I just had the fingerboard replaced on my 1939 Kay M1 bass by Michael Hartery in Boston, along with a new bridge. My bass has always been special for a plywood instrument. It vibrates and has a warm tone. It's neck is typical for Kay -- narrow and with a thin fingerboard. A luthier had already added a graduated wedge under the fingerboard to raise the height of the bridge and improve the tone, but he only did the job part-way.
Michael improved the wedge, used a wonderful thick ebony fingerboard, and also flared the board just the right amount to add some needed width to the neck. The neck feels incredible now! He carved a fine bridge and set the bass up to maximize its sound. It's a totally different instrument now, with a deeper voice. It sounds great pizz, arco, and through an amp. It's like he turned my plywood bass into a very nice instument. He's totally maximized it!
Michael improved the wedge, used a wonderful thick ebony fingerboard, and also flared the board just the right amount to add some needed width to the neck. The neck feels incredible now! He carved a fine bridge and set the bass up to maximize its sound. It's a totally different instrument now, with a deeper voice. It sounds great pizz, arco, and through an amp. It's like he turned my plywood bass into a very nice instument. He's totally maximized it!
