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Did They Ever Make A Shortscale That...

#61
ICM said:
Subbing for this.
Click to expand...

Sorry this took so long but here we go.

first thing is get a short scale bass with a 2 piece bridge. We noticed that the Warwick style design at least gives half an inch, maybe more in length than a standard bridge (meaning the tapered end of the string is further away from the tuning peg so you get less wrap-around's when you tune it)

example (i started at 10 inches because my tape starts at 2 for some reason)

esp bass (hispshot style bridge
21lsuax.jpg


Warwick Corvette Short Scale
1tmzyu.jpg


the next thing is string gauge's.

E standard 45 - 95
D standard 45 - 105
C# dropped 45 - 105
B (yes i put it to b and worked fine) 50 - 120

I always use either Dr High Beams or the Crummy Warwick red label strings because they taper off nicely at the tuner peg end and i don't end up getting many wrap arounds (especially with the Warwick strings)

Next most important part is Hipshot tuner pegs. The slot will fit a string up to 120 gauge easy so you literally drop in any strings, twist it once and done. no wrap arounds, no filing. it just works

zjtdhz.jpg


I got some tips on eq'ing to. but only if you want them. its an expensive work around, but it works.
 
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#62
anavar said:
Sorry this took so long but here we go.

first thing is get a short scale bass with a 2 piece bridge. We noticed that the Warwick style design at least gives half an inch, maybe more in length than a standard bridge (meaning the tapered end of the string is further away from the tuning peg so you get less wrap-around's when you tune it)

example (i started at 10 inches because my tape starts at 2 for some reason)

esp bass (hispshot style bridge
21lsuax.jpg


Warwick Corvette Short Scale
1tmzyu.jpg


the next thing is string gauge's.

E standard 45 - 95
D standard 45 - 105
C# dropped 45 - 105
B (yes i put it to b and worked fine) 50 - 120

I always use either Dr High Beams or the Crummy Warwick red label strings because they taper off nicely at the tuner peg end and i don't end up getting many wrap arounds (especially with the Warwick strings)

Next most important part is Hipshot tuner pegs. The slot will fit a string up to 120 gauge easy so you literally drop in any strings, twist it once and done. no wrap arounds, no filing. it just works

zjtdhz.jpg


I got some tips on eq'ing to. but only if you want them. its an expensive work around, but it works.
Click to expand...

Hofner goes by the same principle (near the bridge). I've always wondered if it would make a sound difference if I removed the tailpeice and rigged up the strings to the back of the body. It would get a better break angle as well I think.

Could you share those EQing tips out of curiosity? Thanks
 
#64
ICM said:
Could you share those EQing tips out of curiosity? Thanks
Click to expand...

sure man :)

the first thing is compression - I personally don't think short scale instruments lack as much low end as people think however i do agree in saying they lack sustain and punch to a degree. for a general setting, with no genre in mind. i would have either a 2:1 or 4:1 ratio and the level set so about 7-10dbs of reduction is happening. attack set as slow as possible and release set as fast as possible. This setting really makes it punch and stiffens up the "tubby" overtones and that dullness in its sustain. The initial note pokes through (extra punch) and the undesirable wobbly over/undertones are sharpened up and released quick to preserve dynamics.

Clean pre amp - Mids are key. boosting bass or low end on a preamp doesn't exactly yield great results. i feel like a slight cut in mids and a small treble boost to bring back some clarity is way more effective than just shoveling on piles of low end or bass, that just increases the "tubby'ness". If you love mids like i do, if you dial in more mids and get more click happening, you can have more bass because the listener can identify the note a bit easier than a wave of low end with no real audible note definition to it.

once you have done that, you're basically good to go in any direction from there. My partner runs her short scale rockbass (passive) into an empress comp, darkglass vintage deluxe set clean, then into a B7k for overdrive and she gets a mad tone from it. She drop tunes it to C# and its just one bitchin gnarly bass sound.

i think @SkinCoffin has a track on soundcloud so you can get an idea of what i am talking about.
 
Last edited:
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#65
anavar said:
sure man :)

the first thing is compression - I personally don't think short scale instruments lack as much low end as people think however i do agree in saying they lack sustain and punch to a degree. for a general setting, with no genre in mind. i would have either a 2:1 or 4:1 ratio and the level set so about 7-10dbs of reduction is happening. attack set as slow as possible and release set as fast as possible. This setting really makes it punch and stiffens up the "tubby" overtones and that dullness in its sustain. The initial note pokes through (extra punch) and the undesirable wobbly over/undertones are sharpened up and released quick to preserve dynamics.

