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Double Bass AES Walnut
- Thread starter mheintz
- Start date
Thoughts:
Well, there's the wood, and then there's everything that's done with it. The wood itself can do only so much. The rest, the lion's share, depends on Arnold.
With nobody home, I pulled out my score and my CD of Tchaikovsky's 5th and went to work. Nothing like the emotional excess of Russian music when trying out a new bass.
First of, there's the tone. It's wonderful. I like a dark sound, and this has it bottom to top. Playing it, I realized how so many basses change character going up in register, from dark to bright. It can be a very pleasing bright, but then I miss a certain depth. Not here. Balls in thumb position.
The shape of the bass is that of a bass attributed to Testore. So what? It’s just two thick planks glued together and cut to an outline until somebody starts carving. The luthier planes, measures, and taps, over and over, with a whole lot of intuition and decides when it’s done. Plates vary in thickness and graduation at the determination of the luthier. There’s no set formula here. No devices. No crossing of fingers.
This is just for starters. You get the picture. There are countless choices made in creating an instrument, and Arnold’s choices are superb.
I was fortunate to watch his first ergonomic bass progress from idea to reality. The marvel of that bass is on the inside, not what you see outside. On my visits, he'd excitedly explain each of many intuitive new ideas in construction. That bass won an Honorable Mention for tone at the ISB competition.
Occassionally, I’d come by and Arnold would show me wood slabs, saying “I’m making a Maggini copy for ____ from this Aspen. It’s going to sound great.” And 8 months later, it would. Once again, the talent of the luthier in recognizing the acoustic potential in raw planks, never mind the physical beauty. Having observed this phenomenon a few times, one day Arnold showed me some walnut planks and expressed the same optimism. Then he said it was the first bass he was making not commissioned by someone. Ha ha. Not for long.
Back to the test:
I mentioned before how easily this produces tone, even starting an up bow ppp from the tip. This widens the available dynamic range. The ease of starting enhances seamless bow changes in multiple tied whole notes. Another thing I noticed was that the bass seems to read my mind when coming to a dynamic change. It was no longer a case of doing a crescendo on this object I’m holding, I would simply see ‘crescendo’ and the bass would become louder. You simply become one with it.
The last movement has a lot of walking fifth figures with occassional minor 6ths and halftone steps in the low register. Precise intonation is necessary, and on this bass, it’s clear as a bell, without sacrificing bigness or darkness.
I’m running out of gas here, as you must be getting tired. Over the years, I’ve played (for a few moments) some basses by renowned makers. This is a dream bass. Thanks, Arnold.
One more thing - I've experienced some magnificent arco basses that were lacking at pizz, and vice versa. That does not happen on a Schnitzer bass. With pizz strings the walnut bass kills.
Warning - My Spirocore extended E has arrived, and I’m not afraid to use it.
Well, there's the wood, and then there's everything that's done with it. The wood itself can do only so much. The rest, the lion's share, depends on Arnold.
With nobody home, I pulled out my score and my CD of Tchaikovsky's 5th and went to work. Nothing like the emotional excess of Russian music when trying out a new bass.
First of, there's the tone. It's wonderful. I like a dark sound, and this has it bottom to top. Playing it, I realized how so many basses change character going up in register, from dark to bright. It can be a very pleasing bright, but then I miss a certain depth. Not here. Balls in thumb position.
The shape of the bass is that of a bass attributed to Testore. So what? It’s just two thick planks glued together and cut to an outline until somebody starts carving. The luthier planes, measures, and taps, over and over, with a whole lot of intuition and decides when it’s done. Plates vary in thickness and graduation at the determination of the luthier. There’s no set formula here. No devices. No crossing of fingers.
This is just for starters. You get the picture. There are countless choices made in creating an instrument, and Arnold’s choices are superb.
I was fortunate to watch his first ergonomic bass progress from idea to reality. The marvel of that bass is on the inside, not what you see outside. On my visits, he'd excitedly explain each of many intuitive new ideas in construction. That bass won an Honorable Mention for tone at the ISB competition.
Occassionally, I’d come by and Arnold would show me wood slabs, saying “I’m making a Maggini copy for ____ from this Aspen. It’s going to sound great.” And 8 months later, it would. Once again, the talent of the luthier in recognizing the acoustic potential in raw planks, never mind the physical beauty. Having observed this phenomenon a few times, one day Arnold showed me some walnut planks and expressed the same optimism. Then he said it was the first bass he was making not commissioned by someone. Ha ha. Not for long.
Back to the test:
I mentioned before how easily this produces tone, even starting an up bow ppp from the tip. This widens the available dynamic range. The ease of starting enhances seamless bow changes in multiple tied whole notes. Another thing I noticed was that the bass seems to read my mind when coming to a dynamic change. It was no longer a case of doing a crescendo on this object I’m holding, I would simply see ‘crescendo’ and the bass would become louder. You simply become one with it.
The last movement has a lot of walking fifth figures with occassional minor 6ths and halftone steps in the low register. Precise intonation is necessary, and on this bass, it’s clear as a bell, without sacrificing bigness or darkness.
