I've had two thoughts about why I've had a better experience with mine than many:
1. I use spiro solos tuned to orchestra pitch, therefore less tension on the instrument
2. I held out for a blonde hybrid and in doing so, got better wood for the top
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Double Bass The Chadwick Folding Bass
- Thread starter Bobby King
- Start date
1. I use spiro solos tuned to orchestra pitch, therefore less tension on the instrument
2. I held out for a blonde hybrid and in doing so, got better wood for the top
I'm no luthier, but it seems to me that the fundamental principle of solving the travel problem with hinges and a flap cut out of the back is pretty flawed - detaching the neck is a much more sensible compromise. It was an innovative idea that took off fairly early, but has been overtaken by loads of better options - much like the Czech Ease which was really common for a while but very few people seem to use any more.
I think Damon is right that they don't respond well to higher tension, I tried one which I thought was ok-ish with low string height but when I raised the bridge adjusters everything started rattling and buzzing
Of course - again like the Czech Ease - some people will find it's the right solution for them. Dave Holland sounds unbelievable on his Czech Ease!
I think Damon is right that they don't respond well to higher tension, I tried one which I thought was ok-ish with low string height but when I raised the bridge adjusters everything started rattling and buzzing
Of course - again like the Czech Ease - some people will find it's the right solution for them. Dave Holland sounds unbelievable on his Czech Ease!
I might have mentioned it on here before but people looking for travel basses in the US, I really recommend checking out Kent McLagan's basses. He seems not to have an internet presence so could get easily overlooked but I've heard one and it sounded amazing!
His has a carved top!!
Those are incredible instruments just as basses. I have considered getting one as "second bass", then my Chadwick opened up more and I am fine with it as a second bass.
Still, those McLagans are incredible basses, that the neck comes off is just a bonus!
I decided to do this solo set on my Chadwick, I do a short piece on my old bass at the end, but, I really put the Chadwick through the paces:
My main bass is getting restored, since my Chadwick hybrid has to stand in as the only bass now, I had to address the end pin. Thanks @Earl I got this from Golihur:
https://gollihurmusic.com/carbon-fiber-replacement-endpin-assembly-for-upright-bass/
One wrap of masking tape and it fit perfectly. It is very stable, has a nicer sound and doesn't slip. Strangely, with the more stable end pin I was able to lower the action to get the sound I want.
I also had my Luthier, Thomas Helton, do some set up with the bridge. It made a huge difference. Charlie set it up to my measurements, but I think the bass has settled in. Now it plays like a real bass.
None of these issues were a problem on gigs, I could play right through them. They come up more when practicing at home. One strong piece of advice I would give any bass player: set your bass up so it fun to practice, if you are practicing enough, any set up will sound great on a gig.
https://gollihurmusic.com/carbon-fiber-replacement-endpin-assembly-for-upright-bass/
One wrap of masking tape and it fit perfectly. It is very stable, has a nicer sound and doesn't slip. Strangely, with the more stable end pin I was able to lower the action to get the sound I want.
I also had my Luthier, Thomas Helton, do some set up with the bridge. It made a huge difference. Charlie set it up to my measurements, but I think the bass has settled in. Now it plays like a real bass.
None of these issues were a problem on gigs, I could play right through them. They come up more when practicing at home. One strong piece of advice I would give any bass player: set your bass up so it fun to practice, if you are practicing enough, any set up will sound great on a gig.
I've always admired the Chadwicks. I'm glad to hear you're enjoying yours more now!
Fast, great service and quick response from @Mark Gollihur as always.
Earl
Supporting Member
John Sprague
Sam Shen's US Distributor
- Mar 10, 2003
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- Sales Manager, CSC Products Inc.
Yes, it is. Charlie is enjoying the simple and enviable life of a session player in Nashville.
ten years too late to drop a dad joke, but when has that ever stopped me. To keep things straight, one of you should be “Morris Major,” and the other, “Morris Minor:”
Here is a video of me really putting my Chadwick hybrid through the paces. Once you get a better endpin, a proper set up and break it in, they are solid basses. Having said all that, I had never done much full on playing on my old bass and this bass back to back. I did a lesson that ended with some serious playing and then went over to do this session. The Hybrid was noticeably harder to play.
