davewhite
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Post by davewhite on Jan 19, 2018 16:33:23 GMT
Starting with some tuners I'm going to turn them Blue Peter style into an acoustic bass guitar The first decision is which body from the models I make to use as I don't want to have to make any more moulds or bending forms. There were three options "Treebeard" (baritone), "Daithi" (Jumbo) or "Buachaill Mór" (modified dread) and I decided on the "Big Boy" - "Buachaill Mór". The second important decision is the name which was sort of obvious after the first decision had been made: "Buachaill Ollmhór" - "Huge Boy" or "Monstrous Boy". After playing around with drawings I've settled on an 834-846mm multi-scale with 17 frets clear of the body - the 17th fret being the "orthogonal one" which means the bridge doesn't need to slant and the frets at the nut end have the same slope as on "Buachaill Mór". With the soundhole and bridge moved slightly back from "Buachaill Mór" this seems to fit nicely and gives 24 frets - two octaves. The unknown at this stage is if the body/neck balance works out but we'll see: To continue the Blue Peter theme I'm going to be using wood I reclaimed from a chest of drawers for the back and sides and wood reclaimed from a bed head for the neck. The top will be Lutz Spruce and the bindings Cuban Mahogany. The back and sides came from one of the drawers and could be very light Honduran Mahogany or an African or Asian mahogany. First job is to thickness sand them: Then they are bent in my Fox-style bending jig using a silicon heating blanket: The treble side "cutaway" is done on the hot-pipe by hand and the sides are trimmed and fitted in the mould:
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Post by lars on Jan 19, 2018 16:57:17 GMT
Hooray! This will be an interesting build. I'm really looking forward to see the development of this.
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Post by ocarolan on Jan 19, 2018 17:22:40 GMT
This looks very exciting!
Keith
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Post by Deleted on Jan 19, 2018 21:17:32 GMT
Hooray! Can I come and try it when it’s built? What nut width you going for Dave? I went for a precision width on my Brook but wished I had gone for the be narrower Jazz bass width. Also, mine has no cutaway, and I am finding if you wish to play Bach on bass, and any other solo bass kind of stuff, a cutaway mkws it a lot easier. Wow, I am so excited by this build 🙂
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davewhite
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Post by davewhite on Jan 20, 2018 11:03:43 GMT
Thanks Lars and Keith. Hooray! Can I come and try it when it’s built? What nut width you going for Dave? I went for a precision width on my Brook but wished I had gone for the be narrower Jazz bass width. Also, mine has no cutaway, and I am finding if you wish to play Bach on bass, and any other solo bass kind of stuff, a cutaway mkws it a lot easier. Wow, I am so excited by this build 🙂 Of course you can play it Robbie. I haven't fully decided on nut width/ string spacing yet - what's the advantage of the narrower Jazz Bass nut width and what do you thing a good string spacing at the bridge would be?
