| |
| |
Bass guitars have been the heart of SMD since the beginning of the business. The nature of the bass guitar has led to the creation of a huge custom market. Unlike guitars, there are many options with basses that are necessary for individual players but impossible for large factories to create. The number of strings, scale length, tonal properties, weight and design are all aspects that vary for every serious player. A custom builder needs to be able to meet these specific requirements on a daily basis. The number of custom SMD basses now number in the hundreds and are located across the globe. A small sample of such builds is displayed in the Bass Photo Gallery. |
|
| |
 |
|
A new feature with the business is the introduction of bass models. I have divided the models into two sections; stock and custom. Custom models are simply templates for the standard custom builds. They demonstrate the standard body shapes, electronics, and styles of construction. This was created to help clients have a foundation for their personal vision, and offer pricing examples.
Stock models are instruments that are built and available for purchase, or available for short-term ordering. This is a very nice option for players looking for a quality custom bass, but who don’t necessarily need any unique features. It is important to realize that each stock bass is individually handmade, just as the custom orders are. This means they have the same level of quality, and each instrument is still unique.
|
|
| |
Back to top
|
|
| |
| |
CONSTRUCTION
The most important aspect to the construction of the bass is the neck joint. The three standard styles of joinery are bolt-on, set-neck, and neck-thru. Each style creates a certain tonal palette, and determines the fundamental tone of the bass. This is mainly due to the ratio of body wood to neck wood, as the neck wood is traditionally denser than the body wood.
Bolt-on has been the traditional method for bass building since the beginning. It is easier and quicker than the other styles, which has kept it popular for factories with inexpensive models. It can also be useful on high-quality basses, as it offers a unique sound. Bolt-on creates the most “punchy” sound possible, which is useful. “Punch”, of course, is an arbitrary word. It refers to the characteristic of the attack of the note sounding very impactful. This helps the note to cut through in louder settings. It is actually caused by a quick decay due to the softer nature of the large amount of body wood. Great for rock, funk, etc.
Set-neck is similar in design to bolt-on. The main difference is that the separate neck is glued to the body, instead of being bolted on. This is more popular with high-end basses, as it can be more time consuming to achieve. It offers a similar tone to bolt-on, but with a more elegant neck heel. I find it most useful for singlecut designs when a bolt-on style of punch is desired.
Neck-thru construction refers to the bass being made with a center core that includes the neck. The bass is made as one entity, a more complex style of build than the other styles. This leaves much more neck wood, almost 50% more, than a bolt-on. Likewise, it significantly reduces the amount of body wood. This higher ratio of dense neck woods will create a much more evenly sustaining instrument. The sound is often described as “piano” like. This can be a disadvantage for louder bands, as it does not have the punch. It can, however, create a deep, clear tone that is nice for solo or small band settings. Neck-thru basses are typically a bit heavier than bolt-ons or set-necks, due to the larger amount of neck wood. | |
 |
|
|
|
| |
 |
|
HARDWARE
A variety of hardware can be used. Chrome, black, or gold are all standard options for the tuners and bridge. Hipshot A style bridges are the standard choice for the bridge due to the quality of construction and versatility of adjustment. Likewise, Hipshot Ultralite tuners are frequently used.
Tremolo is an option. I typically use the Kahler bass tremolos. These require a very small amount of body removal, and work well. One important factor when using a tremolo bridge is the tone. There is a large amount of metal used, which isolates the string sound from the warmth of the wood body. This makes a brighter and more sustaining, but less punchy sound than a normal bridge would. The trem will also add a bit of weight to the bass.
Each bass comes fitted with an unbleached bone nut for superior resonance. A variety of knobs are available, including ebony as a standard option. Another standard feature is a self-contained battery box, eliminating the need to disturb the main wiring cavity. |
|
| |
WOODS
Certainly one of the most enjoyable aspects of custom basses is the wide selection of beautiful woods that can be used. As the industry has grown, more and more independent wood brokers offer unique species from around the world. It is typically the facing of the bass that is chosen for beauty, with the other areas primarily chosen for tone.
