It’s been a long while since I started a new build – late last year I think. I’ve been working on other things – playing partly, making furniture, but mostly my rather long neglected Victorian house. We’ve been here two years and we’re now really getting into the restoration.
But in an attempt to separate youngest from the bloody playstation (by choice rather than by force), I’ve been encouraging his sudden enthusiasm for playing the bass. Now this isn’t the first time this has happened in the family – his eldest brother also took a shine to the bass in an attempt to boost his grade at GCSE music – and his bass now sits in my studio largely unused. But we continue undaunted.
Smallest boy is clearly being fed the wrong diet, because at 12 years old he just can’t reach the business end of his brother’s P bass. But he likes the shape, so we went to look for a bass for him in Norwich.
Well to say that the choice in short and medium scale basses is pretty poor would be an understatement. The three quarter bass in one shop was little more than a toy, and a good way to waste £100. For about £140 you can buy a kind of ‘no name’ Fender/Ibanez clone with a loose tuner and a neck like a boomerang. It would appear that apart from Hofner, nobody really takes the Short scale, particularly seriously. Of course there’s always and exception to the rule, and that’s the Epiphone EB-0 or 3. But I don’t buy guitars unseen, nobody stocks them, and they aren’t a sound that’s adaptable to every style.
So we designed something around the 51 P bass shape, but only 32″ in scale, and with the curve in the lower body just a little further forward, to bring the bass across the body a little when seated with it.
The body has been made from a piece of Tulip that I had in stock since last year, joined just below the level of the neck pocket. The body is a couple of inches shorter than a P.
I wanted to keep it simple, passive, and as light as possible. The tulip is light, but has a tendency to tear a little (it’s about Alder weight, but can behave a bit like Mahogany without the grain complexity in that respect).
Lastly, he’s decided on a particular paint job (decidedly not very 51 P) and doesn’t want any plastic on the face. To make it easier to play, I have turned the pickups in the opposite direction to the normal – so he can put his thumb on the pickup without one half getting in his way.
We started on Monday, taking a trip out to get some maple. Youngest has bored himself rigid sanding the body (which at least got him doing something constructive!)
I let him use the power sander. But after cutting the body out this morning, he took most of the flatspots from the bandsaw out with a rubberised block and some sandpaper. He didn’t complain very much. I got a couple of solid hours work out of him, so that’s one objective met!
So by the end of the first week (and not necessarily the most full on week in the workshop), we have a neck block with a glued fretboard and a body fully sanded and ready to be sealed and painted.
Next up is sealing that body – which is really important because Tulip is a bit of a sponge for finish on the end grain! While that’s drying I’ll be carving the neck shape and slotting the fretboard.
I might have to get back to building this winter…