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Why would a luthier feel that a 15 string

Just came to look at this thread, good on you for following your dream and chasing the sounds in your head.
I played a 12 for many years and I can't tell you the times I had to explain why and what is that and why don't you just play a 4.....yada yada yada,,,,
Congratulations on a fantastic bass.
 
Just came to look at this thread, good on you for following your dream and chasing the sounds in your head.
I played a 12 for many years and I can't tell you the times I had to explain why and what is that and why don't you just play a 4.....yada yada yada,,,,
Congratulations on a fantastic bass.


Thank you.
 
Love your bass man!
Glad to see that you didn't let the naysayers hold you back.
Looking forward to hearing your "15 inspired" music.

Cheers!

Thanks. I just can't let the naysayers get in my way.

I remember years ago when I was working on the low C# string concept, kats would laugh and a few told me that a string like that would never work.

I would just smile while laughing inside ;)
 
I have never played a 15 or 18 string bass. But I have played 8, 10, and 12 string basses.

Here's a 10 string bass I used to own.

Dean 10 string Hammer Bass

All Mahogany Body and Neck
Bolt On Construction
Rosewood Fingerboard
2 Dean Pickups
Active 2 Band EQ
Black Hardware
Grover Tuners
Dual Course 5-String Bass
Natural Oil Finish


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my common sense shows me the impracticality of such an instrument.

but to each his own.

I agree with the "to each his own" part of this, but not sure about the impracticality per se.

Now, if you want to go into the fact that the desire for such an instrument indicates an obvious dedication to art-fart music with endless masturbatory soloing of the sort enjoyed by nerds who never get girlfirends, that's another story.
 
Actually, some years ago, Tom Petersson mentioned that a 12-string merits a more economical playing approach because it is more technically challenging, plus the tone is so much bigger.


All of the above is so true.



I remember when me and Tom first met. We both had a big laugh. And he told me that he really thought my 15 string bass concept was very kool. And of course I gave him his props and we both had a big laugh about the two instruments all over again.
 
There are times that I'd like to have a 15... though probably with a low-B. I like the idea of really thick low notes, and not straying too much into the guitar range. A higher course could open up melodic possibilities, though.... There's a cool "brrrrrr" to the sound of tripled-string basses that's really unique.
 
Regarding the tuning stability of multi-course basses, I've found them to be extremely stable barring any drastic temperature changes or bumping the keys.

I think the reason for this is that the overall neck tension is shared between so many strings that (in the case of my 12 string) any one string that goes out of tune can only potentially affect the overall neck tension and other strings about 1/12th as much.

Plus the fact that the necks themselves MUST be built to accommodate the extreme stresses involved..

Regarding the naysayers that think the instrument has no practical purpose and also the original point of the thread:

Les Paul was practically laughed out of Gibson's office when he showed them his concept for an electric guitar... that is, until Fender started building one.

A lot of people thought Ned Steinberger was crazy for removing the headstock from his designs. But because he did, we all know that a headstock is purely an optional thing and that fine instruments can be built without them.

Michael Manring had a hard time convincing luthiers to build a bass where every string can be retuned on the fly.... Until he met Joe Zon. Now he composes incredibly beautiful musical pieces that require the bass to switch tunings 60-some-odd times through the song.

Oh yeah, and did you know that once, a long time ago... the Earth was flat?

People generally don't like change or new ideas that challenge their current concept of what is right or wrong. It's uncomfortable and it's much easier to dismiss or ridicule the crazy people who don't follow the herd. But then, no new path was ever discovered by following the herd was it?
 
One would think that common sense should be able to show them the practicality in such a instrument.

Uh, no one wouldn't...not unless they had a really bizarre personal definition of "common sense" and/or "practicality".

Now, if you'd written "One would think that an open mind would be able to show them the viability of such an instrument" then yeah, I agree completely.

But when you're talking about an instrument as rarified as an extended-range multicourse electric bass, "common sense" has nothing to do with it, because by definition "common sense" relies on the knowledge and experience which most people have. Not most bassists, not most TalkBass members, not John Turner, but most people.

And "practical"? I'll contend that any bass which costs upwards of $100 to restring isn't particularly "practical". And if you can't bring an instrument into a commercial studio session, a Broadway pit, a GB band, or a traditional jazz combo (just to name four more-or-less "ordinary" musical situations) that instrument is probably more "specialized" than it is "practical". Doesn't mean it isn't a perfectly "viable" instrument through which an artist can convey his/her voice, just that it has very little applicability to Ordinary Activities...which again, by definition is what "practical" means.

Sometimes words haz meanings.
 
Hoover I know exactly what practical means. One man's practicality is not every mans practicality. Just that simple.


If given the chance I could use a 15 string on a commercial studio session, in Broadway pit, a GB band, or a traditional jazz combo.






Ever thought that some words mean something different for some one else?


A few years ago Garry Goodman used his 11 string bass during a play in NYC and the musical director loved it.


My thoughts on when it may be inappropriate to use an ERB.

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