Afterlength tuning mystery

[bigolbassguy]

I installed a new ebony tailpiece yesterday, and can't tune the afterlengths uniformly. G and D strings and perfect, but A and E are a semitone and whole tone higher respectively. Measured to the back of the bridge, and the lengths are exactly the same. ???????!!!!

[George700DL]

Originally Posted by bigolbassguy

I installed a new ebony tailpiece yesterday, and can't tune the afterlengths uniformly. G and D strings and perfect, but A and E are a semitone and whole tone higher respectively. Measured to the back of the bridge, and the lengths are exactly the same. ???????!!!!

Make sure there is a clearly defined stop on the tail piece. Meaning, you could be measuring from the bridge to the tailpiece hole, for example, and the string could be in contact with the tail piece beyond that hole, making the distance shorter.

Does the tail piece have a "nut"?

George

[bigolbassguy]

Originally Posted by George700DL

Make sure there is a clearly defined stop on the tail piece. Meaning, you could be measuring from the bridge to the tailpiece hole, for example, and the string could be in contact with the tail piece beyond that hole, making the distance shorter.

Does the tail piece have a "nut"?

George

Yes, it does. And that is where I've taken my measurements from. 6 11/32" exactly straight across. I've also taken a close look at the contact points at the slots in the bridge. Everything looks perfect. I'm concerned that I'm going to have to reshape the feet of the bridge to change the angle if I can't resolve the issue otherwise.

[George700DL]

Originally Posted by bigolbassguy

Yes, it does. And that is where I've taken my measurements from. 6 11/32" exactly straight across. I've also taken a close look at the contact points at the slots in the bridge. Everything looks perfect. I'm concerned that I'm going to have to reshape the feet of the bridge to change the angle if I can't resolve the issue otherwise.

6 11/32" ? Are you sure we're not playing the same bass? Mine was roughly 6 1/3", and I wanted to get at least 6 3/4", hence a few modifications detailed is a separate post.

Beats me why the difference...given the same measurements across all 4 strings.

George

[Jake deVilliers]

Don't cant the bridge!

The notes are higher because the afterlengths on those strings are stiffer. That's why my tailpieces have staggered string holes - they help to reduce this effect.

You might be able to trim down the fret on the tailpiece and insert your own piece of wood to provide a longer afterlength on the 'A' and 'E' or maybe pull the tailpiece back to lengthen those two and put a little 'string stand' further forward for the 'G' and 'D' strings.

You can check my website for pix of other ways to help with this.

Good luck, Jake

[bigolbassguy]

Originally Posted by Jake deVilliers

Don't cant the bridge!


Good luck, Jake

Don't worry. I worked plenty hard enough to get the fit the first time around. Also, hate to say it, but I'm not sure I believe in the importance of afterlength tuning, at least as far as my personal need for it. Doesn't it become irrelevant as soon as you stop a string? + when I'm playing amplified - which is almost always - I mute the afterlengths to prevent sympathetic vibrations.

That being said - my OCD is telling me to try your advice anyway

I now fully understand after checking the specs on my strings. 5 - 9lbs. difference in the string tensions. Thanks Jake.

[George700DL]

Originally Posted by Jake deVilliers

Don't cant the bridge!

The notes are higher because the afterlengths on those strings are stiffer. That's why my tailpieces have staggered string holes - they help to reduce this effect.

You might be able to trim down the fret on the tailpiece and insert your own piece of wood to provide a longer afterlength on the 'A' and 'E' or maybe pull the tailpiece back to lengthen those two and put a little 'string stand' further forward for the 'G' and 'D' strings.

You can check my website for pix of other ways to help with this.

Good luck, Jake

I always wondered why these aren't more common place, given the importance people place on afterlength tuning. I mean, the first thing that occurred to me when I made my tail piece was: it would be good to have tunable/sliding individual nuts on this thing. But to me it's not that important - as long as I have a good distance there, and preferably the 1/6 thing going - 7" in my case (talking about strings here!).

George

[arnoldschnitzer]

The mass of each string is different, so is the breakover angle, and that affects the pitch. Think of xylophone bars. Give your OCD the boot and forget about it.

[bigolbassguy]

Originally Posted by arnoldschnitzer

The mass of each string is different, so is the breakover angle, and that affects the pitch. Think of xylophone bars. Give your OCD the boot and forget about it.

I agree. It's time to call it good and just play it. The tailpiece is the final bit of work I'd planned on doing with it anyway. The original metal tailpiece would ring noticeably when I played certain notes and that problem has been eliminated.

btw, Arnold, when I carved my new bridge, I have to confess to borrowing that cleft that you like to put in the top of the arch. It looks cool, and I've given you credit whenever anyone has mentioned it. (not that that makes my lack of creativity any less lame)

[Cody Sisk]

Originally Posted by bigolbassguy

I agree. It's time to call it good and just play it. The tailpiece is the final bit of work I'd planned on doing with it anyway. The original metal tailpiece would ring noticeably when I played certain notes and that problem has been eliminated.

btw, Arnold, when I carved my new bridge, I have to confess to borrowing that cleft that you like to put in the top of the arch. It looks cool, and I've given you credit whenever anyone has mentioned it. (not that that makes my lack of creativity any less lame)

When you carve enough bridges, you'll find your creativity and eventually have some aesthetic modifications that become your "signature". In addition, I actually put my initials on the bridges I'm proud of. Others I'll just leave blank.

[mpm]

In regards to afterlength tuning(s), I respectfully submit that I too, am a subscriber to the Bollbachian "Woo-Woo" theory...

[Jake deVilliers]

Originally Posted by mpm

In regards to afterlength tuning(s), I respectfully submit that I too, am a subscriber to the Bollbachian "Woo-Woo" theory...

Please expound Mike.

[mpm]

Jake, I can't do justice to the story as it has been a long time since Jeff shared it with me (and I haven't seen him around here in a long time...). In essence, a friend of his has a theory that the standard afterlength issue (i.e. 1/6) is relatively falacious, ok, maybe convoluted. Anyway, the friend went on to explain that the best afterlength tuning would be somewhere around half-step relationships...the example for "woo-woo" would be playing G-G# simultaneously, hence the woo-woo...and, as I remember it, this works to mitigate wolftones, hence improving resonance/response. All of this makes me realize I better give him a call, pronto!

[George700DL]

Originally Posted by mpm

Jake, I can't do justice to the story as it has been a long time since Jeff shared it with me (and I haven't seen him around here in a long time...). In essence, a friend of his has a theory that the standard afterlength issue (i.e. 1/6) is relatively falacious, ok, maybe convoluted. Anyway, the friend went on to explain that the best afterlength tuning would be somewhere around half-step relationships...the example for "woo-woo" would be playing G-G# simultaneously, hence the woo-woo...and, as I remember it, this works to mitigate wolftones, hence improving resonance/response. All of this makes me realize I better give him a call, pronto!

Sounds like a good reason for me not to worry about tuning my afterlengths too much

George