Bass Patterns

BASS PATTERNS

The four basses pictured here each have unique characteristics of design that set them apart. The gamba-corner bass (1) most closely resembles the instrument's ancestor, the viola da gamba. Note the sloped shoulders and square corners. While the earliest gamba-style basses had flat backs, ours are built with more stable arched backs. The violin-corner bass (2) has wider shoulders and flared corners. The Bussetto model (3), named after a famous 17th century bass maker, has uniquely shaped corners and wide lower bouts. The French model (4) is designed after the work of turn-of-the-century master Charles Quenoil. It is particularly narrow on top, with sharply sloping shoulders and narrowing ribs, reducing the distance from back to front. This facilitates high position playing, so these are some of the most sought-after instruments for use as solo basses.

It's the foundation of the orchestra, the rhythm of the jazz ensemble, the character of a folk or rock group—indispensable for any ensemble desiring a full sound. But exactly what is this instrument? A REALLY big violin? A cross between a guitar and an overgrown cello? Actually, the answer is not simple.

Unlike the other members of the violin family, the bass (or string bass, contrabass, double bass, bass viol, bass violin, bass fiddle...or whatever name you know it by) is not directly descended from the violin. It is of mixed ancestry, traceable to both the violin family and the gamba, or viola da gamba family. This is one of the reasons there are so many accepted shapes and sizes of basses, and why there are two very different ways to bow it. Regardless of style, musically the bass is considered the largest and lowest member of the violin family.

From the violin, the bass inherited its standard four strings, unfretted fingerboard, and some violin styles and methods of construction, as well as the French overhand bowing technique. From the viola da gamba, the bass received its tuning (in 4ths), sloped shoulders, narrowing upper ribs, and some gamba style construction methods, as well as the German underhand bowing technique.

Modern makers and players can determine for themselves which heritage to emphasize. Basses are made with violin corners (pointed, flaring out from the body) or with gamba corners (square, not extending from the body). They can also have arched backs, like a violin, or flat backs, like a gamba. And different makers have also designed personal models of varying widths and shapes. In general, there is a lot more variability in accepted shapes and styles of basses than for any other violin family instrument. As you look through the pictures of various Eastman Strings basses, you will see examples of many styles, which we have labeled to help you identify them. (Note that the common "full size" bass is called "3/4 size". Basses larger than 3/4 size are rare. A few players use 7/8 basses, particularly if they play with five strings, and actual 4/4 basses are virtually unheard of outside of museums because they would be very hard to play and transport.)

All of our basses feature the following specifications:

Ebony fingerboards
Sturdy, well-made endpins
German brass tuning machines
Inlaid purfling (except for laminated Samuel Eastman models)

At Eastman Strings, we know that for you to play your best, we need to make your bass so it will not only sound good, but also be sturdy, reliable, and easy to play. That is why we NEVER save money by using cheap materials such as imitation ebony for fingerboards, shoddy endpins, or plated cheap metal tuning machines. Each of our models has its own special features, but they all express our passion to make great sounding instruments that are a pleasure to play, year after year.