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Post by Deleted on Jan 20, 2018 21:05:36 GMT
Thanks Lars and Keith. Hooray! Can I come and try it when it’s built? What nut width you going for Dave? I went for a precision width on my Brook but wished I had gone for the be narrower Jazz bass width. Also, mine has no cutaway, and I am finding if you wish to play Bach on bass, and any other solo bass kind of stuff, a cutaway mkws it a lot easier. Wow, I am so excited by this build 🙂 Of course you can play it Robbie. I haven't fully decided on nut width/ string spacing yet - what's the advantage of the narrower Jazz Bass nut width and what do you thing a good string spacing at the bridge would be? Thanks Dave. On a bass, you don’t really have the problem of having to play chords, so a narrower fingerboard doesn’t have the same implications as it does on a guitar. Some players would prefer a wider fingerboard, or at least wider string spacing at the bridge, for slapping, but not many players slap an acoustic bass anyway. Not sure what my string spacing is, I will have to measure. But on the whole most manufacturers seem to favour something along the lines of Jazz bass width. I recently played a Furch, and the width of that neck was very comfortable indeed. You’ve got plenty of options for strings as well. Personally I use tape wound strings from la bella. These are gold (phosphor bronze) with a clear plastic wrap. Its a nice compromise between the brightness of normal phosphor bronze, but a lot less noise, and a great double bass sort of sound. Some players use black tape wounds, but these are even darker and ‘thuddier’. I’ve also tried a bass with nice polished flat wound D’Addario strings. Another option that has just come out that might be worth thinking about are new GHS pressure wound phosphor bronze strings. Pressure wounds have some of the benefits of flat wounds (i.e less finger noise) but a little more brightness. If you ever put a pickup in, consider k and k. Unfortunately I have a headway in mine, which gives a typical piezo, quacky sound. Even with my tape wound la bells on I have to role the higher frequencies right off on the amp, due to the harshness of the upper frequencies. Wish I had gone with k and k. What are you considering for scale length dave? Mine is 34”, which is quite comfortable, and fairly standard, but you also find 32” and 30”. Good luck with the build Dave, can’t wait to see and hear what you come up with Robbie
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davewhite
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Post by davewhite on Jan 21, 2018 9:26:59 GMT
Robbie, Useful information to ponder on. The scale length will be 834-846mm multi-scale (32.8-33.3") and I plan to fit a K&K as they work well in the eub and uke-basses I made. I've bought some D'Addario EPBB170's as I needed to see the size of the ball ends to design the bridge and I'm having a set of unslotted wooden bridge pins made up. String experimentation will come later - not a cheap thing to do at £30 a set
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Post by Deleted on Jan 21, 2018 9:53:40 GMT
Ah yes, I hadn’t cottoned on to the fact it is multi scale- thats going to work really well.
Robbie
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davewhite
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Post by davewhite on Jan 24, 2018 16:15:52 GMT
The side of the Mahogany neck block that joins the cutaway is shaped to fit the side and is drilled for the bolt holes: The neck block is then drilled for the 6mm carbon fibre rod flying buttress braces: The fingerboard support is then glued in using hot hide glue – it will be trimmed to length later: The neck block is then glued to the cutaway side using epoxy in this jig: In the post today I got some nice unslotted black walnut bridge-pins wit a five degree taper made for me by Chris Alsop :
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Post by ocarolan on Jan 24, 2018 16:53:40 GMT
... proper chapel hat pegs, those, Dave! Keith
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davewhite
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Post by davewhite on Jan 26, 2018 11:15:14 GMT
A piece of Cuban mahogany binding with bwb purfling is inlet into the end of the cutaway side and a Cuban mahogany binding strip glued onto the neckblock end on the cutaway side: The bass side is then glued to the neck-block using hot hide glue: Then the Cuban mahogany end graft is glued to the lime tailblock using hot hide glue: The sides are then glued to the tail-block with bwb purfling strips in between the sides and end graft: Here’s the rim-set in the mould:
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davewhite
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Post by davewhite on Jan 30, 2018 19:08:05 GMT
Time to make the mahogany reverse kerf linings. The strips have been cut and thicknessed and one edge rounded over. The kerfs are then cut on the bandsaw using this jig: The sides are profiled for the back’s curvature and to build in the “wedge” that makes the sides narrower on the bass side:
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Post by robmc on Jan 30, 2018 19:19:47 GMT
Nice one Dave, does your workshop feel smaller now you've moved from the little AFC to this big beastie!?
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davewhite
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Post by davewhite on Jan 30, 2018 20:51:53 GMT
Thanks Rob. Not really but maybe when the neck gets done I've got an octave mandolin on the go too so that scales me back.
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davewhite
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Post by davewhite on Jan 31, 2018 17:29:35 GMT
The reverse-kerfed back linings are glued in using fish glue: The sides are profiled for the top’s curvature and the linings are glued in using fish glue:
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