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#1
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OK I'll play.
As a guide to correct string placement for bowing, are there any rules of thumb for relative string heights? By this I mean, if you place a card between G and A string at the bridge, what height ABOVE the card should the D string be? Same same, if you place a card across the D and the E, what's the ideal height for the A string? I'm aware that the height of the A and D are limited by the position of the C bouts in relation to the E and G strings. But what, for example, is too low, and therefore not enough arch? Of course, this will vary from player to player I guess, but as I am not a trained arco player I'd like to know if there's something to shoot for when I cut a bridge. |
#2
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Arch..
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The arch heights might be varied by the player, technique, spacing width, strings used, tension of the Bass, music being plated etc. or any combination of the above. French and German bow players also differ as I usually see less arch on a French bow set-up than for a German bow. I hope my explanation is clear above. I am so picky with my bridge set-up that regardless of who cuts a bridge for me, I almost always re-cut it the way I like for that particular Bass. And yes, even the same player might want a slightly different set-up between Basses to match the desired feel for a given instrument. |
#3
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Obviously the spacing and arch are the main things, and fingerboard width will play a part, but I'm curious what people think about how far the G sits inside the edge of the fingerboard. I suppose this applies to the E too, especially with a beveled fingerboard, but since most of the playing higher on the fingerboard is on the higher strings I think it is more noticeable if the G is closer or farther from the edge.
Personally I go back and forth; some days I find it easier to play in thumb position when the G is close to the outside, and others I like to have a lot of fingerboard under the string to work on top of. Maybe the type of string factors in too, now that I think of it. I do prefer tighter string spacing and more arch to the fingerboard, so that gives me more room to play with how the whole arrangement sits over the board; perhaps it's just those basses with wide spacing where the G is right out to the edge that I particularly dislike... |
#4
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Usually I let more space at G side than at E side, string to edge of fingerboards.
Some clients prefer that part of the fingerboard flatter (crossway) to give a "platform" to the thumb. If you prefer close string spacing and high arch this is not advisable, as it can result in buzzing low positions when you dig. I can't say about beveled ones, here they are a rarity. |
#5
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ok..
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On some basses the fingerboard fans out quite a bit. Go measure a 12 fingerboards on 12 different basses measuring them at the nut and end at the 34" point. You will see quite a variation I am sure. Now, depending on the bass itself, overall size, upper bout width, rub depth, rib taper in the upper bout, neck pitch in block, neck stand over body, bridge arch etc. each bass will play differently from slight to extreme with the same player. |
#6
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