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  • In Search of the Perfect Custom Bass - Part 3

    In Search of the Perfect Custom Bass

    By Lane Baldwin

    http://lanebaldwin.com/

    Part 3: Stick Your Neck Out

    Our quest so far has led us through a general discussion about purchasing a custom bass (Part 1 - Custom is as Custom Does) and a look at the body of the instrument and the woods used to create it (Part 2 - Exotic Bodies). We continue now with a look into the neck of the bass.

    Which Wood
    As with bodies, there are numerous woods from which to choose. While some builders - Roger Sadowsky among them - believe that the wood used here has more to do with the tone of an instrument than the body, virtually all agree that it is very important to tone. Here's a list of the most common woods used for bass necks:

    Bubinga - its strength and stiffness make it a likely candidate for multi-wood laminate necks (see below). Produces strong bottom end and bright midrange.

    Maple - can be standard grain or figured. Produces a tight, bright tone with lots of sustain. Probably the most used wood for neck construction.

    Padouk - from Africa, this wood produces a tone similar to Maple but its appearance is similar to Rosewood.

    Purpleheart - Often used as part of a laminate neck due to its striking purple color. Tone is similar to Bubinga.

    Wenge - Wenge is very hard and produces a darker, warmer tone with lots of midrange. Often used as part of a multi-wood laminate (see below).

    In addition to those listed above, you may see offerings in Walnut, Koa, Rosewood, Ebony and some very esoteric ones with names I can't come close to pronouncing. In other words, there are a lot of choices. Take time to get to know the different varieties, unless you're planning to build a super-Fender®, in which case you'll probably want to stay with maple of some sort.

    I Saw That!
    There are two ways to saw wood: flatsawn and quartersawn. Each builder has his own preference and I'm sure that there'd be a lively debate if we put a dozen or so of them in a room and let them discuss this one. Suffice to say that each method has its adherents and either will provide an excellent neck. Keep in mind that certain woods, such as Birdseye Maple, look best flatsawn.

    Laminated Necks
    Many builders, especially those offering "neck-through" designs, use laminates of various woods. This can add strength as well as a more balanced tone. Generally, laminates run perpendicular to the fretboard. Occasionally you'll see them run parallel but this seems to be more for look than for any other reason. Maple is often laminated with darker woods with Maple comprising the thickest parts of the construction. Unless this is a standard offering from your builder, take the time to understand the benefits of this type of construction before spending extra money.

    Truss Rods
    Truss rods are essential in a bass neck because string tension can cause a neck to bow over time. In addition, we bassists are very finicky about string height and action and, without a truss rod, it can be a real bear to get it right. Stated simply, a truss rod allows the builder (and later the owner or their tech) to adjust the curvature of the neck to achieve optimum playability. Adjustments are made either at the peghead or at the body end of the rod using a special Allen wrench or similar tool.

    The two basic types of truss rods are "vintage" and double expanding. A vintage rod adjusts the entire neck whereas a double expanding rod adjust all but the heel of the neck (the part closest to the body). Again, builders have varying opinions on which is best. If you have a strong preference for one or the other, it may limit your choices. This isn't a problem if you are certain that you want a particular truss rod design.

    Truss rods are often used in combination with stiffening rods of graphite, aluminum or steel. These stiffeners add stability to the neck while helping to eliminate dead spots. Most builders use designs in which the rods are hidden within the neck so they don't affect their beauty.

    The Neck/Body Joint
    There are three basic types of joint: Bolt-on, Neck-Through and the occasional Glued-on. Gibson has used glued neck/body joints for many years with great success, but the majority of basses feature one of the first two.

    The general consensus among builders is that neck-through construction offers greater sustain which many fingerstyle players prefer. Bolt-on construction provides more snap, or punch, making them an excellent choice for slap style playing. As Roger Sadowsky (Sadowsky Guitars, www.sadowsky.com) notes, "It's not about which is better", they're just different. Depending on playing style and desired sound, a player may prefer one style over the other.

    The Shape of Things
    Some manufacturers offer differing shapes while others have their design and they're sticking to it! Either way, it's extremely important to know ahead of time how the neck will feel in your hands.

    The shape of the neck is very important to playing comfort. A neck that is too thin or (even worse!) too thick can lead to rapid hand fatigue. If it's too big, your hand won't be able to reach the notes properly, especially at the bottom of the fretboard. Too small and it'll feel like a toothpick in your hand. Either problem will lead to increased fret hand discomfort.

    If you're interested in a bass from a shop that has a set neck design, it's crucial to spend significant time with the bass. Simply playing a few "deedly-deedly" licks high on the neck isn't going to tell you how your hands will feel after a long stretch of playing. Live with the instrument a while; make sure you're going to be happy with it. If at all possible, borrow one for a few days, either from a friend or a very trusting builder.

    When working with a designer who offers different neck sizes, again playing the different models for an extended time is important. It also helps if you can describe your perfect neck to your builder. The basic measurements to consider are: neck width (at nut and heel), thickness (from front to back) and radius (the amount of curve in the fretboard, measured from side to side.

    Bassists Have Bigger Instruments
    The last factor to consider is scale length. Measured from nut to bridge, thirty-four inches is considered standard, but you can find lengths varying from thirty inches to as much as thirty-seven. Thirty-five inches is quickly becoming a standard for five and six string basses. This is due to the fact that some manufacturers believe that the extra length improves tone, especially on the B string.

    I've played both and while some 35s do sound great (such as my Renaissance RB-5FL), others have left me unimpressed. On the other hand, my Spector NS-6P, built in late 1994, features a thirty-four inch length and has a low B so authoritative that it will scare small children. Spector now makes five and six string basses in a thirty-five inch scale length and it scares me to think about a detuned low B from one of those. (Not enough that I'm wanting to buy one, however.)

    For each of my custom basses, I knew well in advance how the neck would feel, and was certain that it would work for me. Neck width was a special concern because I have a six string and a five string, both of which are considerably wider than a standard, four string neck, and I have relatively small hands.

    P.J. Rubal (of Spector Basses (www.spectorbass.com) was kind enough to let me play several of his five and six string Spectors before making my decision to jump to the mighty NS-6. In fact, I probably drove him nuts by playing each for at least an hour, going through all sorts of styles including chordal parts and contrapuntal tapping lines. The staff at the music store we used may never forgive me.

    For my fretless 5, I wasn't able to do as much hands-on research but I did manage to play several Renaissance models, both fretted and fretless, as well as talk to several owners of the same instrument before purchasing. When it came time to order, I knew I'd be able to do a full night of playing without any trouble or discomfort.

    Remember, the best way to determine the proper shape for you is to play numerous basses. Don't just noodle for a few minutes; live with the bass for as much time as you can. This will give you a better idea of how the neck will feel over time.

    The next phase of our search will cover the fretboard in all its glory. Remember to be patient. The time you invest now will help you commission the "Perfect Custom Bass" and that's what it's all about, right? Until next time, keep thumpin'!

    Homework

    As with before, it's now time to get our there and play as many basses as you can. This time, however, your focus is on the neck: its construction, the wood used and the shape. Don't forget to carefully consider fret wire and scale length. This is crucial! If you don't spend enough time understanding what does and doesn't work for you, you run the risk of purchasing a custom that doesn't fit well in your hands, leading to fatigue. Additionally, you may well end up with an axe that sounds great - for someone else!

    ©2004 - Lane Baldwin - reprinted by permission.


    201005110820
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