the groove just a little bit. Here is the end result:

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Seen here from the headstock end with both carbon rods in place:

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And here's the body end:

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Truss rod groove needs a little bit of widening at the head stock to fit the screw bit properly:

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Very happy. Doesn't look like much but required a fair bit of patience (which I sort of have) and accuracy (which I like). Over the holidays (yes, I can't believe we have two weeks off!!) I'll be glueing the carbon rods in, and might start cutting out the headstock shape. When we go back I'll be able to get the fretboard organised , and from there I can (kind of) see the finishing straight opening up (slightly optimistic view, still lots to do!).

Thank you for looking, comments invited.

Regards,
Michael

 

[michaelwayneharwood]

I am not sure how I missed this - beautiful work! I love the body design, and the wood choices. For a first build this is off the charts cool!

 

[Hopkins]

You may have come across this concept before (it is definitely Dingwall-inspired). My attitude: if wood plays a role and this works, great; if it does not play a role I haven't lost anything.

Regards,
Michael

Well, I hate to be a fly in the ointment, but there is a high probability that that glue line at some point will show through the finish, and there is going to be nothing your can do about it. Using two different woods means they will expand and contract at different rates.

 

[michaelwayneharwood]

Well, I hate to be a fly in the ointment, but there is a high probability that that glue line at some point will show through the finish, and there is going to be nothing your can do about it. Using two different woods means they will expand and contract at different rates.

If the OP goes with a trans black/white burst I assume that the seam will be much less of an issue. Thoughts?

 

[Hopkins]

If the OP goes with a trans black/white burst I assume that the seam will be much less of an issue. Thoughts?

If he goes with a gloss finish the line is going to be pretty apparent regardless of color. If keeping it a natural color with an oil finish then it wouldn't be a big deal. Gloss tends to highlight minor imperfections because of how light reflects off of it.

 

[michaelwayneharwood]

If he goes with a gloss finish the line is going to be pretty apparent regardless of color. If keeping it a natural color with an oil finish then it wouldn't be a big deal. Gloss tends to highlight minor imperfections because of how light reflects off of it.

That makes sense! Thanks man!

 

[MichaelOz]

I am not sure how I missed this - beautiful work! I love the body design, and the wood choices. For a first build this is off the charts cool!

Thank you, Michael,

Very kind comment. Not sure I'd go that far though, all I'm trying to do is take elements I like and put them into one instrument - nothing particularly original really. So far I'm happy with how things work out but there's a long way to go ... .

Regards,
Michael

 

[MichaelOz]

If he goes with a gloss finish the line is going to be pretty apparent regardless of color. If keeping it a natural color with an oil finish then it wouldn't be a big deal. Gloss tends to highlight minor imperfections because of how light reflects off of it.

Interesting point this.

This first build is really more experimental and an attempt to learn how to work with wood to high accuracy standards - all new to me. Of course I'm aware that two different materials will expand at different rates but that did not have any influence on the design decision, and I'll cross that bridge once I get to it.

Should I decide to go gloss it's not going to be a major issue (for me) on the front - there really isn't a lot of visible glue line left, and I think I could live with it, and learn from it. The back, meh, so what? Stain/oil finish is definitely on the cards and would make for an interesting visual effect due to the very different woods. Ultimately it'll have to work with the neck so I'll defer a final decision until I have "fitted" the neck.

There's more work to be done on the body as well. I intend to get the body-to-neck transition as "neck-through" as possible.

Look, it's been a great experience so far, pushing my thinking and manual capabilities in a whole new direction. That's what it's all about for me. Mind you, my son already put in a pre-order for a Claypool-type bass so expect a "YASB" thread at some stage.

Thank you for reading and commenting, all part of the experience.

Regards,
Michael

 

[Hopkins]

Interesting point this.

This first build is really more experimental and an attempt to learn how to work with wood to high accuracy standards - all new to me. Of course I'm aware that two different materials will expand at different rates but that did not have any influence on the design decision, and I'll cross that bridge once I get to it.

Should I decide to go gloss it's not going to be a major issue (for me) on the front - there really isn't a lot of visible glue line left, and I think I could live with it, and learn from it. The back, meh, so what? Stain/oil finish is definitely on the cards and would make for an interesting visual effect due to the very different woods. Ultimately it'll have to work with the neck so I'll defer a final decision until I have "fitted" the neck.

There's more work to be done on the body as well. I intend to get the body-to-neck transition as "neck-through" as possible.

Look, it's been a great experience so far, pushing my thinking and manual capabilities in a whole new direction. That's what it's all about for me. Mind you, my son already put in a pre-order for a Claypool-type bass so expect a "YASB" thread at some stage.

Thank you for reading and commenting, all part of the experience.

Regards,
Michael

Although the woods you used aren't very figured, the contrasting look of the two different body woods I think would make an interesting candidate for a natural oil finish. It really sucks to put in the work to get a glass smooth gloss finish only for a glue line to show up a week later, I know from experience.

