The Last Bass Outpost

OK, the Aria is here...no new shots yet, but I'll get that done soon.

Report: The neck is in generally good condition, but the fretboard is loose from the neck on the top five frets. This isn't any big problem, as there is no damage and the fretboard can easily be glued back in place.  SUGGESTIONS as to what glue to use?  Super glue would be easy, but I'm tempted to get some hide glue from Stew-Mac in case I ever need to pull the fretboard. Sometimes permanent adhesives are the wrong thing to use.

The rosewood is good and the frets have enough wear to show some notches on the bottom couple of frets, but I don't think they're badly worn.  The nut is missing - no biggie.

Wood on the body is in good shape, no major gouges or dings, so it's definitely in shape to be refinished in natural or in a solid color.  I'm still temped to go natural to match the headstock.

Original color is questionable.  The neck pocket and pickup cavities have yellow paint in them, and it looks more like re-spray than original sunburst finish.  I'll look at it some more.

Pots and jack are present, two switches of unknown function are present (probably on/off for each pickup), and the pickguard has no cracks or damage, which is very nice.

Pix coming as soon as I can get 'em up.

Random orbital sander and 320 grit??

No kidding, not for the faint of heart!!!!!

Dang, sounds like luthier work by Tim Taylor, featuring MORE POWER!!!

I suspect there are many similarities between hollowbodies from that era.  I am pretty sure that Univox, Aria, Lyle and Epiphone all would have the same or nearly the same dimensions, since they were all built in the same factory.  Since most were copying Gibson, it would make sense that they would head the same direction.  However, that wouldn't make parts interchangeable.

I'll try to get a better photo of that Lyle - I'm sure you would enjoy seeing it.

And to ask a detail technique question, when you mention using a razor blade scraper, do you point the blade toward the direction of travel, or drag the blade behind your hand (tip facing back) as you scrape? 

I figure it doesn't hurt to ask the guy who has BTDT with such great results.

Cool - I keep checking back for progress.

BTW - after the CA scratch-fill, what was your sanding paper sequence?  Start about 800 grit and work up to 2000, then polish?

Incoming Aria Diamond project bass - not here yet, but 30" scale:


Rogue VB-100, which is a great bass with Labella Hofner flats:


1970's Univox 335-copy:


My Epi EB-0 hanging next to my Kay KB-2, both 30" scale:


Dang, I have a lot of short scale basses.  But then, I have a few 34" scale too...

The door's open and the coffee will be on if you visit.  Boulder is just 40 miles away, so you might even have an excuse to stop by!

I like this area, too. Ft. Collins is a VERY cool town of around 130,000 and it's a very happening place.  The only places in the US I'd move from here are north and west...since I came from Washington state, and it's hard to beat the Pacific NW.

Now that I look again at the Aria photos at: http://www.matsumoku.org/models/aria/solid/mos/17xx.html I'm curious as to what color my bass started.  The Sunburst bass shown in the photo has a white PG, and the one on the bass I have coming appears to be kind of a goldish pearloid (see photos at start of thread).  If there were only three colors available, I'm thinking that would most likely have been on a black bass.

George, glad to see you!  Long time no chat.

I always enjoy your posts and your depth of knowledge about Fenders. Bill just steered me here, and it's a pleasure to run into you again.  I look forward to reading your contributions! 

At $899 for an H22 the question becomes - do you want an H22 re-issue or an Epi Jack Casady??  I've seen the Casady at a local shop under $600.

The H22 seems overpriced to me.  I had expected it to run more around $500.

I REALLY like hollowbodies and the H22 look, but think I'd take the Jack version.