Building the uber-J. Part fortheen - at last!

Ladies and gentlemen, the Über-Jay is finally here. Actually it has been here since October. My bad for not updating the blog.

It weights 3.6 Kg. or 7.7 lb. A comparable bass I own - also a 4 stringer, Mahogany body and Rock Maple neck - weighs 4 kg or 8.8 pounds.

Having said so, it's obvious to me that the absence of tuners on the headstock makes the biggest difference, changing the overall weight distribution. This makes the bass feel very neutral and a lot lighter than numbers would suggest. The sense of fatigue on the left shoulder is basically gone.



I have rearranged the knobs order to suit my playing style. From p-up to bridge: Balance/Tone/Volume.

It reflects the way I believe players prioritize controls. I have asked around a lot and I found out that Volume is actually the least used of all. It also reflects the way I use them - with B being the most important and V the least.



I then decided to make brass knobs to replace the plastic ones. The knobs are plain, no dot marker or line. I think it's unnecessary. The thing is, if the mark is placed on the top I won't be able to see it and I usually don't look at them anyway.

From the side the Allen would be visible enough; better yet, my fingers would feel it more than they would a dot. That together with the center indent does the trick - to me that is.

I mounted the knobs so as the Allen screws are all facing the player when T/B knobs are in center position and V knob is at max vol.

It looks so much better with such a little change, doesn't it?



Click here to listen to a sound clip.

I recorded it with:

Digital recorder Zoom H4. settings in flat. Stereo microphone at about 50cm from amplifier.

No effects whatsoever. The sound is straight from the amp - setting in flat. One 12" speaker. Not the best for the sound I like. But I basically wanted to recreate the conditions one usually faces when playing a bass at the shop.

As you listen to the clip you should hear - in this order:

1 - finger style, only neck p-up. Tone at zero - basically full treble cut. Right hand moving from bridge to neck position. Progressive increment of trebles.

2- f/style, only bridge p-ups selected. Right hand playing from bridge to neck. Tone at 50%

3 - p-up blend in center position with slight variations +/- 20%. Tone at 50%

4 - slap with 2 p-ups center position and variations +/- 20% mix. Tone on bass at 50%. Mid cut on amp between 500Hz and 2Khz.

Strings: roundwound stainless steel .40/105. The action is impossibly low

At 1:30 and around 2:20-2:30 you can hear bending on open strings and harmonics. That's possible because this anchoring system - as opposed to using tuners - positions them at an angle sharp enough to do without string retainers.

So, I use my left hand to bend one or more strings anywhere between nut and the h/stock ferrules.

In my experience, this is possible only on some basses with tilt back head stock and usually only on the second and third strings. Notable exception being the Status Kingbass with optional Bendwell.



To wrap it up.... I am used to playing boutique basses. I have owned or played long enough some of the best basses around. I still own five of them. I can humbly say that I can tell a good - or bad - bass just by lifting it up or playing it unplugged.

So, how does the Über-Jay compares with the cream of basses? Trying to be as detached as possible, I'd say very very well.

There are areas where it can be improved - and it will. The neck can be thinner. The body can be chambered. An accent line would have been nice. It doesn't display the same level of craftsmanship as the others I own... yet ;)

But the bottom line is, I am a very fussy player. The bass I pick is the best I can put my hands on. Since October, that bass has been the Ü-J.

Thanks for reading this far.

O(=<

ps: Future projects.

I have started a new build. It's called the Mark II. Simply because it pushes the Ü-J design forward and implements ideas I had while building the first one.

The overwhelming response this build has met with - from fellow bass players all over - has been extremely encouraging. The next build is already spoken for and I am discussing two more builds as we speak. I never thought it would get this good :)

Building the uber-J. Part Twelve.

Metal fatigue.



Since my last update I have fixed a few details I wasn't too happy with or I felt deserved improvement. Namely, covers, screws, brass parts and cavities.
The plate in the picture is now polished to a shine. Following leads and hunches I finally found someone who would engrave a line on it - not that easy due to the plate size. Kinda hard to photograph the entire line and keep it readable with reflections and all..... The complete line reads:

Uber-Jay n.1 Maurizio Caduto (my name) 2010. I like the ol' Auntie typeface

Next up - small screws. I was frankly unhappy with what I had. They were too big and didn't look sexy. IMHO there is almost nothing in the Screws Universe that looks better than a Allen. So......

These are 2mm diameter stainless steel Allen with nut. I also have a 4mm alternative. As an alternative I also bought a brass nut. I'll decide when I see how either look on the finished wood.

The first set of neck screws turned out too long and I needed a replacement. Again, I decided to investigate the Allen alternative.

All my Wal mount Allen screws at the neck - it's very cool! What I didn't know until recently is that the screw actually works together with a reverse thread nut that is inserted into the neck. Oh boy! I can own a Wal forever and I still discover something new.

