Saw the backplates sitting on Chip's side table before being converted to plywood.

Mica,
I'm a little confused because I'm seeing 2 sets of lines, both white and grey.
 
If we start from the top, there is  
white
grey
white  
grey
 
I assume you mean thet the white lines go together as roundover and cut lines, and that the grey ones do, too.
If we start the roundover at the first white line, will the grain still retain the point shape in the roundover, or will it separate?  Or is that a mystery until it's done???
 
Is the grey line the standard point shape, or is it still reduced somewhat?
 
I think I would like it as small as possible while retaining the natural point in the grain.
However, I really like the lines of the Valentino point.  
 
I am thinking we go for the white, and if the grain separates visually in the roundover, we can make it smaller.
 
Any input from anyone is welcome.
 
 
Call me or email if you need to...
Thanks,
 
Charles

Right now, Peter is working on the carving for your bass. Here's a detailed sketch he's prepared to show what we have, and what we can do:
 

 
The red arrow indicates a critical point where the neck meets the body, the point carving must pass throungh this point or to the outside of it.  
 
The blue arrows indicate a path that keeps the point rather small and doesn't interfere with the critical neck to body joint. Of course, you can see the 3/4 roundover will take the edge off the figure point.  
 
The green arrows reference the edge path and 3/4 roundover needed to preserve the figure point, and cannot be done. Peter has drawn these in for your reference only. Even if there was enough wood to do the green path, the point would be considerably larger than your original request.  
 
One idea is to hand contour the roundover on the back near the point and then blend it back into the 3/4 roundover, much like we did on , but his has a 1/2 roundover on the heart, then a 3/4 on the edge. The front of the bass would have the standard 3/4 roundover.
 
So, the choices are:
 
1. use the blue path and 3/4 roundover as in the sketch.
 
2. hand contour the roundover on the back only near the point
 
3. abandon figure point preservation and return to the small point regardless of where the figuring winds up.
 
Let me know what you want to do. Carving the point on your bass will wait until we hear back from you, though the rest of the carving will proceed.

Thanks, Mica and Peter.
 
Let's try the blue line, reserving the option to go smaller after seeing it.

The point is shape is carved, pending your approval or request for a smaller point.  

 

 

  There's still plenty of sanding and fine shaping to go, but you can tell if you want to point smaller or not.

Check the new photos, let me know about the pointiness preference.

Good morning, Mica.
 
Lets go smaller.
 
What's there is cool, and Peter did a great job capturing that v-shape, (plus it'd be handy in a bar fight),  but I think it will be great with the little vestigial point.
 
Oh, and did I mention that the rest of the woodwork IS SO AMAZING THAT I ALMOST CAN'T STAND IT!!!!!!
 
Wow.  On that point close-up, the center laminates in the neck just seem to Exist in the middle of the body, like there's no separation between the neck and body; and the ebony accent lam is like a vein or reservoir of darkness flowing from the neck and percolating up through the maple as the spalting, permeating or infesting it with it's energy.
 
Y'all got skills.
 
I'll call you when I get home from work.

The point, transformed:  

 

 

 

 

  It's not quite as small as the side point on Valentino's bass, but we wouldn't want to go smaller yet without you seeing it here first.   Also, don't mind the burn marks around the point - there isn't a sudden color shift right at the seam. Peter will be sanding all that away.

Perfect!
 
Thanks, Mica, and special thanks to you, Peter for your hard work and amazing skill!
 
Also, Peter, if you decide to attack the elbow contour anytime soon, I'm really liking the amount of shaping there is on my 99 Rogue.  It is extremely comfortable, but doesn't appear to be as extensive as the ones on some of the Balance K bodies I've seen lately.
 
Thanks again,
 
Charles
 
(Message edited by crgaston on May 24, 2006)

We're going to have to add some binding on at least your battery plate (the middle one). The Spalted Maple is so fragile, a little speck of it flew away when the plates were made:
 
 
 
We always try for no binding, but it's up to the wood. When binding is called for, we would use the it around all three plates, but since so far the others have survived well, thought you should have the option. I would suggest Ebony, but you may have a different idea.
 
Rare Gem,  Autumn Delight, and Fitting Tribute had binding on the backplates so you can see what I'm talking about.

Ebony is good on the center.  If one of the others goes, then do all 3, but I think it won't look out-of-place with it just in the middle.  
 
If, however, you think it's best to go ahead and do all 3, then I'll trust your judgement.
 
Thanks,
 
Charles

Your bass is in the spray booth. Right now, it's ready for its next coat of finish:
 

 
I hope to catch it before Bob preps it.

Hi Mica,
 
We're headed to Maine Wednesday the 7th, and should be back the last week in July.  I will try to check in from time to time, by computer if possible and by phone if not.  Thanks for the latest update, by the way.  If I don't speak to you before the bass gets to setup, please cut it for a .085 A string, as DR's seem to be my favorites right now.  I figure it will be better to have it cut for a .085 and switch to a .080 than the other way around.  Also, I plan to have the selector switch pointer facing down, so if it could be wired so that pointing towards the bridge selects the bridge PU in that orientation would be great.  Also, having it be only a 3-way switch would be great.  I'm liable to accidentally mute myself otherwise.
 
Hope your trip went well.  Did you get to use the extra ticket?
 
Take care,  
Charles

Before prepping
 

 
The lighting's not great at this angle. The wood is dark and low contrast, but in person you can see the grain.

Truss rod cover in spray:

 
The wood combination looks stunning, and it's certain to have a wonderful robust sound too!