Edges - overhanging vs. flush
Not something I've seen discussed before, at least specifically - I'm wondering what people are thinking about the pros and cons of either configuration. Of course we could be talking about basses that are/were made in such a manner, or about old instruments that just don't have any edges left I suppose! ;)
Personally I like the aesthetic of flush joined ribs/edges, at least on certain styles of instruments, but I go back and forth on whether overhanging edges are more likely to help preserve the plates, or (as with violin corners) more likely to be a liability; clearly the majority of thinking is that overhanging is better, but I don't know for sure why - practical or just tradition? Thoughts? |
HEAPS easier to remove and replace the top for repairs, and the overhangs protect the ribs from stage scratches ...
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Over time the top and especially the back will shrink. Overhangs allow some repositioning to be done without major surgery. Without overhangs, bulges can occur within a few years.
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Guitars, Lutes and Mandolins are made flush. Viennese and Czech/Prague school basses and some Hungarian basses are often made flush as well. It seems that only the Violin School instruments are made with edges overhanging with the exception of some Eastern European double basses. Nothing is set in stone but that's what I have seen and learned so far to date from what I can recall. Flush is not a good idea for the long haul. |
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