However, they could slightly elongate the upper horn to improve the balence issues. The Warwick corvettes may have a phallic appearance, but damn me if they don't balence perfectly.
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Seriously..."neck dive"...???
- Thread starter rorykins
- Start date
However, they could slightly elongate the upper horn to improve the balence issues. The Warwick corvettes may have a phallic appearance, but damn me if they don't balence perfectly.
I used to play a Thunderbird, and wore it high. I had to use a small bit of extra energy to keep it steady. It wasn't a huge issue, but I like to be as relaxed as possible when I play.
LOVE that tbird bass! I had an old Epi hollow body that, if you strapped it on, & let go of it, it would slowly hang in the neck down position.
SIT DOWN TO PLAY THE BASS?
Ever been in a studio, given/received lessons, spend some serious time studying theory, or had an acoustic gig? I'd even imagine the most masculine metal players will take a seat when recording all day.Very wise words here. Gary Willis isn't exactly going to be concerned about how he looks on MTV and Krist isn't exactly going to be able to play something like Teen Town.
Carpal tunnel syndrome aside, the act of grabbing and supporting the neck can really slow down the fretting hand.
The only thing that bothers me is when someone knowingly buys a bass that's prone to have, or guaranteed to have neck dive, then bitches about it.
ok, so Im new to the word "neck dive" but from my understanding after reading the first post, neck dive is that whole, "i have my bass strapped up and now the weight of the headstock is causing my bass to slump down"
Isnt this something that is caused because the wood in the body is too light? I've mainly experienced this on extremely low end basses.
Isnt this something that is caused because the wood in the body is too light? I've mainly experienced this on extremely low end basses.
It is a combination of some of or all of
1)Light body
2)Heavy neck, especially massive headstocks with big tuners. Moments (turning forces) are more powerful the further away from the pivot you get.
3)Poor strap pin placement.
4)Too thin strap (the grip of a wide one can stop mild neck dive).
5) All out bad design. Commonly caused by sticking a bass neck on a guitar body, which often causes points 1 and 2, and 3 as well many times. Yes, I am looking at you Gibson (excluding the grabber etc).
If you play a 12-string bass, as I do for a reasonably high proportion of my playing time, neck dive is inescapable. Wide, high-friction straps help, but no hipshot ultralites are going to cure my ills.
What it comes down to for me is "does this bass offer something I need/want sonically, and is that worth the hassle of the neck dive". My answer is yes. If your answer is yes, then neck dive doesn't matter. Hence they still sell Tbirds.
If I played professionally (never gonna happen) and played all day long, I might feel differently. But I don't
Steve
What it comes down to for me is "does this bass offer something I need/want sonically, and is that worth the hassle of the neck dive". My answer is yes. If your answer is yes, then neck dive doesn't matter. Hence they still sell Tbirds.
If I played professionally (never gonna happen) and played all day long, I might feel differently. But I don't
Steve
My old Warwick Thumb was horrible about neck diving, even when I had it in the "bowtie" position. No matter what you do with them, older Thumb basses will give you trouble. Warwick changed the body design to deal with this problem around 2000, but they don't look as good and I haven't owned one since.
Regardless, a good leather strap will take care of most neck diving issues. They "grab" your shoulder better than nylon straps and keep the bass where you want it.
Regardless, a good leather strap will take care of most neck diving issues. They "grab" your shoulder better than nylon straps and keep the bass where you want it.
Am I the only having neckdive issues resolved by counterbalancing the bass by pushing a bit with my right (plucking) harm. I just push a bit down on the body and that's it. I didn't really invent it, just noticed one day while playing my wick.
oh spade I was not talking about the many situations that require you to sit, and I assumed the post meant while normal jamming was going on.
hell I sit/have sat many many times, and yes it is uncomfortable, and yes it twists my wrist up a lot so I don't do it if I can help it. I'm sorry if you took my post the wrong way.
but if I am sitting, the weight of the bass on my legs negates any neck dive issues that would occur.
please take my post as another quickly typed, not thought out enough post.
If you play a 12-string bass, as I do for a reasonably high proportion of my playing time, neck dive is inescapable. Wide, high-friction straps help, but no hipshot ultralites are going to cure my ills.
What it comes down to for me is "does this bass offer something I need/want sonically, and is that worth the hassle of the neck dive". My answer is yes. If your answer is yes, then neck dive doesn't matter. Hence they still sell Tbirds.
If I played professionally (never gonna happen) and played all day long, I might feel differently. But I don't
Steve
The trouble is, many basses like the Tbird could sacrifice some of their appearance for the ability to balance well. Spector modified it (I prefer the looks for their version as well) and made it balance and have better fret access into the bargin (sounds infintely better as well, it has actual clarity
). Gibson seem for content with selling on a classic image than a bass that plays well.Warwick modified the thumbs, and I respect them a lot for scarificing the looks of their flagship model a bit in order to make it better to play.
However, I suppose some basses (like your 12 strings) would need a miracle to balance properly, or a massive upper horn.
There is no reason to play a bass that is not an ergonomic match to you and your playing style. You should not have to play in an uncomfortable position to meet the "needs" of the bass. The bass needs to fit you, not the other way around.
Okay, now that I've said that, I feel better.
Okay, now that I've said that, I feel better.
....or a shorter scale length. I've often pondered getting a 32" or 30" scale Hamer 12, although I'd probably be much more happy if I could simply get that bridge and probably go with another luthier....perhaps some day.
Agreed. For example, the new Fenders have smaller machine heads which in my opinion is an improvement. In spite of that, I saw a post recently where the poster said it ain't a Fender without those big machine heads.
Agreed. For example, the new Fenders have smaller machine heads which in my opinion is an improvement. In spite of that, I saw a post recently where the poster said it ain't a Fender without those big machine heads.
Change=bad. Do not question tradition!
Just a crossing thought about light tuners: Altering the weight attached to the headstock also alters the resonance characeteristics of the neck (same principle as the Groove Tubes Fat Finger) and therefore changes the location or appearance of "dead notes". Removing weight will influence it most probably to the worse.
Best thing to counteract neck dive is a heavy body. I never really understood the crave for extremely light basses... IME heavier basses (generally) are better sounding and have more sustain anyways.
Best thing to counteract neck dive is a heavy body. I never really understood the crave for extremely light basses... IME heavier basses (generally) are better sounding and have more sustain anyways.
Light tuners may mess with the resonance of Fenders, but certainly not all basses. Also, remember that certain pickups like P, J, and MM pickups have such strong tonal characteristics that wood choice is almost arbitrary. It's all about the pickup and placement. That's why you'll hear many Fender users swear up n' down that ash/alder and maple/rosewood don't make strong differences in tone.
I used to believe that heavier made things sound better until I got a few sub 8lb basses that were sustain monsters, extremely resonant, and had wonderful tone. Most heavy woods aren't as resonant as you'd think. You don't see many rock maple, bubinga, wenge, etc. acoustics for a reason. Having played an acoustic guitar with a bubinga top, I can tell you it was one of the deadest things I've ever played.
