Smith Bass Design and its History (The on-line Book in the making)

[Ken Smith]

Originally Posted by Mike Braun

Did you have any role in the development of the 6 string bass? I know yours was one of the firsts.

Yes, most of the knowledgeable world of BGs (hopefully) knows that we made the first wide spaced non 0ne-off 6-string Bass. There is a book called "The bass Book" published in 1995 written by Tony Bacon where it is stated on pg.59 "Ex-Professional bassist turned luthier Smith was among the pioneers of the modern multi-stringed bass with wide string-spacing and low-B tuning". This is the caption under a picture of a Smith 6-string bass.

We made our first 6 for Anthony Jackson on 1981. There was very little if anything to go on as far as what to do or what to design. The only other one I had seen was the previous attempt for Anthony by Carl Thompson. I asked Anthony to show it to me so I could see what was wrong with the one he had. That look was mainly a 'what not to do' lesson. I say this without any disrespect towards Carl as we were at one time good friends.

Who did what first and where? Your guess is as good as mine. I am sure who invented electricity or anything else can always be disputed in some way. I am just saying that I had basically no examples at all to copy from. Just my playing skills and my instrument design ideas to make a working playable 6-string. Back there, there were no Parts companies to call up and order from. The Bridges and Pickups needed to be designed and made from scratch, custom ordered from people themselves that were not even sure what would work. It was an uphill struggle, but now.. we are here.

I do feel in a way that modern builders walk on a road paved partially be me and others like me that wanted to make something that before hand didn't exist.

Originally Posted by Tim Bishop

Very impressive, Ken.

So, with the end of the 70's approaching, what was the influence or intrigue that led you to building EB's?

Ok, this might be awhile but I will keep it short for now and elaborate as we go on here.

In 1973 I bought a fine old 18th century Italian Bass. It was the best Bass I had ever played. Imagine playing up the low E string. After a few notes it becomes uneven and wolfy sounding. This bass could be be bowed from the Nut to the end of the Fingerboard over two octaves up and not a single bad note. Also, it bowed great with Spirocores and that in itself is odd because those strings are not easy to bow. They are great jazz strings but most players then used Flexocor for bowing, not Spirocores. This Bass was a monster and I was curious to find out how much an Electric Bass could be improved from its standard cardboard box with strings in comparison. Most people in NY played a Fender. Most Fenders had dead spots on the G string around the Bb to the Eb. Usually one note was the worst and one or two on either side of it. It was on the 'D' on one of the Basses I had. When ever I needed to play a long help note, I would play 'that' D on the D-string octave to make it ring out somewhat. This being only of of many point in comparing a stock or customized Fender bass to the DB that I had.

My goal was to make an Electric bass that could stand along side my DB and be equal within its own merits as far as sound quality went. It looked to me as if the Guitar industry was geared towards fast cheap 'accountant' planned costing within its manufacturing. I was thinking more along the lines of a hand made Violin.

My idea and desire for an Electric Bass was not part of the current industry. Yes, there were custom and private builders out there BUT, had the played my Italian Bass or knew what a Violin was or how to incorporate there grandfather string instrument methods and results into their stringed amplified carcass?

I wanted a Bass that had 'no' excuses attached to it in its making or performance. One night while playing the proto-type bass (made c.'76/77) in the Pit at 'Westbury Music Fair' for Shirley Bassey, the lead Trumpet player tells me my bass sounds great and that they listen to me for the 'pitch'. Years earlier, I worked with this same guy for a year in a B'way pit on my first B'way show gig and complaints were they daily dosage back then about the Bass being too loud usually, not compliments. You know, the Trumpets NEVER play on the beat..lol

After hearing a Trumpet player tell me he used my Pitch to play, I knew I was on the right track design wise.

Trust me, as I mentioned above, this IS the short version of the answer..lol

How long will it take to post 40 years of 'Bass' experience?