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Sam Sherry
04-08-2008, 07:06 PM
I've had c-ness envy forever, and I have the chance to add an extension to my bass. Anybody care to comment on whether adding an extension has affected the sound or playability of their instrument? Thanks, all.

Ken Smith
04-08-2008, 11:14 PM
I've had c-ness envy forever, and I have the chance to add an extension to my bass. Anybody care to comment on whether adding an extension has affected the sound or playability of their instrument? Thanks, all.

Well, many say it helps open up the low end by extending the E. I have had Extensions added to some Basses that I had played for awhile as a regular 4-string and some during restorations in which the Bass was un-playable when I acquired it so I would have to make my judgments on the Basses that I had previous experience with.

Basses of mine past and present that I knew before and after include my Bisiach labeled Bass, the Gilkes and the Martini mainly. I only played a few notes on the Hart and Prescott before the restoration as they were in dis-repair so they don't really count in this group.

All 3 Basses showed some improved low end but the Gilkes got a new Bassbar and other internal work in the process. The Bisiach got a Bassbar replaced and then the Extension afterwards several months later. The Martini got mainly just the Extension added and after its recent restoration, it was re-fitted after the Neck graft and new Fingerboard. The Martini had some interior work done as well but the Bassbar is the same.

Each Bass with an extension added felt more 'whole' to me because I could play all the parts as written. Also, the Low end seems just a bit heavier under my feet which is a good thing. I would venture to say that without additional work done to a Bass, the Ext. will only change the Bass slightly if noticeable at all but for the better in my opinion.

Sam Sherry
04-10-2008, 08:24 AM
Thanks, Ken, that's helpful. Any comments about an effect on pizz sound in the jazz realm?

Ken Smith
04-10-2008, 12:22 PM
Thanks, Ken, that's helpful. Any comments about an effect on pizz sound in the jazz realm?

Jazz Pizz?. Well, Bowing the Lows you get more volume but with an AMP it's different. Depending one the type of Extension you get and who makes it there can be variable results. My Friend has one by a NYC Shop and it is just Poop in my opinion. It is Maple with a thin Ebony fingerboard. When you laminate like this, you can get warpage from the pull of the extension piece itself. This is just like a Neck in maple with a thin FB. It always needs dressing over time. make the board thick and maybe add graphite, you add life to it. The solid Ebony ones I have that were made by Arnold and Jeff as well as the ones I have seen and played made by Robertson's are the BEST Fingered/Chromatic Extensions I have ever seen and I have seen a lot of them.

I have owned 8 Extensions myself over the years of just about every variety. I will not take anything less that a solid quality Ebony Extension, Chromatic or not!

On the Jazz thing, when ever I've had an Extension on a Jazz gig, I try to find notes to play on it. Not many though because of its slower response of the Low lows. Last night I played a Bach piece with Orchestra with solo for Oboe and Violin. I had a lot of Low D's as it was in D minor and I was actually playing the cello part. With the Bow I could hit is short and quick. With pizz it's not quite the same.

Ken Smith
04-10-2008, 12:22 PM
Thanks, Ken, that's helpful. Any comments about an effect on pizz sound in the jazz realm?

Jazz Pizz?. Well, Bowing the Lows you get more volume but with an AMP it's different. Depending one the type of Extension you get and who makes it there can be variable results. My Friend has one by a NYC Shop and it is just Poop in my opinion. It is Maple with a thin Ebony fingerboard. When you laminate like this, you can get warpage from the pull of the extension piece itself. This is just like a Neck in maple with a thin FB. It always needs dressing over time. make the board thick and maybe add graphite, you add life to it. The solid Ebony ones I have that were made by Arnold and Jeff as well as the ones I have seen and played made by Robertson's are the BEST Fingered/Chromatic Extensions I have ever seen and I have seen a lot of them.

I have owned 8 Extensions myself over the years of just about every variety. I will not take anything less that a solid quality Ebony Extension, Chromatic or not!

On the Jazz thing, when ever I've had an Extension on a Jazz gig, I try to find notes to play on it. Not many though because of its slower response of the Low lows. Last night I played a Bach piece with Orchestra with solo for Oboe and Violin. I had a lot of Low D's as it was in D minor and I was actually playing the cello part. With the Bow I could hit is short and quick. With pizz it's not quite the same.

