Would you change a Smith?

[Ken Smith]

Originally Posted by Steve_M

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?

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?

[Tim Bishop]

Originally Posted by Ken Smith

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?

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

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

[Steve_M]

Originally Posted by Ken Smith

Stringing thru the body was thought by some to make the wood vibrate more.

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

[Tim Bishop]

Originally Posted by Steve_M

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

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

[Steve_M]

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?

[Tim Bishop]

Originally Posted by Steve_M

I was wondering if Ken's every experimented with wenge in the neck of a prototype Smith?

I suspect IF he has, he's determined that he prefers what he is currently using in his necks.


About 10 years ago, I had a Wenge/Paduk combination in a custom Ibanez 6-String. Overall, the bass just didn't have the mid-range bite and the crisp highs: Just warm and muddy sounding. I was not impressed with that combination of woods on that particular model bass.

[Albert Smith]

Originally Posted by Tim Bishop

I suspect IF he has, he's determined that he prefers what he is currently using in his necks.


About 10 years ago, I had a Wenge/Paduk combination in a custom Ibanez 6-String. Overall, the bass just didn't have the mid-range bite and the crisp highs: Just warm and muddy sounding. I was not impressed with that combination of woods on that particular model bass.

Tim I played the SR-905 five string for about two years, the problem I had was in like kind a muddy sound and excessive hiss from either an incompatability issue with my rig at that time, a Hartke 700 watt Bass head running through Hartke 2 ten cab and one 15 cab. I had the bartolini pickups. But my question is how do you get rid of that muddy sound on the low end, how do you get to the warmth? With my ampeg all tube I have that, but if I ever go to a solid state how would you go about getting that tone?

[Tim Bishop]

Originally Posted by Albert Smith

Tim I played the SR-905 five string for about two years, the problem I had was in like kind a muddy sound and excessive hiss from either an incompatability issue with my rig at that time, a Hartke 700 watt Bass head running through Hartke 2 ten cab and one 15 cab. I had the bartolini pickups. But my question is how do you get rid of that muddy sound on the low end, how do you get to the warmth? With my ampeg all tube I have that, but if I ever go to a solid state how would you go about getting that tone?

Albert, it's all about the right equipment. You have the right bass, so, depending on your playing style, set-up, strings used, and amplification and/or pre-amp, you should be able to dial in whatever you need!

I've shared with you what I use and I stand by it and would put it up against anything.