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Thanks, I can see what you mean... the pronounced upper horn does it.
Top, Back, and neck woods are all Maple. Various named grain types, the neck specifically is Bird's Eye Maple.
All the maple (as well as the Wenge board and Silver Vine inlays) are 'Acrylized' (impregnated with Acrylic resin in a vacuum oven). The Maple had the Acrylic dyed with that color.
Here is the raw top
and post treatment pict of the top and back before they were shipped to the builder. The dark bits of the raw seem to have been harder/denser wood and the process didn't penetrate fully. The imperfections don't match up to the finished bass because they were resawn and planed by the builder I assume.
Customer brought this by last week. It belonged to his Dad.
1967 Gretsch Viking.
Bigsby, dangling tuning fork, mute, angled frets in the high register for better intonation.
All the parts are there except for the mute, so that's a project.
Loose and crumbling binding everywhere.
I'll post more pictures when I'm in the mood to work on it.
We're heading to FL in a few weeks for annual vacation with family. Decided I need to have an instrument there.
Found this Oscar Schmidt on marketplace. My nephew just picked it up for me. Model OF2. Got it for $60. Should do the job nicely. I'll pack strings and a few set up tools.
Zero finish. The wood was treated in a vacuum oven... all the air removed from the structure and replaced with acrylic resin.
Yes, the tilted headstock and straight pull to the tuners is a standard design of the builder. He extends the fingerboard and cuts notches as string guides then the zero fret makes open strings and fretted notes the same. I thought it was weird when I had it built.
I'm in a more traditional mood the last day or 2. This has been the bass of choice. Dimarzio Ultra Jazz V pickups under the wood covers... preamp built by John Suhr... and TI Jazz Flats.
my latest three:
First up is "Buckaroo,"a Buck Owens-inspired Tele with a reverse headstock maple neck and ebony fretboard with block inlay & locking pegs. It has a double bound, tone-chambered Northern Ash body, with Lindy Fralin P92s, CTS/Switchcraft, a Vibramate bigsby bridge, Wilkinson compensated saddles, a Bigsby B-500 & Jim Dunlop locking strap buttons. The guitar is finished with jumbo flake glitter and 2k poly.
Next up, Savalas S-3, a Telecaster style featuring a tone chambered, white ash body with a red, jumbo-flake finish, double bound, with cream pearled nitrocellulose binding a belly cut. Electronics include a Lindy Fralin Hum-Cancelling AlNiCo Pole Soapbar in the neck, a Fralin HC Steel Pole Soap Bar in the middle and a TV Jones TV Classic Soapbar in the bridge and the instrument has a floating tremolo and American Professional bridge.
Strat-style with a custom EMG pickup set and color-shifting, jumbo flake rose gold & pink glitter over a pink base on a poplar body, with Graphtech nut, string tree and saddles.
Three more completed today:
My Broken Bell model, prototype #2
Very Rickenbacker, the horns and most of the body shape, sans bottom bout angle.
Do you always go sparkle on the finish? No criticism at all just a question. Probably easier to hide finish flaws but your work, binding, etc. seems to be of a high quality.
Sometimes I want to see your creations in solid colors or sunburst.
Here’s my other Telecaster. Modified with brass slanted saddles, Seymour Duncan Broadcaster in the bridge, I forget what Seymour Duncan neck pickup, but it must be some type of vintage style pickup. Trying to remember here… Pretty sure I put in a 1 meg CTS pot for the volume. (See below. Having some trouble posting.)