Hi
I recently bought a hybrid Chadwick bass. I’m getting used to the instrument and working out what I need in terms of setup before using it for some work in the summer. I had a couple of questions:
One thing I’ve noticed is that changes in temperature can cause the fingerboard to buzz loudly against the neck on certain frequencies. I saw a couple of people mentioned this issue earlier in this thread.
Does anyone have any photos of how they remedied this issue? Was this something that was addressed on later Chadwick basses?
Has anyone used Pirastro Perpetual strings on the Chadwick? How do they handle being taken on and off?
Has anyone used a Yamahiko pickup with the Chadwick?
Thanks
Dan
I recently bought a hybrid Chadwick bass. I’m getting used to the instrument and working out what I need in terms of setup before using it for some work in the summer. I had a couple of questions:
One thing I’ve noticed is that changes in temperature can cause the fingerboard to buzz loudly against the neck on certain frequencies. I saw a couple of people mentioned this issue earlier in this thread.
Does anyone have any photos of how they remedied this issue? Was this something that was addressed on later Chadwick basses?
Has anyone used Pirastro Perpetual strings on the Chadwick? How do they handle being taken on and off?
Has anyone used a Yamahiko pickup with the Chadwick?
Thanks
Dan
Earl
Supporting Member
I have used the Yamahiko with it and it sounded okay but not as nice as on my Juzek. It was not a problem in the setup/tear down at all.
I have had better experiences than most with mine.
I have not had the neck issue, one thing I do is leave it set up. This may or may not do anything but it might keep things more stable as humidity changes.
I use Spirocore solos, which put less pressure on the top and neck and are also very stable. Swapping out that endpin is key. The one from Gollihur fits on the side of bass in case and does not increase the weight.
I have not had the neck issue, one thing I do is leave it set up. This may or may not do anything but it might keep things more stable as humidity changes.
I use Spirocore solos, which put less pressure on the top and neck and are also very stable. Swapping out that endpin is key. The one from Gollihur fits on the side of bass in case and does not increase the weight.
I have had 2 of the handful of well-used Chadwick basses I've done work on showing this vibrating fingerboard problem. In both cases a it was apparently because the modified piece of aluminum extruded moulding he used to mount the fingerboards was a bit thin for the application. I get it, that he would want to keep weight low for shipping and for acoustical reasons, but between the very thin slotted mounting insert embedded in the neck and the thin little sawn/filed L brackets left after his work in modifying the extrusion, there's a fair bit of longer-term distortion potential. Especially so if handled more aggressively in assembly/disassembly cycles or even by doing something like picking up the bass by the fingerboard, bringing torque to these junctions, especially towards the lower end of the neck.
My solution in the lesser case was just to tap each of the little L brackets lightly with a small hammer, test fitting and tapping again until they neatly grabbed in the correct placement without jamming too early and preventing the nut end from dropping low enough. In the more loose case it took more tapping, along all the brackets, and I did a bit of polishing around the edges/faces to ensure smoother sliding into place, taking maybe 10 minutes of tweaking to get things to settle in just right. I recall thinking at the time that given what I know about aluminum and fatigue, such adjustments would likely be problem-free for the lifetime of a plywood bass, maybe 50 to 100 years with otherwise reasonable care of the instrument. Many aluminum alloys will eventually crack if bent too much, but these are very small adjustments, not really flexing the metal very far. Lots of L's in a row to share the burden.
Another possible 'fix' would be tape put onto the neck face or the back of the fingerboard, as a temporary shim. Aluminum muffler tape might be a good solution if it's a very small gap and you want it to stay in place a long time. Electrical tape or even fabric duct tape for a larger gap buzzing, or masking tape if that's all you have handy. Filling the void might cause some slight loss in sound, but at a trivial level considering the overall setup - aluminum hooked brackets aren't exactly ideal in acoustical terms, compared to a hide glued fingerboard/neck...
