BASS: MYTHS. TRUTHS, and FACTS
From
40 years of RESEARCH lutherie
by
Chuck Traeger
The title tells it all. I am writing this article to set the record straight. I am doing so because I am becoming increasingly concerned with the amount of misinformation being disseminated lately.
This misinformation is based largely on what I call old school ideas and methods, which were based on trial and error rather than scientific research. In my first book I wrote, I am trying to make people think in a different way . It is time for a change. It is time for bass setup and repairing to enter the 21st century. I have tried to write for repairers hoping they will see the light. If they wont change you the bass players, will have to do it for them. Download this article and take it to them. Insist on the different approaches I recommend in my books. You and your bass deserve the very best. My methods guarantee you will get it.
I am going to start this article with Traegers Principle, and how to translate it into workable actions, because it is the foundation of everything I have discovered and everything I have written.
I was reading the Principle in my second book the other day when it suddenly dawned on me that unless you truly understand what these words mean they remain just words. How do you go about putting these word to actual use? This article will answer that question. This Principle is the Rosetta Stone which unlocks every single secret of sound, and as an additional bonus, eliminates all guesswork! Because this Principle is so important, I am going to try to make it as understandable as possible to as many people as possible. For the sake of clarity I have expanded the Principle a bit from its original writing in my books.
Traegers Principle
When a bass is being played, EVERYTHING is vibrating, from the top of the scroll to the tip of the endpin.
First Corollary: For Optimum Sound to occur every part of the bass must be vibrating at optimum level and in sync {in phase} with its neighbors so that if reinforces the vibrations of its neighbors rather than conflicting with them. A Mode Match, if achievable, is the ultimate optimizing adjustment, because it synchronizes the vibrations of two major elements of the instrument, both of which, hopefully, are already vibrating at optimum level
Second corollary: Maximum vibration is not necessarily Optimum vibration.
Third corollary: Anything done that mutes or inhibits these vibrations is deleterious to the sound.
This Principle is equally applicable to all the members of the string family.
The three most important words for understanding the Principle, and the three most important words for setup and repair for Optimum Sound are, EVERTHING is vibrating. Once you truly understand what these words mean when applied to the bass, all else will fall into place naturally.
Now I will show you how to thoroughly understand what this Principle means and how to go about translating it into the real world of the repairers shop. It is important to do this because understanding how various parts of the bass vibrate to produce sound is the cornerstone and foundation of all repair work done for sound.
In order to do this you have to do only three simple things. First, choose a part of the bass to which you want to apply this Principle., the smaller the better in order to keep things focused. So let us choose an inner lining. Second, examine it closely. Is it wide and deep as in the French style? Or is it thin and short as in the Italian style? Third, use a little common sense. Ask yourself which piece of wood will vibrate more easily? The Italian will, of course, because it has less mass and less rigidity. There now, that wasnt so hard.
Now lets try something larger, which has been repaired, such as a rib. Examine it closely. Has it been heavily repaired with large thick cleats, or, worse, has it been doubled with another piece of rib stock? Compare it with a rib that has not been doubled and only patched with thin widely spaced cleats and some linen. Which rib will vibrate more easily? The one with the least amount of added wood because it has less mass and less rigidity.
When a repairer is about to do a repair for sound they must first ask two questions. 1} Is there more than one way to return this piece to full functionality, and what is the best way to do this? 2} When doing this repair will it help or hinder this piece to vibrate at optimum level? In my opinion, this latter question is never asked frequently enough. And unless you truly understand Traegers Principle, it is my further opinion that if it is asked the chances of the correct answer emerging are considerably less than 50-50.
There are two reasons for this. Reason no. 1: The answer is based on a false assumption or premise. Reason no. 2: The answer is based on an inadequate knowledge, or no knowledge at all, of how the bass actually functions, actually moves, actually vibrates when it is being played.
A perfect example of these two errors is sound post fit. Ask just about any repairer, and you will probably get the same answer every time, The better the fit of the post to the top and the back, the better off the bass will be. This is a commonly held opinion, and it is a MYTH, one that has been around for centuries. It is also a prime example of the misinformation that concerns me.
Reason no. 1 for this MYTH: It was assumed that the sound post transmitted the vibrations of the top to the back. The better the fit, the better the transmission would be. In the early part of the 19th century a French researcher by the name of Felix Savart proved this assumption to be incorrect. He took a violin, removed the sound post, and placed the tips of a caliper on the outside of the top and back of the instrument exactly where the sound post had been. When played, the violin sounded exactly, if not a bit better, than it did when the post was in the correct position. Unfortunately, communication in the early 19th century was not what it is today, and this information never got very far.
Reason no. 2 for this MYTH: It wasnt until the advent of modern electronic testing equipment that the true motion of the top and the back became known. It was found that when the instrument was being played the top and the back exerted a twisting motion on the post.
All right, we have found out that the original premise of sound post function was incorrect. The true, and most important, function of the sound post is to change the patterns of the vibrations of the top and the back by moving the post from place to place with a consequent change in sound. An ancillary function is to support the top on that side of the bass. By moving the post in an East-West direction we can balance the volume of the E string with that of the G string. By moving the post in a North-South direction we can change the type of sound from brighter to darker and vice-versa. That is a FACT. We have real information as to how the top and the back move when the bass is being played. This is a FACT. All that is left to do is to apply this knowledge.
