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In Search of the Perfect Custom Bass

Part 4 - Board Stiff

by Lane Baldwin

Welcome to part four of a series of articles to help you commission your perfect custom bass. For those new to the series, here's what we've covered so far:

Part 1 - Custom Is As Custom Does (See April, 2004 issue) is an overview of the process of commissioning a custom bass.

Part 2 - Exotic Bodies (See August, 2004 issue) looks at the woods used in bass bodies.

Part 3 - Stick Your Neck Out (See October, 2004 issue) covers the neck in all its glory.

Now let's look at the fret board and the options we need to consider. Again, I'd like to thank Rick Turner of Renaissance Guitars and Roger Sadowsky of Sadowsky Guitars for their invaluable input. Both were willing to spend a considerable amount of time explaining the intricacies of design and construction.

Materials
As with bodies and necks, there are several woods from which to choose. Here are the basic choices for fret woods:

Rosewood - perhaps the most widely used wood for necks. Rosewood is the warmest and sweetest of the basic woods, and is normally dark brown in color. You can stain it if you like, but be aware that you may wear the stain away over time.

Maple - brighter than rosewood, maple is often the choice of slap and funk style players. Normally, if you choose maple as your fret board, it will actually be the top of the neck, not an additional piece of wood. May have a high-gloss or satin finish, either of which protects the wood, keeping it from turning gray and dingy over time. Sadowsky prefers a satin finish because it translates to less drag, especially if you sweat when you play. Birds-eye maple is an attractive upgrade for maple necks and fretboards.

Ebony - almost as bright as maple but some think it sounds brittle. Many fretless players like it because it will stand up well to round wound strings. According to Roger it is also "the punchiest in terms of how immediate the attack of the note sounds."

While there are many other choices available, including Bubinga, Padouk and Wenge, there are too many to cover here. Suffice to say that it's important to talk to your builder about what they offer and why. It's tempting to go for looks, but it's more important that you get the sound and feel you'll be happy with over time.

Totally Wired
You'd be surprised how a little wire can have such a huge effect on your playing. But fret wire is a very important consideration. The size of the wire (in height and width) has a lot to do with the perceived action of the neck. Lower frets will translate to lower perceived action, while taller frets do the opposite. Also, keep in mind that up in the high range, taller and fatter frets can make a difference in intonation. Fat frets will last longer than thinner cousins; a wider crown will allow you to go longer between leveling and recrowning jobs.

Vintage frets are generally about .078-.083 wide and .038 tall. Jumbo frets are typically about .106 wide and .046 tall. Sadowsky uses a medium fret wire - .092 wide and .048 high. This size can stand up to repeated fret dressings while not affecting the feel and playability of the neck. Turner uses a medium-jumbo size, not too big, yet big enough to last over time.

Again, it's important to know what will work for you. Just because your friend has jumbo frets on his bass doesn't mean they're the best choice for you. Lee Sklar, known for his light touch, actually uses Mandolin frets because he likes the virtually nonexistent feel and could care less about the fact that it means he may have to refret more often.

Rick also pointed out that choice of fret wire is "very much a feel thing. It also affects the sound of the bass." In general, larger frets offer better attack and sustain while smaller frets will give more sound of the fret board itself.

Most frets today are made from nickel silver (which actually has no silver in it) because it's easy to work with, takes a long time too tarnish and is readily available. Some builders are starting to experiment with stainless steel, Rick Turner among them. However, while stainless will last a very long time, it is very difficult to work with and has a brighter sound that some find objectionable. Be aware that, if you choose to go with stainless, you're going to need power tools to do a fret dressing. This will limit the number of luthiers that can handle your work.

In a Bind
Binding is a bit of a controversy. Some builders feel that it is cosmetic only and does nothing to improve playability. Sadowsky is among these, and for this reason doesn't offer binding on any of his necks. On the other hand, Turner believes that binding adds to the life of the neck because it can limit the wear at the sides of the neck.

Both viewpoints have their merits, and both builders are among the best in the world. As the player, it is up to you which is best for you. Keep in mind that a bound neck will feel slightly different than an unbound one.

Homework
Now that you know the basics of what foes into choosing the right fret board, it's time to get your notebook back out and go play some basses. Pay attention to the sound of each instrument, as well as how the fret board feels under your fingers. Make note of the size of the fret wire and how that feels under your fingers.

The feel and sound of the fret board is arguably one of the most important considerations when commissioning a custom bass. Therefore, it only makes sense to take the time to investigate as many possibilities as you can before choosing what will go on your new bass. As I've said in previous articles, the time you spend now will help ensure that the custom bass you order is exactly what you want and need in an instrument. If you're like most of us, you're going to live with this bass a long time. It only makes sense to make sure you enjoy it.

In the next part of the series, we'll look at the hardware and electronics available for custom basses. Until then, keep thumpin'!

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Lane Baldwin is a working bassist and teacher located in Illinois. He is also the proud owner of two outstanding custom basses, and is currently discussing his third custom with P.J. Rubal of Spector. Learn more by visiting www.laneonbass.com.