Building the uber-J. Part Eight.

It's all in the head. And in the neck.
The last eight days were spent mainly working on the neck and headstock. Granted, I managed to slot in a few days idling by the beach. But I think I deserve that, after two months in cold London/Prague/Paris/Milan. Late spring my ass.

The neck is really hard work. Sand, check, re-sand, re-check. Repeat till you're done. Take a closer look. Repeat all of the above. Avoid taking another look if it's dinner time.

It is a great pleasure seeing it come to life under your fingers and blisters. I so understand those who do this as a full time job. I kinda start seeing my retirement plan here.

Anyway, I wanted the neck to be thin but not flat in the center - a thin D shape. The lower part from the 7th fret to the end is slightly more tapered than the upper part - akin to that of my old Tobias. Not so noticeable, though.

After testing the position of the neck scarf a few times I found it a little too low. To be exact it was below the center line of the 1rst fret. Now it's a little above that and it feels just right. The smooth feel of the ebony under my thumb is phenomenal - and I haven't used any fine sanding paper as yet. I just love this wood. It should be made mandatory for sheer thumb ecstasy.

I have devoted yet another day to the headstock. In the overall economy of the project it seems like I'm lingering on it way much. But I am so very happy with the result! I'll do the final touch ups next. There I go again...

Some more time was spent shaping the neck pocket and heel. It still felt a little too big. I don't rule out more touch ups.

I know, I know... it should all be decided beforehand, on a locked down master plan. And it is. Almost. Sure enough the next Uber-Jay will be exactly the same. Almost ;)

To me doing this is an ongoing creative process. I won't change my mind on the overall direction. Only, the deal I made with myself does account for few digressions.

OK, I'm digressing. Where was I?...the body. I dedicated one full day to sanding the body back and giving the lower horn a sharper, more defined line.

Hopefully, the pictures below will do justice to the grain and texture of this Asian wood. To me the grain itself would be already enough to make it beautiful. But the flame all over it...oh boy!


Next week: Routing the electronics cavity; Drilling holes for the neck joint and on the headstock. Working on the cavity cover, which I believe it's going to be in wood. Any guess as which wood? ;)
I have a little inlay in mind - which shouldn't take me more than a day to do. I should be able to finish all this by next Friday. If I don't screw up too much, that is.

Thanks for reading this far.

O(=<

Building the uber-J. Part Two.

Making the body.

Traditionally a Fender Jazz comes with a Swamp Ash or Alder body. My personal taste leans towards the sound of woods like Mahogany. Now, I live in South East Asia and for this bass I wanted to use Asian timber.

Woods around here a different from those in North and South America though. A little research was necessary to find a balance between the Mahogany sound and the traditional J sound in an Asian package.

There is a wood here referred to as Asian Mahogany. This wood sounds quite close to Brazilian Mahogany, the main difference being his sounding less dark than Mahogany.
Which could make it a good choice. Among other things this wood is often used to build average to good quality guitars. However a A grade piece of this wood sports quite remarkable sonic qualities and its very beautiful to look at.















In this picture you can see two beautiful Flamed boards book-matched and cut in J shape. The Flames are very pronounced even at a raw stage. I am leaving a little more wood allowance where at the heal as I am planning to shape it for a heal-less effect.















The picture above shows the body after being reduced in thickness. You can see the arched top and bottom profile. The arch is more pronounced at the lower half the body, less so at the wings to avoid cracks in the top facing.





























This is what it looks like after sending it both sides. Now it feels very smooth, like velvet. Or is it me hallucinating after sanding for longer than I like to remember?

As you can see it's an arch top, as opposed to the flat J body. Usually the area of a flat body that goes under the right arm is scooped out to make it more comfortable to hold. It's a good solution and aesthetically pleasing with a contrasting top and a veneer.
But I want to address the comfort issue with the arch top instead. This way the top will remain intact and the shape of the J will be preserved.



















Now I'm ready to glue the top. I struggled quite a bit to choose the wood. I am going to build another bass after this and I wanted the color code of the two basses to be very different. I almost got myself a beautiful Zericote, but someone else was faster.

I always liked Macassar Ebony. It's a great looking wood and it makes fantastic fingerboards. But for a body top I felt the stripes were too straight and regular for my liking. Until I saw this one. I just loved it :)















So there you go. Can you see the body under all those clamps? ;))

Thanks for reading.

>=)O