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  #21  
Old 02-09-2011, 11:38 AM
Ruben E garcia Ruben E garcia is offline
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Originally Posted by Arnold Schnitzer View Post
Did you know the Brooklyn Bridge sits on White Pine caissons that were dug by hand into the mud under the East River, and that several men died of Caisson Disease because of all the time they spent under pressurized conditions? Caisson Disease is commonly called "The Bends". Just thought you folks might enjoy a tidbit of useless but interesting info. How long will those chunks of pine resist rot?

Speaking of chunks of pine, I've had experience with just about every type of bass bridge adjuster. I agree with Traeger in that 1/4 x 20 single-piece are my favorite. However, I am leary of any person who deems himself a "Master Luthier", and I'm leary of untested claims about what vibrates and what doesn't. Besides, would you want the adjuster to vibrate, or would you just want it to pass the vibrations through? Ooh, cue the Theramin...

Hi Arnold so you prefer ¼”x20 Aluminum Adjusters…? Can you tell us why they work best for you?

My first idea would be, “that the most efficient way to transfer vibrations from the top of the bridge to the bridge foots is not actually use the same material (Maple)” and that won’t change that much the sound of the bass… but that’s not it… I wonder why?
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  #22  
Old 02-09-2011, 11:42 AM
Ruben E garcia Ruben E garcia is offline
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Originally Posted by wayne holmes View Post
great story Arnold-got any more that we might "enjoy"

I don't know who you are referring to when you say "master luthier" - is it Chuck or are you referring to me- if you are referring to my comment I made the other day, then you take me way too seriously-

If there is one thing I take pride in it's my honestly about my work. Anyone who knows me well would know that I am kidding when I call myself a master luthier. I would hope that I would never join the arrogant in our luthier community. I once opened up a bass that Bob Swanson "built". Written on the upper part of the top block were the words: "built by the master"-signed Bob Swanson. I thought it was funny and maybe Bob was poking fun at himself, and as we all know, who have seen his hand, rightly so.

My hat is off to Chuck Thraeger(is he dead or alive?) or anyone who has written a book over 100 pages long. Those of us who have tried it(and in my effort, failed) know what a job it is to write a book and to get it published.

I agree that we should disagree with some of Chucks teachings and wonder why he left out some repairs altogether, but until I write a book that is better, I will respect his effort and show appreciation for his help when no one else was around.

A truly great artisan is not threatened by others and has the wisdom to know that by helping others they help themselves. Suggesting caution of another and trying to turn kidding into truth shows insecurity. I say some need to lighten up. We, who have the gift of passion for the double bass should be happy and thankful and enjoy the passion and each other, rather than to be so negative, threatened, and just downright discouraging. I love you man, but sometimes you pee in my coffee.

London bridge is falling down, falling down, falling down


wholmesbassviol@yahoo.com
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I dont think I want to drink coffee for the rest of the week now
Think he was talking about Chuck...... Peace and love...
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  #23  
Old 02-09-2011, 11:49 AM
Nathan Parker Nathan Parker is offline
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Does anyone know when this study was conducted? It stated that most folks from the U.S. had adjusters and most folks from Europe didn't. I wonder if this still holds true today.

At any rate, an interesting thread. I guess what fascinates me is how most people seem to have a strong opinion about adjusters. Its like the carrot cake of the bass world. You love it or you hate it.
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  #24  
Old 02-09-2011, 02:09 PM
Ruben E garcia Ruben E garcia is offline
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Originally Posted by Nathan Parker View Post
Does anyone know when this study was conducted? It stated that most folks from the U.S. had adjusters and most folks from Europe didn't. I wonder if this still holds true today.

At any rate, an interesting thread. I guess what fascinates me is how most people seem to have a strong opinion about adjusters. Its like the carrot cake of the bass world. You love it or you hate it.
I dont know it doesnt say, but the graphics are dated Apr 1999
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  #25  
Old 02-11-2011, 05:34 AM
Mike Mandelas Mike Mandelas is offline
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Quote:
Originally Posted by Nathan Parker View Post
Does anyone know when this study was conducted? It stated that most folks from the U.S. had adjusters and most folks from Europe didn't. I wonder if this still holds true today.

At any rate, an interesting thread. I guess what fascinates me is how most people seem to have a strong opinion about adjusters. Its like the carrot cake of the bass world. You love it or you hate it.
Yes, even today most of the DB players in Europe do not use adjusters. Some times i heard mocking comments when i played abroad about my bridge. From the other hand the importance of the adjusters in fluctuating humidity climates is paramount.
Mike
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  #26  
Old 02-11-2011, 08:55 AM
Arnold Schnitzer Arnold Schnitzer is offline
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Quote:
Originally Posted by Ruben E garcia View Post
Hi Arnold so you prefer ¼”x20 Aluminum Adjusters…? Can you tell us why they work best for you?