I’m running out of gas here, as you must be getting tired. Over the years, I’ve played (for a few moments) some basses by renowned makers. This is a dream bass. Thanks, Arnold.
One more thing - I've experienced some magnificent arco basses that were lacking at pizz, and vice versa. That does not happen on a Schnitzer bass. With pizz strings the walnut bass kills.
Warning - My Spirocore extended E has arrived, and I’m not afraid to use it.
- May 6, 2003
- 5,272
- 160
- 64
- Disclosures
- Proprietor Fifth Avenue Fret Shop. Technical Editor Bass Gear Magazine
Thoughts:
Well, there's the wood, and then there's everything that's done with it. The wood itself can do only so much. The rest, the lion's share, depends on Arnold.
With nobody home, I pulled out my score and my CD of Tchaikovsky's 5th and went to work. Nothing like the emotional excess of Russian music when trying out a new bass.
First of, there's the tone. It's wonderful. I like a dark sound, and this has it bottom to top. Playing it, I realized how so many basses change character going up in register, from dark to bright. It can be a very pleasing bright, but then I miss a certain depth. Not here. Balls in thumb position.
The shape of the bass is that of a bass attributed to Testore. So what? Its just two thick planks glued together and cut to an outline until somebody starts carving. The luthier planes, measures, and taps, over and over, with a whole lot of intuition and decides when its done. Plates vary in thickness and graduation at the determination of the luthier. Theres no set formula here. No devices. No crossing of fingers.
This is just for starters. You get the picture. There are countless choices made in creating an instrument, and Arnolds choices are superb.
I was fortunate to watch his first ergonomic bass progress from idea to reality. The marvel of that bass is on the inside, not what you see outside. On my visits, he'd excitedly explain each of many intuitive new ideas in construction. That bass won an Honorable Mention for tone at the ISB competition.
Occassionally, Id come by and Arnold would show me wood slabs, saying Im making a Maggini copy for ____ from this Aspen. Its going to sound great. And 8 months later, it would. Once again, the talent of the luthier in recognizing the acoustic potential in raw planks, never mind the physical beauty. Having observed this phenomenon a few times, one day Arnold showed me some walnut planks and expressed the same optimism. Then he said it was the first bass he was making not commissioned by someone. Ha ha. Not for long.
Back to the test:
I mentioned before how easily this produces tone, even starting an up bow ppp from the tip. This widens the available dynamic range. The ease of starting enhances seamless bow changes in multiple tied whole notes. Another thing I noticed was that the bass seems to read my mind when coming to a dynamic change. It was no longer a case of doing a crescendo on this object Im holding, I would simply see crescendo and the bass would become louder. You simply become one with it.
The last movement has a lot of walking fifth figures with occassional minor 6ths and halftone steps in the low register. Precise intonation is necessary, and on this bass, its clear as a bell, without sacrificing bigness or darkness.
Im running out of gas here, as you must be getting tired. Over the years, Ive played (for a few moments) some basses by renowned makers. This is a dream bass. Thanks, Arnold.
One more thing - I've experienced some magnificent arco basses that were lacking at pizz, and vice versa. That does not happen on a Schnitzer bass. With pizz strings the walnut bass kills.
Warning - My Spirocore extended E has arrived, and Im not afraid to use it.
Any bass that makes Dono this loquacious must be a masterpiece indeed. Congrats, and enjoy!
- Mar 1, 2002
- 4,237
- 52
- 74
- Disclosures
- Owner: Ken Smith Basses, Ltd.
I didn't know Don could spell so many BIG WORDS. Talk about Brain Food. Great Basses do it for me. That Bass of his is fantastic. Beautiful smooth sound, even all over and pretty to look at.
What does that remind you of? Beautiful, smooth, pretty..?? Huh huh huh??
Oops.. it's after 8:30.. Time to wake up and get to work.. "Time to make the Donuts"..
This looks like a very lovely bass , and by all accounts ,sounds amazing too . I wish i could play it !
...so ,congratulations to Don , and to Arnold for making such a wonderful bass.
i have to say ,tho i really like the Testore model , i don't find the pronounced walnut grain on the back of the bass particularly attractive . it looks a bit garish to me , ...if it were my bass , i would have preferred to have it toned down so it was not as pronounced . Likewise with the purfling on the back , ...the white wood in it really stands out too much , too much of a contrast to the darker timber . Just my thoughts , others will no doubt disagree .
a question for Arnold if he reads this post .
as shown on the pictures at your site , it looks like the tailpiece saddle raiser was incorporated into the build of the bass ,and not added after the bass was finished ...? is that correct ?
if that is the case , can you give your reasons as to why ,and why you thought it necessary , ... or indeed ,...if it was retro fitted afterwards , your reasons for adding it.
Ive seen this feature on so many basses recently , and read quite a bit about the tension reducing properties,
.... you obviously agree , can you share your thoughts ?