Clean pre amp - Mids are key. boosting bass or low end on a preamp doesn't exactly yield great results. i feel like a slight cut in mids and a small treble boost to bring back some clarity is way more effective than just shoveling on piles of low end or bass, that just increases the "tubby'ness". If you love mids like i do, if you dial in more mids and get more click happening, you can have more bass because the listener can identify the note a bit easier and a wave of low end with no real audible note definition to it.

once you have done that, you're basically good to go in any direction from there. My partner runs her short scale rockbass (passive) into an empress comp, darkglass vintage deluxe set clean, then into a B7k for overdrive and she gets a mad tone from it. She drop tunes it to C# and its just one bitchin gnarly bass sound.

i think @SkinCoffin has a track on soundcloud so you can get an idea of what i am talking about.
Click to expand...
Not yet, recorded the other day with that same setup. when i post it up I will link it here for anyone curious. Thanks for writing paragraphs on the EQ things though @anavar saved me time :p
 
#67
Dradder said:
TBer NorCal Dog uses longscale strings on his Mikro by running them over the butt of the instrument and anchoring them on the back with eyescrews:

Strings for Mikros

.php?image=http%3A%2F%2Fi243.photobucket.com%2Falbums%2Fff42%2Fnorcal_dog%2FDSC01083_zpsd80de722.png
Click to expand...

For a about a decade I've used a DIY string anchor for all four strings made of maple just thick enough for the strings to securely pass through screwed to either the bottom edge of the body or on the back of the body for all 4 long scale strings to wrap around the bottom on several shorter scale basses. Wrapping all 4 strings around is simply for aesthetics, I think it looks better than just wrapping 2 strings around the bottom and gives it that "tailpiece" look.
 
#68
mongo2 said:
For a about a decade I've used a DIY string anchor for all four strings made of maple just thick enough for the strings to securely pass through screwed to either the bottom edge of the body or on the back of the body for all 4 long scale strings to wrap around the bottom on several shorter scale basses. Wrapping all 4 strings around is simply for aesthetics, I think it looks better than just wrapping 2 strings around the bottom and gives it that "tailpiece" look.
Click to expand...
Agreed on last point. Which isn't to say I haven't been found not to care about symmetry on more than one occasion!
Do you happen to have pics of the thing? Looking for inspiration (read: ideas to boldly and shamelessly steal) for future instrument mods.
 
#69
HaphAsSard said:
Agreed on last point. Which isn't to say I haven't been found not to care about symmetry on more than one occasion!
Do you happen to have pics of the thing? Looking for inspiration (read: ideas to boldly and shamelessly steal) for future instrument mods.
Click to expand...

No pix but my anchors are between about 2 - 3 inches long, about 3/4 inches wide and about 3/8 inches tall, measurements aren't critical as long as it's big enough to work. I drill appropriately sized and spaced holes through the width for the strings and two holes between the E/A strings and the D/G strings to mount it to the body. A third mounting screw can be used between the A/D strings if you feel two mounting screws aren't enough.
 
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#71
mongo2 said:
No pix but my anchors are between about 2 - 3 inches long, about 3/4 inches wide and about 3/8 inches tall, measurements aren't critical as long as it's big enough to work. I drill appropriately sized and spaced holes through the width for the strings and two holes between the E/A strings and the D/G strings to mount it to the body. A third mounting screw can be used between the A/D strings if you feel two mounting screws aren't enough.
Click to expand...
How do you accommodate different body profiles? Did you carve a generically convex shape in the inner side of the anchor? Or do you usually mount it beyond the edge and to the back of the body? In the latter case do you put anything to protect the edge from string wear, like, say, a sheet of rubber or leather, or do you just not bother once the modding becomes extensive and the instrument is not collecting or flipping material?
 
#72
mongo2 said:
Wrapping all 4 strings around is simply for aesthetics, I think it looks better than just wrapping 2 strings around the bottom and gives it that "tailpiece" look.
Click to expand...

I remember seeing some other pics from NorCal Dog, that showed all four strings going around the butt of his short scale bass. The pic with just two strings wrapped around was a work-in-progress pic, I believe.
 

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