My Toenniges Bass

[Silversorcerer]

Originally Posted by arnoldschnitzer

Doesn't that long extended nut move all the notes down too far onto the body? I'd be worried about the player being able to reach the F# and G, and to transition into thumb position. This is always a problem when shortening the string length only from the neck side.

Practical result: At thumb position the octave stop is about an inch closer to the bridge. Any kind of reference to a useful harmonic at the heel is history. If it was a "D neck" then D is 1.27" past the heel. C# is before the heel. If it were an E-flat neck, E-flat is 1.19" past the heel, D is about .36" before the heel. This to me would be a bigger problem than just dealing with the longer string (currently using 43"). It would also make thumb position just that much harder to get to. I will say that I prefer the false nut to other more radical alterations to the instrument. At some point in time, longer strings could make a come back. The best solution is always to wear clothes that fit, but if you decide to take in the hem a bit, don't cut the cloth.

I like your fingerboard extension and that is a cooler than usual C-extension. In fact that whole bass is just gorgeous. It's totally worthy of the "eye candy" status.

[PaulCannon]

Originally Posted by Silversorcerer

Practical result: At thumb position the octave stop is about an inch closer to the bridge. Any kind of reference to a useful harmonic at the heel is history. If it was a "D neck" then D is 1.27" past the heel. C# is before the heel. If it were an E-flat neck, E-flat is 1.19" past the heel, D is about .36" before the heel. This to me would be a bigger problem than just dealing with the longer string (currently using 43"). It would also make thumb position just that much harder to get to. I will say that I prefer the false nut to other more radical alterations to the instrument. At some point in time, longer strings could make a come back. The best solution is always to wear clothes that fit, but if you decide to take in the hem a bit, don't cut the cloth.

I like your fingerboard extension and that is a cooler than usual C-extension. In fact that whole bass is just gorgeous. It's totally worthy of the "eye candy" status.

Hmm. Well, I had the nut designed so the bass would be a "D-neck." It didn't take long to get used to it, actually. It was much harder for me to play it before the work was done, actually.

[Paul Warburton]

I'd be interested in knowing any other stuff concerning PT , mainly because of his connection to Red Mitchell.
Kenny Boy...why would a maker of Paul's talent and importance not label his work?
If I could produce something of that quality and beauty, i'd have a huge label in there!
And Paul, I second Silvers suggestion that this bass belongs in our The Talkbasses Eye Candy.....Shoot a PM to John Sprague please!

[KSB - Ken Smith]

Paul, here is what is written on him in the Wenberg Book;

"Played Clarinet in his Youth. Worked for William Lewis in Chicago 1926-1940 and studied under Carl Becker and Emil Carlson. During WWII he worked as a Tool and Die Maker and also continued making on a limited basis as well as Playing Bass in the CBS Orchestra 1944-1945. Worked for Rudolf Wurlitzer at the LA. Branch 1946-1950. Started his own shop in Studio City Calif in 1950. Retired in 1979. He made many instruments in conjunction with Carl Becker that do Not bear his name. Made about 20 Violins on his own and 45 Basses. His own Golden Brown Varnish. Also used Birch for some Basses in the mid 1940s. Experimented with Bass Bars and F-holes. Early instruments were unlabelled and started using Label c.1950. Specialized in Bass Repair. "

If you want the exact text Paul on him.. PM me with yur fax or adress. I can make a copy for you.

[Paul Warburton]

Thanks, Kenny...that's great. Paul was the first guy that I knew who made bridge adjusters. He was also instrumental in bringing many Morelli basses to the USA.
He was also famous for his top re-graduations.

[KSB - Ken Smith]

One of the Basses he re-worked was at Biase's last year and had his label in it. It was a Morelli or Wilfer type Bass. I think he put the same label in the Basses he fixed that he made. It had his Label but didn't mention repaired. That's the reason for the comment I made about him last year that you jumped down my throat for. I am just about recovered from that..lol

[godoze]

it's ok Ken, he jumped down my throat for the edacr same reason....who says Paul ain't no bulldog ? :-)

[Silversorcerer]

Hmm. Well, I had the nut designed so the bass would be a "D-neck." It didn't take long to get used to it, actually. It was much harder for me to play it before the work was done, actually.

It may not have been a perfect E-flat neck originally. The most important thing is that it is working for you. Thanks for sharing the photos. I love looking at the more unique instruments.

[Paul Warburton]

Originally Posted by KSB - Ken Smith

One of the Basses he re-worked was at Biase's last year and had his label in it. It was a Morelli or Wilfer type Bass. I think he put the same label in the Basses he fixed that he made. It had his Label but didn't mention repaired. That's the reason for the comment I made about him last year that you jumped down my throat for. I am just about recovered from that..lol

Oh Kenny Honey, I didn't know you were so sensitive. I don't remember the comment. I been busy kickin' other peoples asses. And Z Sweetie, I'm so sorry to have offended your sensitivities as well.

[godoze]

I'm just now starting to get over it Paul...

[KSB - Ken Smith]

Me too.. as a matter of Fact Don was here yesterday as we shared a box of Tissues....My eyes are a lil red n swollen but, "I'm Beginning to see the Light".... in 'D'!...lol Soon I will see it in all Keys...

[Paul Warburton]

You two spend entirely too much time together...that's the problem.

[KSB - Ken Smith]

Paul, come and join us.. You are invited.. IF .. you behave..

[Paul Warburton]

Originally Posted by KSB - Ken Smith

Paul, come and join us.. You are invited.. IF .. you behave..

I would use an Ab7b5 for the first change to 'Begining To See The Light' in the key of D..... Is that cool?

[KSB - Ken Smith]

Paul you must mean a D7 b5 (same thing inside out!). And how much of that will you hit on the first beat?..

[Paul Warburton]

Originally Posted by KSB - Ken Smith

Paul you must mean a D7 b5 (same thing inside out!). And how much of that will you hit on the first beat?..

Naw..you said we were in D didn't you? Starting on beat one..D7b5 wouldn't make alotta sense would it......
Let's not continue.....expanding our madness to music theory would be even too insane for me....pretty soon Z would chime in and say: Forget the changes, let's play it outside.
I love you guys, but only in the world of master carved basses. Well, maybe in the world of any kind of basses....well maybe in the world of......?

[KSB - Ken Smith]

Paul, you're too serious.. It's the same chord turned inside out. You took me too literal.. Lighten up a bit.. Just a little..Actually I looked up the tune in D and they have a D6 chord to start with. I was just making a comment and it was also a title to a song. I just said in 'D' to pick a key. I haven't played that tune in 20 years. I can't remember or care to remember what key it was played in.

I can talk notes too... But let's save it for another time. Glad to see you're on your toes with this stuff anyway...

[godoze]

Paul, Me and my willow Shen do not occupy such rare air...

[Ken McKay]

I just wanted to say that carl Becker is thought to be the best American violin maker by many. So Toenniges was standing on the sholders of giants.

[Don Higdon]

Originally Posted by Ken McKay

I just wanted to say that carl Becker is thought to be the best American violin maker by many. So Toenniges was standing on the sholders of giants.

Amen on Becker