Abstract
I am a double bassist and ASTA member, specializing in private studio instruction in the suburban areas to the north and northwest of Chicago. For several years (in informal chats with other bassists and bass teachers) I have discussed the notion that the string height on student basses is often far too great. It was my belief that the criteria used to set this height were still based on the previous practice of using gut strings.
Recently I encountered a string height chart, published by MENC, which included a footnote: for steel strings (the calculations for metric equivalents are mine).
Paesold refers to a Roderich Paesold bass I recently acquired that features good shop set-up without bridge adjusters, Schmidt is my favorite bass, a product of a Markneukirken workshop, circa 1900. Measurements were taken at the end of the fingerboard.
In my opinion, the string height of the Paesold would be the proper height for a serious professional orchestra section member. Moderate (adult) strength is required to press down the high-quality professional strings; there is enough clearance so that fingerboard rattling would only occur with the most strenuous execution of fortissimo passages.
My Schmidt is set up with a Barbera Transducer Systems adjustable bridge. The height of my strings is what I have found to be standard among professional jazz bassists (if not somewhat higher). As a jack of all trades, I find that I need to raise the action somewhat when I substitute with an orchestra section, though rarely do I raise the action any higher than that on the Paesold. My students all love to play my bass; often I hear comments such as, “I wish my school instrument was as easy to play as this!”
There are several other variables, related to string height, that would dramatically influence the playability of a student's bass. They include, but are not necessarily limited to, the scoop of the fingerboard, the radius of the bridge, the distance between the strings at the bridge, the distance between the strings at the nut, the depth of the notches in the bridge, the depth of the notches in the nut, the proper placement of (and care taken to prevent warpage of) the bridge, and the quality of the strings installed on the instrument.
My two instruments that I used for comparison here are equipped with professional strings. Obviously, not all school districts can afford the most expensive strings for all their instruments, but because of wonderful technological advances and stiff international competition, the quality of bass strings has recently gone way up while prices have remained stable or have actually fallen slightly.
I advocate orchestra directors spend about 20 percent more to buy strings, avoiding the cheapest varieties. The mere fact that the strings will last longer means that the extra money invested will be automatically recouped. In my opinion, the strings that cheaper student instruments come equipped with fresh from the warehouse or a music store are often worthless and should be thrown directly into the garbage!
My point is this: in tandem with the cheap strings often found on school basses, MENC recommended string heights, although improved from the antiquated standards based on gut strings, still leave student double basses almost unplayable for most younger students. How many students get weeded out early because they were discouraged by what an ugly, distasteful task it was, doing battle with their bass every rehearsal? Imagine how hard it can be to motivate these children to practice every day!