My first idea would be, “that the most efficient way to transfer vibrations from the top of the bridge to the bridge foots is not actually use the same material (Maple)” and that won’t change that much the sound of the bass… but that’s not it… I wonder why?
I don't have a theory, just practical experience. I like the light weight, ease of installing and adjusting, and the sound. Also, there is no joint in the adjuster to come apart. I prefer the adjusters made by old friend Mike Pecanic, which I buy in black.

Wayne, read my last post over. Concentrate on the context. And don't worry, urine is sterile, won't hurt you a bit...
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  #27  
Old 02-11-2011, 06:20 PM
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Thomas Erickson Thomas Erickson is offline
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No disrespect Wayne, but if I were to have a real objection to adjusters (which I don't...) it would be in line with what I think you're saying.

It seems to me like any concern for tone aside, adjusters are used more often as a crutch to skirt the issue of less than optimal setup, and to some extent technique, rather than seasonal climate change. If the instrument is properly set up, then low "action" should be possible without buzzes, and higher strings still an option for the player who prefers it. The player shouldn't have to use the adjusters to constantly ride a line between fingerboard noise and uncomfortable/difficult playing; he should be able to use them to suit the string height to his technical ability and playing style.
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  #28  
Old 02-11-2011, 09:52 PM
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Thomas Erickson Thomas Erickson is offline
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Originally Posted by wayne holmes View Post
I tend to agree with you, Thomas, except for your main point.


This is a little aside the original topic, but considering the topic, heheh... I'm curious - for the players who do experience a lot of seasonal change and use an adjustable bridge to compensate, how much overall height adjustment would you say you're using over the course of the year? Are you using a significant amount of the range of your adjusters? And also, do you change soundposts or just try to keep a "happy medium" fitted year-round?
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  #29  
Old 02-11-2011, 10:21 PM
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Ken Smith Ken Smith is offline
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Quote:
Originally Posted by Thomas Erickson View Post


This is a little aside the original topic, but considering the topic, heheh... I'm curious - for the players who do experience a lot of seasonal change and use an adjustable bridge to compensate, how much overall height adjustment would you say you're using over the course of the year? Are you using a significant amount of the range of your adjusters? And also, do you change soundposts or just try to keep a "happy medium" fitted year-round?
I want to add one more reason why adjusters are good to have in my opinion.

I have experienced within the same day or week going from one place to another feeling the strings higher or lower due to humidity/temperature changes. A slight turn of each adjuster, maybe evenly and maybe not, gave me the set-up I needed for that job.

Next, one day I might be doing a jazz gig. For Trip/Duo/Combo work with bass solos, I need lower action. For Big band or Singer/Show type back-up work, I want the strings higher.

For Classical Orchestra, I usually go as high as it is comfortable. If I have a solo or for chamber music, I might go a little lower.

All of these situations can happen within a given week or month for a full time professional freelance bassist. I was one of them in NY. My main bass then was an old Italian Flatback, now used in a Finnish Orchestra with a Rogeri label.

With some Roundbacks, I see move movement because the Back is not braced and more free to shift. Flatbacks shift too but the braces attempt to hold it stable. In the case of the bass changing between seasons they both move.

So, if you want your bass the way you want it day in and day out, use good adjusters and I have several kinds within my basses. Some turn easier and some not so easy. I am more concerned with that than what or how they effect the sound. I need the height I need. I can play louder or softer at a greater degree than any adjuster can affect a Bass's tone in my opinion.

Now as far as the Soundpost goes (aka SP), Roundbacks(RB) in 4-season areas experience more variation than Flatbacks(FB). Over time, the SP on a RB needs more attention than that of a FB.

If fitted in the summer or spring, either Back type, it might need to be shaved down a mm or so in the winter. If you can while you are having your RB bass restored, put some kind of center brace in there. This will help save your Back over time from splits in case of drastic changes or hard knocks. I demand this with most of my basses whenever possible. They even sound better afterwards and I think the move less afterwards. Somewhat between a FB and a regular RB. So, a RB with a center brace is a bit of a hybrid.

Just have the tightness of the Post checked in the early winter or if you suspect its too tight which you might hear in the change of the sound. Read all audible signs as something to look at and take nothing for granted with these BIG Violins!

One last thing about adjusters in my reference above to playing various styles from day to day. Imagine your Bass having a fixed Endpin. Some days you sit, some days you stand. Sometimes you stand straight and sometimes you slouch. Some music you want the bass higher and some lower. An adjustable endpin fixes that problem in the same way bridge adjusted do your string height.

I have a few fixed endpins but I also carry the adjustable rod with me as well.

Flexibility is important.
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  #30  
Old 02-12-2011, 01:18 AM
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Thomas Erickson Thomas Erickson is offline
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I agree with Ken - it is important for the working bassist to remain flexible, yet keep his adjustable rod close at hand.


Hey Wayne - what was the guy's name - I'm sure you know who I mean - that left the violin wood in some public toilet with a sign asking people to (why am I typing this.......) on it...
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