The neck woods are the most consistent with bas construction. It is standard to use a multi-laminate neck that is primarily hard maple mixed with either bubinga or purpleheart. The multi-lam construction helps to add both rigidity and stablility to the neck.
The most popular fretboard woods are birdseye maple, morado, and macassar ebony. Maple is known for providing the best punch, morado and other rosewoods warm the tone, and ebony provides clarity and sustain.
Body woods can vary quite a bit, but the most common choices are African mahogany, black limba, alder, and swamp ash. The finish helps determine this choice, as alder and swamp ash work better with the thicker urethane finish. African mahogany was once considered a cheap replacement for Honduras mahogany, but it has since been recognized as providing a superior tone- warm with accented mids. Black limba can vary in density, which affects the tone. It typically is deep and clear sounding. Swamp ash and alder are used when the traditional big, punchy tone of a bolt-on is desired.
The facing can also affect the tone, though to a lesser degree. A particularly dense facing will add sustain, while a soft facing can remove sustain and attack. The worst wood used for facings is normally buckeye burl. The extreme softness coupled with the lack of grain integrity causes the wood to remove much of the attack of the note that would otherwise be there. Any number of woods can be used for the facing, and are selected on an individual basis for each instrument.
 |
|
|
|
| |
FINISH
The finish on an instrument can be just as crucial as any other element in contributing to tone, playability, and appearance. I offer a variety of finishes to suit different needs. The accepted finish for guitars and basses has traditionally been lacquer. This is the thick, high-gloss coating that most factories still use. This can actually be achieved with a few different materials, including nitrocellulose, urethane, and two part resins. For gloss finishes, I typically use urethane, thgouh nitrocellulose is available. Many players feel that vintage instruments sound better over time. Some attribute this to the nitrocellulose used at the time, but this is not due to any inherent superiority of the finish. The nitro breaks down over time, turning yellow, brittle, and cracking. This separates it from the wood, allowing the wood to breathe and vibrate freely, creating a better sounding instrument. It is the inherent flaws of the finish that are it's best attributes. Rather than waiting thirty years for this effect to take place, other finishes can instantly start this vibration tuning process. Rubbed oil has become a popular finish for basses in the past few years. It readily allows the wood to breathe while providing moderate protection against the elements. Oil finish also creates the feel of bare wood under the hands, which many players find extremely comfortable. Clients regularly report that after only about six months, there is a noticable improvement in the tone, as the wood has "opened up." Both the varnish and the tung oil can be reapplied very easily, making maintenance more simple.
|
|
| |
ELECTRONICS
There are many options with electronics in bass guitars. The style of music and intended use help to determine what is right for each bass. The number of pickups, whether or not to use a preamp, and knob locations are the first aspects to consider in the design. |
|
| |
|
|
It has become a standard practice to use active preamps in high-end basses. There is nothing wrong with this, but it is not always necessary. Any normal 3 band EQ on a bass is nothing but a primitive version of the same EQ that is found on an amp or preamp. Likewise, the thought of needing a preamp to “boost” the signal is not particularly accurate. Amps are built to take certain levels of input, both active and passive. The gain knob on a good amp is the most important aspect of amplified tone. Ironically, it is often the most overlooked knob on the amp.
The most popular choices for pickups are Aeros and Bartolinis. Most other manufacturers are available when desired. The use of Aero pickups has allowed for a much wider range of unique instruments, as each pickup is custom made for each design.
The range of available on-board preamps has grown in the last few years, and I use most of them on a regular basis. I also offer the Stellartone passive tone module, a unique option for those looking for multiple tone settings without “going active”.
|
|
| |
Back to top
EXTENDED RANGE
Specializing in custom designs has meant a consistent amount of extended range builds through the years. Players have stretched the concept of the bass guitar to include up to 12 strings, though seven to nine strings are most common. The biggest factor with such builds is that there are no standard bridges or pickups for such large basses, and makers have to be creative with their solutions to achieve these designs.