So Allen it is. I'll have the screws gold plated to match the ferrules. BTW a review and pictures of my Mk1 fretless are available here.

And since I was on a spree, I decided to have the string anchors made in brass as a possibly better alternative to aluminum - both aesthetically and functionally. What the heck!

I have made a new truss-rod cover as the first carving wasn't tight enough. I want the cover to snap into position. So I did it again slightly bigger and while at that I found a piece that matches the HS grain almost perfectly.

The brass plate in the picture is the cavity cover's back, which I kept to a brushed finish.


















Spray and sand, you slave!

This is truly a chore and it has to be repeated enough times to either loose your mental sanity or get fully intoxicated - whichever comes first.

I don't own the equipment to spray so I used that of the workshop where I go when the machine required is too big or expensive, or when I need counsel - that is, every other day.

First round of spraying and sanding, 400 sand paper. Then spray again and leave it to dry overnight. I kinda like it. The color of the wood is coming out incredibly rich.

Second sanding round. 400 sand paper. Then spray again and leave it to dry overnight. I had to work a little harder on a few spots, where droplets had solidified - cheeky little bastards.

Third round of sanding. 400 sand paper. Then spray again and leave it to dry overnight. I should hate it by now. Instead, I'm really digging it. It's so rewarding seeing the final look slowly surfacing.

It is far less rewarding having to fight all those droplets again. But at the least after the first session of sanding I'm not hitting the wood anymore. Learning with practice. Hell of a thing.
























And this is where I am at the moment. I can't wait to finish this. At the same time I am enjoying the whole process. Particularly, the fact that I am wrong more often than not about timing. Most sections are taking longer than anticipated.

I have now learned that it is due to a number of factors.

1. This is a prototype and as much as I know where I'm heading to, I'm leaving the door open to some degree of improvisation.

2. I am a bloody perfectionist and it takes me time to get what I want, the way i want it.

3. Trial and error is time consuming. 4. Next time I'll have every single item ready BEFORE start the build - down to the smallest screw.



The thing is, if I were very good I could only predict so much of what's gonna happen in a prototyping scenario. I ain't that good - yet. Go figure!

But I'm having the ride of my life and I am already savoring the moment the Uber-J II will hit the workbench.

I am going to take my sweet revenge on all those little mistakes and oddities that punctuated this first attempt.

I am gonna enjoy that. Slowly, just the way i like it ;) Until then

Thanks for reading

O(=<

Building the uber-J. Part Seven.

A few touches before the plunge.

This is taking longer than I initially anticipated. Considering the five weeks I had given myself when I started this project I am off the mark by just four months. Blame it on work, forcing me to leave the country already twice from the beginning of the year... blame it on this weather, too good to pass a weekend or two by the seaside...blame it on the financial crisis, making us believe that there are more important things to do than building the uber-J. Bollocks.

Anyway, here's where we are now. I have roughly shaped the neck, glued the fingerboard and finally reshaped that hideously bulky heel.

For now I have shaped it slightly more slanted on the lower part, to add extra space for the left hand - I'm really becoming obsessed with this. You'll see from the close-up picture that is still needs some fine sanding. yeah...it never ends....

The three holes are in fact only marking the position of the knobs. Eventually that area will be routed for the rear mounted electronics.

At this stage you can see the truss rod slot, the fingerboard and, more to the point, the binding.
Eventually, I settled on Maple....on a Rock Maple neck...on a Birdseye maple FB....Yeah, it's nearly invisible if you're not the one holding the bass, I know....

But I like its understated nature. It's yet another tribute to the mid '70s Fender Jazz. Only, this one is Maple, not plastic. It ain't a uber-J for nothing

I am shaping the headstock in line with the body style, shaving enough veneer for the maple to show. I will probably work on those curves a bit more than that. But you get the idea.

I have, as you might notice, blended the design of the J's headstock with that of another masterpiece and personal favorite - the Music man Stingray.

I have long admired Leo Fender's ability to stay true to the basics of the original J headstock design - as much as he legally could anyway - while making it more compact and pleasingly balanced with the body.

When I'm done with mine the two designs should be fairly obvious.

I am planning to make a cover for the truss rod slot. I'm still working on it. Any ideas?

The second picture shows what's going to happen to the back of the headstock. I will shape the profile again to match the rounded, soft lines of the front and body.

I regret I didn't take a picture of the neck. How could I forget?? Anyway, it's still a long way to go. It will be a thin, rather flat neck.
In this picture you should be able to see that the neck scarf is more akin to that of a tilt back headstock and more pronounced. I find that very comfortable to 'feel' when I'm getting to the first fret without having to look at the neck.

I have also lowered that point a bit compared to the usual position so as the thumb will feel it when the first finger is near the fret....does that make sense?

Two more weeks away and I'll be back to finish this. From now on I'll get to the very heart of the project, where the biggest departure from the original FJ takes place. It will also be, I believe, the most controversial one. Stay tuned.