1940s/2020 Stella/Wildwood Very-Short-Scale Banjo Bass

A couple weeks ago, I was stringing this instrument up when my cat dashed through the workshop and I lost my footing (so as not to step on him), bumping the neck against my bench. The heel (which was bolted to the rim and mated to a dowel) split about halfway down -- thank the gods of Harmony-made poplar necks for that. Oof. Instead of feeling angry about it, I put it down and worked on other instruments for the rest of the day.

A few days later, I cut the heel's bottom flat, quickly made (and fitted) a new dowel with a different design, and both bolted and glued the neck to that. This is a far-sturdier design and I've had the instrument up and running since then. I only waited to post about it so I could get a new set of strings on it -- my original set (using LaBella Silverback M-bass strings) had a bad A string in its batch with a rattly core. Sigh. Now it's using a set of Taylor GS Mini bass strings (made by D'Addario) and I'm really happy with these.

Anyhow, what is this thing? It's a super-short-scale banjo-bass (or "banjo-ukulele-bass?"), tuned just like a regular bass guitar: its neck is a 24" scale Harmony Stella guitar neck from the '40s mated to a new 16" Remo tar frame drum (synthetic, pre-tensioned head over an Acousticon super-ply rim) with a snakeskin print on the head. The look reminds reminds me proportions-wise of the Chinese ruan and the skin-look head reminds me of the sanxian. It sounds like neither of those, of course. Its sound is its own -- and I think best experienced using a medium-to-heavy pick to play it.

It definitely has volume-enough to sit-in with a few friends while jamming. This was my goal -- guts-enough to hang out and play bass while not having to lug a bass around. It certainly doesn't "bloom" like an upright or have fret access like an acoustic bass guitar, but it has lots of portability and a growly, oud-like, punchy sound do it. I guess it sounds a bit like a twangy, low-sustain, mellowed piano string?

I tried several string types on it, but the D'Addario set for the Taylor GS Mini bass was my favorite -- nylon cores with phosphor-bronze winding. They're low tension and aren't as loud as the LaBella Silverbacks (which sound more oomphy and forward but are less fun to play) and don't have the twang, zip, or snap of standard steel-core electric bass guitar strings (which I also tried -- both flats and roundwound), but their warmer low-end over the steel-core strings, good volume, and excellent feel meant they were the most satisfying choice for the instrument.

It's a rough-and-ready machine, though -- I did not spend a lot of time making it fancy or pretty, though it's structurally strong and good to go. The dowel's cut doesn't perfectly match the heel shape I mated it to, the flat resonator I used on the back is simple plywood that I india-inked black (and sealed with finish), and the plugged tuner holes in the headstock are not invisible. The effort was put where it counts, though -- it plays great, sounds great, and is alarmingly-cool.

Using fingers, the volume level is not so hot, though it's plenty to play with a buddy or for practicing or recording with. It really shines when played with a pick and going for that bajo-sexto "bump-bump," staccato playing. However, if you're not playing traditional bass repertoire, I think the instrument is marvelously expansive. I've been playing it retuned to Eb-open (Eb, Bb, Eb, G) and using a capo to get into different keys.

By picking closer to the bridge or farther away from it, "world folk" tones from all across the map start to appear. Sometimes it sounds a bit like a Gibson cello-bass. At others it sounds like an oud. If you're careful, you can get some of that low-end twang and presence that guqin players get. It's an interesting instrument and the more I play it the more I appreciate it not as a support instrument for others but as an instrument expressing itself. The low notes and quirky tone -- as well as the compact form -- mean it does things that nothing else does. I'm really happy with that.

Repairs included: (on the neck) a fret level/dress, side dots install, conversion to bass tuners at the headstock (using old '60s Japanese tuners), new bone nut, and fretboard extension brace (to keep it stable extended over the head). At the rim I fit a rosewood adjustable bridge and worked-up the (cherry) dowel and mounting method for it. Of course, after all the fuss I gave it a good setup.

Setup notes: the neck is straight and action is fast/easy at a hair over 3/32" at the 12th fret -- and very-much adjustable up/down at the bridge to suit player preference. Heavy-handed players will want to jack it up higher so avoid fret-slap noises while quieter players can crank it down lower. I'd originally made a non-adjustable bridge for it but, at a whim, stuck an adjustable archtop bridge on it. I liked the tone better with it (a little more volume and presence), and so fit it for use. Strings are Taylor GS Mini bass strings made by D'Addario.

Scale length: 24"

Nut width: 1 11/16"

String spacing at nut: 1 5/16"

String spacing at bridge: 2 1/16"

Head diameter: 16"

Rim depth: 3 3/8"

Rim material: Remo Acousticon (w/pre-tensioned head)

Neck wood: poplar

Fretboard wood: ebonized pearwood or maple

Bridge: adjustable rosewood

Neck feel: big soft-V shape, flat board

Condition notes: it's modified... but suffice to say there are a few almost-invisible plugged holes on the rim, I did not spend a lot of time making it beautiful, and the neck shows many years' worth of play and use. The frets are low and small per their original spec but in good order.

While I mounted the resonator backplate "flat" on the rim, there's a soundhole at the bridge side of it and enough air leaking from the edges to provide volume. At the side of the rim pointing towards the player's ears, I used a couple of spacers against the resonator/rim seam to let a little more sound escape. This works like a "sound port" to throw some noise at the player instead of out to the audience or bandmates.

Stringing is very simple -- a few holes in the rim allow you to pop the strings through and let the ball-ends snug-up on the inside of the rim. For those not dextrous enough to get the points of the strings into the mounting holes through the soundhole below them, a simple set of pliers or grips to point them in he right directions helps the job along quickly. In duress, I suppose the resonator could come off to help, too. I dislike having to add hardware (like a tailpiece) unless I really need to.

The foam under the string-afterlength behind the bridge is simply for muting overtones.