Choosing the 'right' Bass for you...

[Arnold Schnitzer]

Originally Posted by Calvin Marks

The large over-stand helps me reach to the end of the fingerboard.

How high is the overstand? The bridge?

[Calvin Marks]

Originally Posted by Arnold Schnitzer

How high is the overstand? The bridge?

How would you like me to measure the overstand?

[Ken Smith]

Originally Posted by Calvin Marks

How would you like me to measure the overstand?

Until Arnold gets back on line, place a small ruler on the Top where the bottom of the Neck sits in the Block. From the Top to the underside of the Fingerboard (or the surface of the Neck that the FB sits on) is the measurement you want. That space is called the overstand. How far the Neck is off the Top!

My Basses that were set by Arnold average 34-36mm of space between and described above. Here are some pics for reference;


This big 4/4 Gamba is set out quite a bit more due to the wider shoulders, longer body length and center bout width. I have seen one other large shouldered bass just recently out of restoration that was set out even more than this one and it needed it to avoid being cut!

[Ken McKay]

From the top plate to the underside of the fingerboard at the end of the neck.

...and the bridge from the top in between the A and D string.


Oh I see KS beat me too it, of course.

[Ken McKay]

Another thing is the angle of the neck in relation to the back.

I am asking here. If the neck angles back too much it makes it hard for the left arm and the player tends to want to lean back while playing in first position and then forward when going up to the higher positions. Right?

What are some landmarks in regard to this? I might need to do some drawings.

[Ken Smith]

Originally Posted by Ken McKay

Another thing is the angle of the neck in relation to the back.

I am asking here. If the neck angles back too much it makes it hard for the left arm and the player tends to want to lean back while playing in first position and then forward when going up to the higher positions. Right?

What are some landmarks in regard to this? I might need to do some drawings.

Not quite off topic but rather a very important comfort factor that is usually not even considered and we take what is given to us. Here are some pics of my basses for the sole purpose of looking at the Neck-to-body angles. I don't know the angles but there is so much else to be considered along with this for playability. The top arch, the center bout width, the back length, the rib depth at the neck and mid upper bout that may touch your body and the top and back lengths respectively with how the neck must be set as one plate is often longer or shorter then the other. Here we go;



Have a look at these and compare. Feel free to ask me which are easier to play standing and/or sitting. I hope I can remember them all otherwise I will have to test them and report back. One of them is out in restoration but I remember it fairly well. Have fun..

[Ken McKay]

KS I see you did a lot of work putting up the side views.

I captured these basses earlier and put a straight line from the back up to the scroll to illustrate the angle differences, then I added the front line to create a "box" where the nut sits inside.
I did this last night but didn't post it so here it is. Pretty much the same as yours but with the lines. You obviously don't need the line, you can just look, but it does help define how far the fingerboard is out from the left hand.

Question: Is the distance from the imaginary line up the back in relation to the nut (just where the strings exit the fingerboard, a variable to control? When designing or restoring a bass where the neck will be reset the overstand can be varied by adding some wood to the heel (or removing). A bigger overstand will allow the nut to move more away from the imaginary back line and visa versa.

This reminds me of the old Sesame Street game "One of these things doesn't belong".

[Ken Smith]

Originally Posted by Ken McKay

KS I see you did a lot of work putting up the side views.

I captured these basses earlier and put a straight line from the back up to the scroll to illustrate the angle differences, then I added the front line to create a "box" where the nut sits inside.
I did this last night but didn't post it so here it is. Pretty much the same as yours but with the lines. You obviously don't need the line, you can just look, but it does help define how far the fingerboard is out from the left hand.

Question: Is the distance from the imaginary line up the back in relation to the nut (just where the strings exit the fingerboard, a variable to control? When designing or restoring a bass where the neck will be reset the overstand can be varied by adding some wood to the heel (or removing). A bigger overstand will allow the nut to move more away from the imaginary back line and visa versa.

This reminds me of the old Sesame Street game "One of these things doesn't belong".

Well, it was not much work for me because they were just from the page shots we took awhile ago. Nothing more than copy and paste for me here.

So, as far as you can see, which basses have the least pitch, most pitch or most comfortable 'looking' pitch in your mind for what you can see.

As far as what can be controlled, often in restoring an old bass, the string length is something we try and control in the planning. Making it longer, shorter of keeping it the same. Sometimes they are re-pitched slightly and sometimes not. Some times they are set lower into the block and sometimes just moved out.

All of these steps are possible to do but what ever is practical for each bass to achieve the desired results is what will be done. The optimum achievement can only be done with a blank check so to speak. You cannot do this 'on the cheap'. The bass needs what it needs to get it as good as IT can be for today's playing styles. Sometimes it's very little and sometimes it's everything.

Here is a list (from what I can remember) of the things that have been done to a few of my basses. Some had one or two steps done and some everything;

Scroll/neck Graft, new fingerboard, c-extension, block cut, block expanded, new block, underside heel shim/pitch, re-pitch, fingerboard shim, fingerboard shim/pitch, neck lengthened with graft, neck shortened with graft, bridge moved forward to adjust note stop, heel recarved deeper/smaller, neck recarved shallower, etc.. In other words, what ever it takes to make a particular bass the best that it can be for you. The 'for you' part is a big one. Not everyone wants the same neck or feel.

I can't tell you how many basses with D-necks with 'healthy heels' that I wanted cut down into Eb-necks for my personal taste and was talked out of the idea by Arnold because these were basses for sale in my stock. The modern players are trained to play the d-neck classically but for me playing jazz and classical etc., I prefer the Eb for all around playing. Playing the f/1 and g/4 on the A-string are important for me as well as the c/1 and d/1 on the E-string, and not just playing up the bass on the G and D string. I like my reach over the neck and heel from fingered to thumb positions to be as little a transition as possible. This is what I mean by liking the Eb better personally. Others trained on a d-neck may have difficulty playing in tune in that transitional area regardless of comfort in the long run.