The most important aspect when building an extended range bass is determining the overall tuning. This will in turn help to determine what is necessary for the scale length, which creates the overall concept for the bass. A bass that features two strings below the low B (low F and super low C) needs as long of a scale length as is possible. The flip side of this is a bass that starts with the low B and climbs up to the high E flat, a half step below the highest string of a normal guitar. This demands a shorter scale length for the tuning to be possible, and will typically result in a multiscale fretboard. A typical eight string bass will go from 35” on the low B to 30” on the high B flat.
Custom Aero pickups are normally used on these creations. The extreme level of frequency range is necessary for reproducing the lowest notes. Likewise, the ability to design each pickup for the string spacing and fretboard radius is crucial for the most balanced response across the instrument. |
|
| |
Back to top
The Stock Basses section has been created due to consistent demand for immediately available basses. These designs each aim for a separate style of bass playing and aesthetic. The general concept is that these models will be made for stock on a regular schedule. Basses that are not in stock will be able to be built at a much accelerated pace compared to full custom builds. The timeframe for each model is listed in the specs section. The stock nature of the designs means that customizations are not possible, though there are variations within each model.
Back to top
Custom basses come in all shapes and designs. Assembled below are the most popular Stambaugh designed body shapes that are frequently requested. These have become custom “models”, and are meant to be used as templates for personalized builds. Custom shapes are always possible, of course; some designs can affect the price. Custom basses can have any scale length, number of frets, string spacing, electronics, finish, woods, etc. The Pricing page offers quotes for most normal options; personalized quotes are provided when requested.
|
|
Back to top
Below are a variety of basses. These are examples of custom ordered instruments shown to help potential clients get a better understanding of how the pricing works. Each of the important features that could affect the price are broken down individually. Every custom bass is unique,of course, so these are offered only as guidelines.
| |
 |
4-String Neck-thru V Bass
Base price- $1800
Custom shape- n/c
Figured bubinga front and back- $300
V shaped inlays- $200
Nordstrand pickups w/wooden covers- $450
Aguilar preamp w/custom wiring- $50
Snake headstock inlay- $100
Custom headstock shape- n/c
Oil finish- n/c
Total price- $2900.00 |
| |
4-String Neck-thru CB Bass
Base price- $1800
Burled maple facing- $200
EMG PJ set- n/c
Pope preamp- $450
Gloss urethane finish- $400
Total price- $2850.00 |
 |
| |
 |
5-String Neck-thru SB Bass
Base price- $2200
Figured bubinga facing- $100
Aero custom pickup- n/c
Custom bubinga ramp- $50
No electronics- -$150
Oil finish- n/c
Total price- $2200.00 |
| |
5 String Neck-thru SB Bass
Base price- $2200
Burled poplar facing- $200
Figured bubinga back- $100
Egyptian inlay- $400
Aero pickups w/wooden covers- $200
Bartolini preamp- n/c
Gloss urethane finish- $400
Total price- $3500.00 |
 |
| |
 |
4-String Bolt-on CB Bass
Base price- $1600
Figured teak top- $150
Delano humbuckers w/switching- $50
Aguilar preamp- n/c
Gloss urethane finish- $300
Coated fingerboard- $100
Total price- $2200.00 |
| |
4-String Neck-thru DB Bass
Base price- $1800
Claro walnut facing- $50
Aero J pickups- n/c
Passive wiring- -$50
Oil finish- n/c
Total price- $1800.00 |
 |
| |
 |
5 String Bolt-on Lefty Bass
Base price- $1900
Figured maple burl top- $150
Custom Aero pickups- $200
Delano Sonar preamp- n/c
Gloss urethane finish- $300
Total price- $2550.00 |
Back to top
|
|
|
|