Here we go. The more nearly perfect the fit of the post, the more wood surface of the post there is bearing against the top and the back. The more wood there is, the more it hinders this natural motion of the top and the back, with a consequent loss of sound. {Third corollary.} The less wood of the post touching the top and the back, the freer they will be to vibrate producing a consequent increase in sound! This is a FACT, and this is the difference between old school methods and my methods. That is why I round off the ends of my posts to produce a smaller bearing area. Try it.
The difference between an opinion and a FACT is this: The scientific test for a FACT is whether it can be replicated 100% of the tine. Some opinions can pass this acid test, at which time they become FACTS. Other opinions cannot, and so they remain merely opinions.
It is also a commonly held opinion that the bridge, the top, the sound post, and the back are what make the bass produce the sound it does. All the rest is just bass furniture. Endpins are there only to position the bass to the players comfort. Tailpieces are there only to hold one end of the strings. Necks are there only to hold aptly named fingerboards and tuning machines. They are only bass furniture.
Nothing could be further from the TRUTH. EVERYTGING is vibrating, and they all play a vital role in whether the bass sounds well or not. The repairer is usually completely unaware that the particular piece he is interested in moves {vibrates} when the bass is being played. However, if the repairer examines the piece closely and visualizes it in motion {vibrating} and fully understands Traegers Principle, the correct answer as how best to repair for sound has a good chance of presenting itself.
In repairing for sound add the least amount of wood necessary to maintain structural integrity. Anything more just adds unnecessary and unwanted mass and rigidity, the enemies of vibration and sound. This is the holy grail of repairs for sound and is summed up in the very first and last words of the Principle. When a bass is being played,
EVERYTHING is vibrating Anything done that mutes or inhibits these vibrations is deleterious to the sound. Less is more!
Players, if you want the very best repairs for sound, take your bass to a repairer who has read my books. If they havent, give them a copy of this article. If they dont want to do it this way, find another repairer who will.
Repairers, if you truly understand this Principle you will realize that less is more and your repairs will turn out every time. Enjoy the smiles on your customers faces.
I enjoyed writing this article, but I am not here to answer questions or dispute because I am 85 years old, and as much as I enjoy talking about the bass, I have neither the time nor the energy to do so. Nevertheless, my methods of setup and repair based on my research speak for themselves because they are successful. They produce a better sound. Thank you again. I hope you enjoyed reading this.
From
40 years of RESEARCH lutherie
by
Chuck Traeger
The title tells it all. I am writing this article to set the record straight. I am doing so because I am becoming increasingly concerned with the amount of misinformation being disseminated lately.
This misinformation is based largely on what I call old school ideas and methods, which were based on trial and error rather than scientific research. In my first book I wrote, I am trying to make people think in a different way . It is time for a change. It is time for bass setup and repairing to enter the 21st century. I have tried to write for repairers hoping they will see the light. If they wont change you the bass players, will have to do it for them. Download this article and take it to them. Insist on the different approaches I recommend in my books. You and your bass deserve the very best. My methods guarantee you will get it.
I am going to start this article with Traegers Principle, and how to translate it into workable actions, because it is the foundation of everything I have discovered and everything I have written.
I was reading the Principle in my second book the other day when it suddenly dawned on me that unless you truly understand what these words mean they remain just words. How do you go about putting these word to actual use? This article will answer that question. This Principle is the Rosetta Stone which unlocks every single secret of sound, and as an additional bonus, eliminates all guesswork! Because this Principle is so important, I am going to try to make it as understandable as possible to as many people as possible. For the sake of clarity I have expanded the Principle a bit from its original writing in my books.
Traegers Principle
When a bass is being played, EVERYTHING is vibrating, from the top of the scroll to the tip of the endpin.
First Corollary: For Optimum Sound to occur every part of the bass must be vibrating at optimum level and in sync {in phase} with its neighbors so that if reinforces the vibrations of its neighbors rather than conflicting with them. A Mode Match, if achievable, is the ultimate optimizing adjustment, because it synchronizes the vibrations of two major elements of the instrument, both of which, hopefully, are already vibrating at optimum level
Second corollary: Maximum vibration is not necessarily Optimum vibration.
Third corollary: Anything done that mutes or inhibits these vibrations is deleterious to the sound.
This Principle is equally applicable to all the members of the string family.
The three most important words for understanding the Principle, and the three most important words for setup and repair for Optimum Sound are, EVERTHING is vibrating. Once you truly understand what these words mean when applied to the bass, all else will fall into place naturally.
Now I will show you how to thoroughly understand what this Principle means and how to go about translating it into the real world of the repairers shop. It is important to do this because understanding how various parts of the bass vibrate to produce sound is the cornerstone and foundation of all repair work done for sound.
