Double Bass How best to reduce speaking length on large flatback

[arnoldschnitzer]

Well done, but you missed my point about the accessibility of the octave notes.

 

[GeoffBass]

OK ... the distance from the lower nick in the F-holes (as measured on the centreline) to the neck joint on the table is approx 60cms (approx 23 3/4").
The distance measured to the otherside of the neck (at the heel position) is approx 67cms (approx 26 3/8").
Not sure what you mean by access to the octaves?

 

[Matthew Tucker]

Shortening the neck will take your Eb stop to D stop, more or less.

But your octave will be about 15-20mm further towards the bridge. Is that comfortable? Your bass has high shoulders; the octave's probably a bit of a reach already. So how will another 2cm feel?

I guess to a degree its a matter of getting used to it. But you'll probably want to sell the bass one day.

A lot to consider!

 

[GeoffBass]

Ah now I see what you mean, it is a bit of a reach over the top bout, especially to the E string! The bass is not properly strung up however, and I have not brought the bridge up the belly from the supposed optimal position between the f-holes, but thanks Arnold and Matthew you have given me something to think about.

 

[arnoldschnitzer]

Ah now I see what you mean, it is a bit of a reach over the top bout, especially to the E string! The bass is not properly strung up however, and I have not brought the bridge up the belly from the supposed optimal position between the f-holes, but thanks Arnold and Matthew you have given me something to think about.

When you move the bridge up toward the neck you will need to move the sound post equally. Will there be room for the post to sit properly on the back brace? Will the bridge foot still sit nicely over the bass bar? As you can see, there are a lot of things to consider when you try to change a bass' proportions.

 

[GeoffBass]

Arnoldschnitzer - I see that you are well and truly 'in the business' so many thanks for taking an interest in my post, and my bass. During my ownership only luthiers have adjusted the soundpost, and I'm not keen on moving the bridge too fart from where it was last positioned.
The bass strings have very little tension at the moment.
Thanks for alerting me to potential access issues - I do like to play scales on the E string - if only as exercises.

 

[arnoldschnitzer]

Arnoldschnitzer - I see that you are well and truly 'in the business' so many thanks for taking an interest in my post, and my bass. During my ownership only luthiers have adjusted the soundpost, and I'm not keen on moving the bridge too fart from where it was last positioned.
The bass strings have very little tension at the moment.
Thanks for alerting me to potential access issues - I do like to play scales on the E string - if only as exercises.

Geoff--sorry but I still don't think you get it. We're not talking about the E string. We're talking about reaching the octave notes, especially on the G string. Laying one's left hand on the bass' shoulder and paying with the third finger usually produces a G octave (on the G string) with a little manipulation. If you move all the notes down onto the body by reducing the neck length you may displace the octave to a point where it is difficult or even unplayable.

 

[GeoffBass]

Arnold (if I may call you by your first name). With the strings at 106cms I can comfortably 'pop' the G2 harmonic with my third finger, similarly with D, A and E strings although the E harmonic is hard to reach as it is a further distance over the top bout and also because of the need to not damp or touch the higher strings. Perhaps bringing the bridge a cm (1/2 ") or so closer towards the neck will work to alleviate this somewhat - this will of course be subject to the soundpost being properly re-positioned and supported by bracing on the back panel. From a visual I think this is very possible but I will leave this to a luthier.
I too would not like to loose any facility on the bass and I do remember (from serious study 20 yrs ago) playing ascending scales on individual strings which were supposedly good from both the players development and also the bass as playing in the higher registers on the E string in particular is supposed to free up the wood.
The big band music I am now playing seldom gets above G2and where that should perhaps not be a consideration, I don't think this bass is well suited to modern fingering styles (or Rabbath pieces some of which feature chin and toe stops ).
I learnt the Simandle method and even then my Book 2 is still rather pristine ...
regards and over to you!
Geoff

 

[arnoldschnitzer]

Good deal, Geoff. We are officially on the same wavelength. Best of luck to you.

 

[GeoffBass]

Arnold, and best of luck to you, thanks for your help (mate)
Geoff