My solution in the lesser case was just to tap each of the little L brackets lightly with a small hammer, test fitting and tapping again until they neatly grabbed in the correct placement without jamming too early and preventing the nut end from dropping low enough. In the more loose case it took more tapping, along all the brackets, and I did a bit of polishing around the edges/faces to ensure smoother sliding into place, taking maybe 10 minutes of tweaking to get things to settle in just right. I recall thinking at the time that given what I know about aluminum and fatigue, such adjustments would likely be problem-free for the lifetime of a plywood bass, maybe 50 to 100 years with otherwise reasonable care of the instrument. Many aluminum alloys will eventually crack if bent too much, but these are very small adjustments, not really flexing the metal very far. Lots of L's in a row to share the burden.
Another possible 'fix' would be tape put onto the neck face or the back of the fingerboard, as a temporary shim. Aluminum muffler tape might be a good solution if it's a very small gap and you want it to stay in place a long time. Electrical tape or even fabric duct tape for a larger gap buzzing, or masking tape if that's all you have handy. Filling the void might cause some slight loss in sound, but at a trivial level considering the overall setup - aluminum hooked brackets aren't exactly ideal in acoustical terms, compared to a hide glued fingerboard/neck...
- Jan 12, 2004
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- Owner, Stand Up Guy Basses (Repair/Sell/Buy upright basses)
Gerard, thanks for your post and helpful advice re the fingerboard fit.
I quoted you because, unfortunately, I think what you say applies to many aspects of looking after the Chadwick bass.
I've seen a half dozen in the last couple of years, ranging from in quite good shape to much worse shape. Here are a few issues that I've seen (besides fingerboard problems): 1) The "frame" around the back panel coming loose, leading to major instability; 2) the plastic clips breaking and not being replaced with a viable alternative (and damaging the inside of the bass; 3) The pins in the sound post working themselves loose, so that they protrude further into the top or back than was intended, making the soundpost immovable without substantial damage to either the top, the back, or both.
The advice I've given people who want to use a Chadwick, and keep it healthy-ish, is that they need to feel comfortable with the mechanics (beyond "I did what the video said to do"), and need to treat the instrument gently. I realize TSA laughs at the notion of treating "luggage" gently, but at least if the player is on top of this it should help extend the instrument's life...
Have other's noticed what I'm seeing?
eh_train; I've seen much the same sorts of problems over a decade or so. I don't see many Chadwicks, but among those who have them on the road alot, airline baggage handlers seem to cause most of the damage to interior braces/frames such as the fingerboard end retaining box in the bottom of the bass, plastic brackets breaking or becoming unglued, trim around the neck joint coming loose, etc.
For the little fingerboard end box in one case, which was about halfway broken-apart, I glued it together and then used linen fabric (actual raw linen, not 'bed linen' nonsense made of cotton or polyester) and hide glue to laminate around the outside, rendering a much more solid but still very lightweight place to put the fingerboard end. I've made a couple of small plastic parts using delrin or ertalyte rod. Epoxy comes into play when re-bonding broken epoxy bonds in the plastic bracing.
The soundpost end pins I've replaced in 2 posts, using a bit of glue and the correct length of pin to make sure they don't move around and keeping the protruding sharp ends quite short, around 1.5 to 2mm, enough to 'stick' so as to avoid the player finding the post fallen over, but not so far as to make removal for adjustment too difficult by just lifting up in that area along the open back channel. Of course initial sound adjustment should be done without pins in place. And enough steel pin needs to be exposed such that they can be pulled out with careful use of pliers. Once settled in terms of sound balance, marking with a pencil is useful, then putting in the pins and placing the post within the markings.
I've replaced one soundpost with a 'Traeger' hourglass-shaped soft maple soundpost per a player's request, as such a post had enhanced the sound of his ancient American Standard plywood bass, and it helped a little with openness/warmth in his Chadwick though the benefit wasn't quite so obvious. The pins are more likely to be stable in such a soundpost, lacking the soft/hard alternating grain of spruce. In general, maple posts seem a good idea for plywood basses, even if not trimmed in a lathe to have the waist of the post about 1/2 the diameter of the ends. There are reasons Kay initially went with maple posts - though they used a harder maple than I like for these soundposts.