In order to do this you have to do only three simple things. First, choose a part of the bass to which you want to apply this Principle., the smaller the better in order to keep things focused. So let us choose an inner lining. Second, examine it closely. Is it wide and deep as in the French style? Or is it thin and short as in the Italian style? Third, use a little common sense. Ask yourself which piece of wood will vibrate more easily? The Italian will, of course, because it has less mass and less rigidity. There now, that wasnt so hard.
Now lets try something larger, which has been repaired, such as a rib. Examine it closely. Has it been heavily repaired with large thick cleats, or, worse, has it been doubled with another piece of rib stock? Compare it with a rib that has not been doubled and only patched with thin widely spaced cleats and some linen. Which rib will vibrate more easily? The one with the least amount of added wood because it has less mass and less rigidity.
When a repairer is about to do a repair for sound they must first ask two questions. 1} Is there more than one way to return this piece to full functionality, and what is the best way to do this? 2} When doing this repair will it help or hinder this piece to vibrate at optimum level? In my opinion, this latter question is never asked frequently enough. And unless you truly understand Traegers Principle, it is my further opinion that if it is asked the chances of the correct answer emerging are considerably less than 50-50.
There are two reasons for this. Reason no. 1: The answer is based on a false assumption or premise. Reason no. 2: The answer is based on an inadequate knowledge, or no knowledge at all, of how the bass actually functions, actually moves, actually vibrates when it is being played.
A perfect example of these two errors is sound post fit. Ask just about any repairer, and you will probably get the same answer every time, The better the fit of the post to the top and the back, the better off the bass will be. This is a commonly held opinion, and it is a MYTH, one that has been around for centuries. It is also a prime example of the misinformation that concerns me.
Reason no. 1 for this MYTH: It was assumed that the sound post transmitted the vibrations of the top to the back. The better the fit, the better the transmission would be. In the early part of the 19th century a French researcher by the name of Felix Savart proved this assumption to be incorrect. He took a violin, removed the sound post, and placed the tips of a caliper on the outside of the top and back of the instrument exactly where the sound post had been. When played, the violin sounded exactly, if not a bit better, than it did when the post was in the correct position. Unfortunately, communication in the early 19th century was not what it is today, and this information never got very far.
Reason no. 2 for this MYTH: It wasnt until the advent of modern electronic testing equipment that the true motion of the top and the back became known. It was found that when the instrument was being played the top and the back exerted a twisting motion on the post.
All right, we have found out that the original premise of sound post function was incorrect. The true, and most important, function of the sound post is to change the patterns of the vibrations of the top and the back by moving the post from place to place with a consequent change in sound. An ancillary function is to support the top on that side of the bass. By moving the post in an East-West direction we can balance the volume of the E string with that of the G string. By moving the post in a North-South direction we can change the type of sound from brighter to darker and vice-versa. That is a FACT. We have real information as to how the top and the back move when the bass is being played. This is a FACT. All that is left to do is to apply this knowledge.
Here we go. The more nearly perfect the fit of the post, the more wood surface of the post there is bearing against the top and the back. The more wood there is, the more it hinders this natural motion of the top and the back, with a consequent loss of sound. {Third corollary.} The less wood of the post touching the top and the back, the freer they will be to vibrate producing a consequent increase in sound! This is a FACT, and this is the difference between old school methods and my methods. That is why I round off the ends of my posts to produce a smaller bearing area. Try it.
The difference between an opinion and a FACT is this: The scientific test for a FACT is whether it can be replicated 100% of the tine. Some opinions can pass this acid test, at which time they become FACTS. Other opinions cannot, and so they remain merely opinions.
It is also a commonly held opinion that the bridge, the top, the sound post, and the back are what make the bass produce the sound it does. All the rest is just bass furniture. Endpins are there only to position the bass to the players comfort. Tailpieces are there only to hold one end of the strings. Necks are there only to hold aptly named fingerboards and tuning machines. They are only bass furniture.
Nothing could be further from the TRUTH. EVERYTGING is vibrating, and they all play a vital role in whether the bass sounds well or not. The repairer is usually completely unaware that the particular piece he is interested in moves {vibrates} when the bass is being played. However, if the repairer examines the piece closely and visualizes it in motion {vibrating} and fully understands Traegers Principle, the correct answer as how best to repair for sound has a good chance of presenting itself.
In repairing for sound add the least amount of wood necessary to maintain structural integrity. Anything more just adds unnecessary and unwanted mass and rigidity, the enemies of vibration and sound. This is the holy grail of repairs for sound and is summed up in the very first and last words of the Principle. When a bass is being played,
EVERYTHING is vibrating Anything done that mutes or inhibits these vibrations is deleterious to the sound. Less is more!
Players, if you want the very best repairs for sound, take your bass to a repairer who has read my books. If they havent, give them a copy of this article. If they dont want to do it this way, find another repairer who will.
Repairers, if you truly understand this Principle you will realize that less is more and your repairs will turn out every time. Enjoy the smiles on your customers faces.
I enjoyed writing this article, but I am not here to answer questions or dispute because I am 85 years old, and as much as I enjoy talking about the bass, I have neither the time nor the energy to do so. Nevertheless, my methods of setup and repair based on my research speak for themselves because they are successful. They produce a better sound. Thank you again. I hope you enjoyed reading this.
