DB Influences?
 

Another thing I would add. Ken has 40+ years experience with the DB. A DB is 1,000 times more sensitive than an electric bass. Do you think Ken has drawn from and utilized that knowledge and experience with DB's into the design of his electric basses? I'm bettin he would say he has done just that. Oh, and keep in mind, some of these DB's date back as far as the late 1700's. That contribution is the major difference between Smith's and the Others. ;)

+1 on the DB thing. I can see alot of classic influences in his designs.

I'm kinda interested in knowing Ken's thoughts on string-thru-body designs and if he has considered it for his basses.

String-thru Body Design.....
 

Hey Bob, I think Ken is in the middle of a PA Ice Storm today. He's probably thinking about anything but a "string-thru-body" design at this point.

String thru?
 

Why do you ask? Is there an advantage you think? Pros and cons? Theories and proven results?

I am happy with the resonance we get now from our Basses as well as the tone. I don't think an instrument of this level can be improved by drilling more holes in it and bending the String at 90% by the Bridge.

And there you have it!
 

And there you have it! Keep those question's and ideas comming! ;)

Truthfully, in all my bass playing years, I've never played a string-thru-body bass so I was hoping to get some insight from someone with more knowledge about the good, bad, and ugly sides of it. Some people swear by it. I really have no clue about what effect there is, if any.

FWIW, I have two stingrays. One with through body stringing and one without and I'd challenge anyone to tell the difference with all other things being equal.

Why?
 

If that is a true statement (i.e. there is no difference), then what purpose would a thru-body serve?

I mean, "yes Mr. Bass Builder, I'd like to order that 5-String and yes, I would prefer to have the extra holes cut into the body because it looks cool and I love bending the strings 90 degrees at the bridge too". :confused:

I think that's what Steve's getting at, Tim. If there's "no difference" sonically that comes from bending the strings 90 degrees at the bridge, then why insist on doing it?

I think the theory was that through body stringing was supposed to add sustain to a vibrating string by anchoring it in a heavy mass.

However, because the string doesn't actually vibrate between the break point over the saddle and the anchor, the method of anchoring (so long as its fit for purpose) doesn't have much of a tonal impact.

Its my understanding that how much mass the saddles have and the method by which the saddles are acoustically coupled (ie. in firm contact) with the bridge plate is much more important than anchoring. I guess the idea is to have a rigid structure (ie neck) and rigid, solid anchoring at the break points at either end of a string so that the vibrations of the string are mostly isolated.

Can Ken confirm I'm on the right track?

I suspected as such...
 

I suspected that was what Steve was getting at, I just wanted to add my spin and a little more punch, I guess. ;)

Thanks Steve
 

What you are saying above is correct. Hope you didn't take my response the wrong way. Just wanted to add my 2-cents worth! :rolleyes:

Duly noted, Tim! :)

Duly noted.....
 

I need to remember to respond carefully. Too much ambiguity in the eThread world. :p

right track?
 

Hey, if I keep reading this stuff I might mess up what took me 30 years to get done..

Actually, most Basses with 3 feet of Paint as a finish needs all the help it can get to vibrate the wood buried down under somewhere. Stringing thru the body was thought by some to make the wood vibrate more. If our Bass or any other vibrates too much, the sound would be like 'mush' without definition. Think of all those old P Basses used in the 60s with ZERO sustain that sounded so good on recordings. Are we playing whole notes held out for 5 minutes at a time between notes? How much vibration do we need?

Hit a note on any Bass you have and grab the headstock. Then feel the back below the bridge. You will see that even if it's made or Rock, it will vibrate to some degree. Even a half assed bass has vibration throughout. It's just, what are you vibrating?

I might mess up....
 

Please stop reading then, we don't want you to get messed up. :eek:

Interesting Ken. This is good stuff. Great ****ogy on the "old P Basses" and everything following.

So I was walking on the right path but just in the wrong direction? :)

The right path......
 

Steve, the main thing is that we realize we are never too old or to smart to learn. ;)

Indeed.

We're lucky on bassworld.co.uk in having a forum specifically set up for budding luthiers. I tried a bass at our Bassworld Bash last weekend that was built by one of our contributors. I wasn't keen on the body shape but I was blown away by the sound - especially considering that the guy had built it in his garage.

The neck was a combination of flamed maple and had two stringers of wenge running down either side with graphite reinforcement. It sounded crisp, warm, deep and growly. I was wondering if Ken's every experimented with wenge in the neck of a prototype Smith?