I was of the understanding that this was usually done to older basses that were intended to have gut strings , and not designed to take the pressure of steel strings. This is a modern bass , and, ....this bass is strung with Belcanto's , which i would regard as a lower tension string ,
once again , ... well done .... a marvellous looking bass , !! ...i bet it sounds as good as it looks ...
regards ,
Oscar
...so ,congratulations to Don , and to Arnold for making such a wonderful bass.
i have to say ,tho i really like the Testore model , i don't find the pronounced walnut grain on the back of the bass particularly attractive . it looks a bit garish to me , ...if it were my bass , i would have preferred to have it toned down so it was not as pronounced . Likewise with the purfling on the back , ...the white wood in it really stands out too much , too much of a contrast to the darker timber . Just my thoughts , others will no doubt disagree .
a question for Arnold if he reads this post .
as shown on the pictures at your site , it looks like the tailpiece saddle raiser was incorporated into the build of the bass ,and not added after the bass was finished ...? is that correct ?
if that is the case , can you give your reasons as to why ,and why you thought it necessary , ... or indeed ,...if it was retro fitted afterwards , your reasons for adding it.
Ive seen this feature on so many basses recently , and read quite a bit about the tension reducing properties,
.... you obviously agree , can you share your thoughts ?
I was of the understanding that this was usually done to older basses that were intended to have gut strings , and not designed to take the pressure of steel strings. This is a modern bass , and, ....this bass is strung with Belcanto's , which i would regard as a lower tension string ,
once again , ... well done .... a marvellous looking bass , !! ...i bet it sounds as good as it looks ...
regards ,
Oscar
The saddle is adjustable and as such gives the player more control over tension, tone and wolfiness.
Arnold,
Congratulations on a very nice looking bass!! I have never seen a bass of Claro walnut, it looks very fine with the matching varnish on the top.
Keep up the good work, you must have some stamina man!
Congratulations on a very nice looking bass!! I have never seen a bass of Claro walnut, it looks very fine with the matching varnish on the top.
Keep up the good work, you must have some stamina man!
Beauty, joy, wisdom, good humor, technical expertise... This is why I come here. Congratulations Don. Long life and good health to you and your lovely new instrument.
That post reads like something I used to read behind the 7 Eleven when I was a kid. What an impressive bass and talk about a happy customer. I hope I get a chance to hear the thing in person someday. It's not the kind of bass one forgets...
Congrats all around, to Arnold for his artistry and Don for his new found honey.
Congrats all around, to Arnold for his artistry and Don for his new found honey.
Beautiful bass - a real beauty. I'm delighted it sounds as good as it looks.
How much do you think the walnut contributes to the tone? It was mentioned that it has a tone to rival a much older bass. If it is in large part to do with the choice of walnut over maple (obviously not taking away from Arnold's craft and workmanship) how come we don't usually see much as much walnut used? Is it as Ken said that it's difficult to find long slabs with relatively straight grain? Or that it's more expensive or difficult to work with?
After reading about this bass it's hard to see why they are so rare.
How much do you think the walnut contributes to the tone? It was mentioned that it has a tone to rival a much older bass. If it is in large part to do with the choice of walnut over maple (obviously not taking away from Arnold's craft and workmanship) how come we don't usually see much as much walnut used? Is it as Ken said that it's difficult to find long slabs with relatively straight grain? Or that it's more expensive or difficult to work with?
After reading about this bass it's hard to see why they are so rare.
Caoimhín;6149394 said:
Might be that Bob Taylor's (Taylor Guitars) minions were sent to purchase futures in this beautiful wood. He likes to scope different species living trees globaly, and make investments from his headquarters in Southern California. His newsletters make no secret of this.
Those pics that old Uncle Toad posted are amazing! I think I'm actually witnessing bass erotica . Incredible instrument! At some point I'm going to have to get of this island and visit Arnold's shop.
Aloha
Trey
Aloha
Trey
erotica |iˈrätikə|
noun
literature or art intended to arouse sexual desire.
ORIGIN mid 19th cent.: from Greek erōtika, neuter plural of erōtikos (see erotic ).erotica |iˈrätikə|
noun
literature or art intended to arouse sexual desire.
ORIGIN mid 19th cent.: from Greek erōtika, neuter plural of erōtikos (see erotic ).erotica |iˈrätikə|
noun
literature or art intended to arouse sexual desire.
ORIGIN mid 19th cent.: from Greek erōtika, neuter plural of erōtikos (see erotic ).erotica |iˈrätikə|
noun
literature or art intended to arouse sexual desire.
ORIGIN mid 19th cent.: from Greek erōtika, neuter plural of erōtikos (see erotic ).
Beauty is in the eye of the beholder. Just to be clear!
Mr.PC,
The comedy police called and said they found your sense of humor. It was unused and in good condition. Feel free to use it any time.... Just so so we are clear...
Treyzer
The comedy police called and said they found your sense of humor. It was unused and in good condition. Feel free to use it any time.... Just so so we are clear...
Treyzer
Last edited by Treyzer : Today at 04:43 PM. Reason: sticky keypad
Oh dear, sounds messy.....what did you spill?
I think bass erotica had something to do with it.