Another little tip - the bridge adjusters/feet can fall off the bridge easily when the lightweight elastic hairbands eventually wear out and fall apart or get lost. I've found a silicone rubber 'hair band' type thing from a drugstore to be a very much more durable replacement. Don't recall a brand, but if you look at all the many hair ties in such sections of stores, you might be able to find the correct type. They are black, about 'normal' rubber band size in diamter and 3mm thick, with no obvious seam. I use these things all over the place to hold various things together, like in my medical kit for hiking or bunches of batteries in an emergency kit to prevent them bumping around and maybe short-circuiting in a container. They are VERY stretchy and durable, easily applied to fix the bridge parts together on a Chadwick for perhaps 5 years or more.
But yeah, I concur on the caveat emptor aspect of Chadwick ownership/use. Players travelling with basses should generally understand that the elevated level of risk indicates a certain upgrade in skills, so as to be able to handle emergency small repairs/adjustments. A fallen soundpost may still happen, even with pins in place. I've seen an antique French bass flexed on a diagonal perhaps more than an inch, opening a vast length of seams in the body, while showing zero evidence of the impact on the old 70lbs fibreglass trunk. Apparently a heavy crate fell more than six feet during turbulence and landed on this trunk. Luckily no damage to this very fine orchestral instrument, the player got very lucky with just seam gluing for about 1.5 metres where it had opened.
For the little fingerboard end box in one case, which was about halfway broken-apart, I glued it together and then used linen fabric (actual raw linen, not 'bed linen' nonsense made of cotton or polyester) and hide glue to laminate around the outside, rendering a much more solid but still very lightweight place to put the fingerboard end. I've made a couple of small plastic parts using delrin or ertalyte rod. Epoxy comes into play when re-bonding broken epoxy bonds in the plastic bracing.
The soundpost end pins I've replaced in 2 posts, using a bit of glue and the correct length of pin to make sure they don't move around and keeping the protruding sharp ends quite short, around 1.5 to 2mm, enough to 'stick' so as to avoid the player finding the post fallen over, but not so far as to make removal for adjustment too difficult by just lifting up in that area along the open back channel. Of course initial sound adjustment should be done without pins in place. And enough steel pin needs to be exposed such that they can be pulled out with careful use of pliers. Once settled in terms of sound balance, marking with a pencil is useful, then putting in the pins and placing the post within the markings.
I've replaced one soundpost with a 'Traeger' hourglass-shaped soft maple soundpost per a player's request, as such a post had enhanced the sound of his ancient American Standard plywood bass, and it helped a little with openness/warmth in his Chadwick though the benefit wasn't quite so obvious. The pins are more likely to be stable in such a soundpost, lacking the soft/hard alternating grain of spruce. In general, maple posts seem a good idea for plywood basses, even if not trimmed in a lathe to have the waist of the post about 1/2 the diameter of the ends. There are reasons Kay initially went with maple posts - though they used a harder maple than I like for these soundposts.
Another little tip - the bridge adjusters/feet can fall off the bridge easily when the lightweight elastic hairbands eventually wear out and fall apart or get lost. I've found a silicone rubber 'hair band' type thing from a drugstore to be a very much more durable replacement. Don't recall a brand, but if you look at all the many hair ties in such sections of stores, you might be able to find the correct type. They are black, about 'normal' rubber band size in diamter and 3mm thick, with no obvious seam. I use these things all over the place to hold various things together, like in my medical kit for hiking or bunches of batteries in an emergency kit to prevent them bumping around and maybe short-circuiting in a container. They are VERY stretchy and durable, easily applied to fix the bridge parts together on a Chadwick for perhaps 5 years or more.
But yeah, I concur on the caveat emptor aspect of Chadwick ownership/use. Players travelling with basses should generally understand that the elevated level of risk indicates a certain upgrade in skills, so as to be able to handle emergency small repairs/adjustments. A fallen soundpost may still happen, even with pins in place. I've seen an antique French bass flexed on a diagonal perhaps more than an inch, opening a vast length of seams in the body, while showing zero evidence of the impact on the old 70lbs fibreglass trunk. Apparently a heavy crate fell more than six feet during turbulence and landed on this trunk. Luckily no damage to this very fine orchestral instrument, the player got very lucky with just seam gluing for about 1.5 metres where it had opened.
