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Old 07-13-2008, 12:20 AM
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Lightbulb Canted or thinned...

Quote:
Originally Posted by Matthew Tucker View Post
A canted fingerboard is one that is not exactly parallel with the top, in this case you would thin the bass side of the fingerboard, so that the fingerboard is actually rotated ("canted") towards you slightly. This has the effect of raising the surface under the G string relative to the E side, making it easier to play in TP. I suppose you could set the whole neck at a slight angle as well, but that may look odd unless the whole bass is designed that way. Hmmmmmmmmmmm ...
Ok Matt, after posting I see that I have left out some important stuff.

Canting/Tilting the Neck towards the E is a bad idea. We have to Bow these Basses and with wide center bouts a parallel setting is needed. If not, the Bow will not clear the lower E-side Bout without an extra high Bridge to compensate. To do that, the Overstand needs to be pushed out and that's reverse engineering in my book.

Thinning a FB is also not good because it can weaken the Neck and cause it to bend over time needing dressing after dressing after dressing until you need a new FB again.

I learned the Dragonetti on two big Basses with fairly high shoulders. My old Italian and my Cello model Bernadel which had some slope but wide upper bouts and deep ribs. I am no stranger to 'reaching over' a big Bass.
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Old 07-18-2008, 05:37 AM
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Cool "To Cut, or Not to Cut. That is the Question" (from TB, 7/4/06)

I started this Thread ("To Cut, or Not to Cut. That is the Question") about the possibility of cutting this Bass and to get some general opinions form the readers on TalkBass. Currently TB is going over their CUP (Commercial Users Policy) and who knows if I will be able to write about Historic Basses on TB if it is one I own and will be selling. Well, my main business is not the DB but more of a hobby turned business as I work my way up the ladder and sell off what I no longer need or use. Rather than copy this other Long Thread over to here as far as what I posted and questions I answered, I will just show the Link as I have above for those that feel like 'catching up'. Much of what was discussed there has been discussed on the Mystery Thread over on TB as well as here.

Summary: We now believe the Bass to be English with some French styling and it's about 200 years old or so. Also, whatever cut or not cut that has been discussed had been done or not already. I was in NY yesterday and went over all the final measurements (final for now...lol) of the Neck-set and Bridge height as well as Neck heel, String length etc..

Yesterday I was looking over the Block area and noticed how long the Tips of the Top looked sitting above the now deeper set Neck mortise. Biase mentioned that he will fit some Ebony trim along the shoulder area against the Neck and then showed me the 1" pieces he had cut off the Rib/Block area. The Bass looked so normal and correct I didn't even think anything was cut. This WAS the Block area Cut we had talked about last year or so and it looks great now. He saved the pieces just in case whatever! I will bag them up and save them. The cut pieces can also be glued back on but the Bass looks much better with a slight platform and will look great when all done.

Here is the Morelli Block area that was modified a few years ago;


Here is my Bass that is being discussed before the Block Cut was done;


My Bass will look similar to the Morelli when done. The Bridge will also be set to the upper most position it once was which will have the Bridge feet sitting just above the F-Notches. The Picture shows several previous positions for the Bridge Feet that was used before. Just draw an imaginary line across the Top connecting the F-Notches and envision the Bridge sitting just on top of that line;


The String length was about 43 3/4"-44" before from what we could measure. Between the slight Block Cut, the regular sized new Neck graft and the 'Bridge Cheat" it will be closer to 41 3/4" when completed.

We marked the octave 'G' on the Fingerboard by just Clamping the Neck in place (it's still being fit). Then I played some imaginary arpeggios and when I went to the octave 'G', I was right on the mark.
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