 

[MichaelOz]

Although the woods you used aren't very figured, the contrasting look of the two different body woods I think would make an interesting candidate for a natural oil finish. It really sucks to put in the work to get a glass smooth gloss finish only for a glue line to show up a week later, I know from experience.

The maple looks quite nice close-up, actually. And I hear you loud and glossy

 

[Hopkins]

The maple looks quite nice close-up, actually. And I hear you loud and glossy

Whatever you decide, so far for a first build you are killing it. Nice work, Ill be following this one.

I cant wait to see what the neck looks like when you start carving it, and that razor straight grain on that wenge starts to open up a little bit. That's a really nice, stable looking neck blank.

 

[MichaelOz]

Whatever you decide, so far for a first build you are killing it. Nice work, Ill be following this one.

I cant wait to see what the neck looks like when you start carving it, and that razor straight grain on that wenge starts to open up a little bit. That's a really nice, stable looking neck blank.

 

[Harry Cahyadi]

Well, I hate to be a fly in the ointment, but there is a high probability that that glue line at some point will show through the finish, and there is going to be nothing your can do about it. Using two different woods means they will expand and contract at different rates.

I think this happened to me very recently. My goal was to try a glossy solid colour finish. I used 8 piece laminated body from off-cuts(same species but different tree). I buffed it to high gloss about 2 months ago, and let it sit in a room where I put all my basses in. Yesterday I spotted some wood movement in multiple places (glue joints) causing the finish to "stretch", like below

Is it what you mean by "the glue line will show through the finish" Hopkins?

If so, how can I avoid it for solid colour finish? I have never experienced this in clear finish.

Sorry Michael for hijacking your thread...

Thanks.

Harry

 

[Hopkins]

I think this happened to me very recently. My goal was to try a glossy solid colour finish. I used 8 piece laminated body from off-cuts(same species but different tree). I buffed it to high gloss about 2 months ago, and let it sit in a room where I put all my basses in. Yesterday I spotted some wood movement in multiple places (glue joints) causing the finish to "stretch", like below

Is it what you mean by "the glue line will show through the finish" Hopkins?

If so, how can I avoid it for solid colour finish? I have never experienced this in clear finish.

Sorry Michael for hijacking your thread...

Thanks.

Harry

I don't know if it is 100% avoidable without using a 1 piece body to be honest. I use alder or poplar for my solid color bodies, and buy a board big enough to make a two piece body with the same board, and am extra careful to make sure the glue joint is perfect before gluing. That is usually good enough to keep any lines from showing up.

 

[MichaelOz]

Sorry Michael for hijacking your thread...
Harry

No worries, mate

A little bit of progress with the carbon rods.

Ended up glueing the first carbon rod a couple of days ago. First time I've used two component glue but I think it worked perfectly well. Sanded both rods a little, both had a ridge on both sides.

Mixed the two components, put masking tape around the groove while it sat for 5 minutes, mixed again, and somehow (using an old pencil) managed to get it in the groove. Massively underestimated how much I needed so immediately mixed a second batch, ended up the perfect amount.

Pushed the rod in with some glue oozing out (small amount), used old credit card to wipe across and distribute as evenly as possible, pushed rod down with the credit card as far as possible (a little more oozing), then went over it with the credit card again.

Waited about 5 minutes, removed the masking tape and here's the result:

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Used a spirit level to make sure everything was level - all good.

Couple of days later I did #2.

Masking tape in place:

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First one on the right, fresh one on the left:

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And here's the reverse angle:

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All looking good, both rods covered by a very thin (but consistently so) layer of epoxy. I'm happy ...

Next step will be spending some time shaping the headstock, and marking out the positions of the tuners.

Thank you for looking, and comments welcome.

Regards,
Michael

 

[Harry Cahyadi]

No worries, mate

A little bit of progress with the carbon rods.

Ended up glueing the first carbon rod a couple of days ago. First time I've used two component glue but I think it worked perfectly well. Sanded both rods a little, both had a ridge on both sides.

Mixed the two components, put masking tape around the groove while it sat for 5 minutes, mixed again, and somehow (using an old pencil) managed to get it in the groove. Massively underestimated how much I needed so immediately mixed a second batch, ended up the perfect amount.

Pushed the rod in with some glue oozing out (small amount), used old credit card to wipe across and distribute as evenly as possible, pushed rod down with the credit card as far as possible (a little more oozing), then went over it with the credit card again.

Waited about 5 minutes, removed the masking tape and here's the result:

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Used a spirit level to make sure everything was level - all good.

Couple of days later I did #2.

Masking tape in place:

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First one on the right, fresh one on the left:

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And here's the reverse angle:

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All looking good, both rods covered by a very thin (but consistently so) layer of epoxy. I'm happy ...

Next step will be spending some time shaping the headstock, and marking out the positions of the tuners.

Thank you for looking, and comments welcome.

Regards,
Michael

Michael,

Looking really good so far. it is also a gorgeous piece of wenge.

Did you source that wenge blank locally or internationally?

The reason for asking is, I have been wanting to build with wenge, but couldn't justify the shipping cost from the US.

Thanks.


Harry