Katie Long
05-15-2008, 10:42 AM
Just my input - we just did Strauss Also Sprach at the RCM. We hired in 5 strings for those of us with no scaffolding and Paul Ellison's opinion seemed to be that the 5ers were much better. The extensions though they have their merits require reaching back behind your head (so you need to find a way of doing it without knackering your shoulders and back) where the 5ers just mean another string to deal with, plus there were some serious extraneous noises coming from the extension desks. Also, make sure your extension keys are in tune if you have themm, as some of ours weren't!
Low notes are a really good thing, but if you are going to get it extended (!) then make sure you get a good one fitted, don't cut any corners because the rattling etc is not a good thing and not something that any player wants in their section. 5ers for me have the edge because you can just put your hand across in position and there it is. Plus the B is very nice. Not that I would have one for normal use as they are very hard work.

I was talking to someone today and over here in the UK the players with extensions tend to get more work especially in contemporary music things...

Ken Smith
05-15-2008, 12:41 PM
Just my input - we just did Strauss Also Sprach at the RCM. We hired in 5 strings for those of us with no scaffolding and Paul Ellison's opinion seemed to be that the 5ers were much better. The extensions though they have their merits require reaching back behind your head (so you need to find a way of doing it without knackering your shoulders and back) where the 5ers just mean another string to deal with, plus there were some serious extraneous noises coming from the extension desks. Also, make sure your extension keys are in tune if you have themm, as some of ours weren't!
Low notes are a really good thing, but if you are going to get it extended (!) then make sure you get a good one fitted, don't cut any corners because the rattling etc is not a good thing and not something that any player wants in their section. 5ers for me have the edge because you can just put your hand across in position and there it is. Plus the B is very nice. Not that I would have one for normal use as they are very hard work.

I was talking to someone today and over here in the UK the players with extensions tend to get more work especially in contemporary music things...

Scaffolding?:eek:.. Katie, that's a very colorful way of putting it. Here in the states the Chromatic Extension like on my Basses is becoming the favorite. I did the Storm 16ths on it and it was a workout but I pulled it off. Two advantages over the 5er I see is that the Longer String length used on the 'scaffolding' has a nicer tone than the response than the shorter 'B' and also the thinner E/C string responds better and quicker with the Bow. The other advantage I see is that the 'B' is not there in your way on the 'scaffolding' when it's not needed. Musically speaking I can see how the 'B' can be better at times but most of the music is easily played up on the scaffolding.

Katie Long
05-16-2008, 10:28 AM
Scaffolding is an informal term we use over here! No offence intended!:p

I should admit that I do really enjoy chromatic extensions as long as they are keyed (the ones where you don't have to reach). It is difficult with the 5 strings to find a string that doesn't sound just like a rumble or a drill or something.

Paul was saying that if you get the right string, the long belcanto, the new evah pirazzi or the permanents (? not sure if it was permanents or flexocore) that the C can be really great. It's a matter of finding what suits you and your bass I guess.

Arnold Schnitzer
05-16-2008, 12:47 PM
In my opinion a well-made extension gives the truest rendition of the lowest notes. That's because the extended E string has a speaking length of 51-53 inches. It is well established that the double bass is actually too small for its deep register, and it's also well-established that longer strings are better at producing low notes (hence the awesome bass strings on a concert grand piano). I'm speaking about tone and timbre here, not ease of play.

Ken Smith
05-17-2008, 11:36 AM
Scaffolding is an informal term we use over here! No offence intended!:p

I should admit that I do really enjoy chromatic extensions as long as they are keyed (the ones where you don't have to reach). It is difficult with the 5 strings to find a string that doesn't sound just like a rumble or a drill or something.

Paul was saying that if you get the right string, the long belcanto, the new evah pirazzi or the permanents (? not sure if it was permanents or flexocore) that the C can be really great. It's a matter of finding what suits you and your bass I guess.

Katie, can you play the single storm 16ths on the keyed extension? Also, how clear does it sound on a 5er? With practice, the fingered/Chromatic extension is the most versatile. Also, you can lock any note you want and change your low string so that the left hand is free to shift.

I think that no single style Low model method is best, just different. I though have found the Fingered/Chromatic Extension to be the best and easiest to use over all as well as the best speaking sounding low notes.

You would have to play one for about a year and try all the various works on it before you can really judge its merits. Reaching back is the easiest part I think. Fighting the sound or hardware or extra strings is more of a drag to me. I have used them all to date and my mind is made up.