We recently welcomed New York Philharmonic Assistant Principal Bassist Blake Hinson for a conversation about the lifelong process of honing a double bass. Honing is an involved practice, encompassing everything from the decisions that go into building the instrument, to setting it up for a player’s specific needs, choosing the right strings, and finally learning and accepting the instrument’s idiosyncrasies. It’s the fine tweaks that make an instrument begins to respond as if it truly belongs to the player. Blake takes this process very seriously, and the conversation between Gary and Blake, combining the luthier’s and musician’s perspectives, gives a lot of insight. The response to the video has been amazing, and it’s clear this topic resonates deeply with serious players.
So, Gary wanted to dig a bit deeper into it from the luthier’s point of view. We do this a lot, and our expertise combined with your vision is what goes into the honing of each double bass we make or tweak for you as a client.
Every bass that leaves our shop begins as a vision from the player. Whether it’s Nina Bernat’s travel version of her father’s bass, Blake’s copy of his Gagliano, or Dan Kinchen’s six-string, each instrument is born from collaboration and trust. Once it’s built, the honing begins.
In this video, Gary describes how a 2024 Brescian model orchestra bass will be transformed into a jazz powerhouse. This bass will undergo a redress of the fingerboard, removal of the C-extension, installation of new tuners, a lighter tailpiece, and a fresh set of strings. Listening and feeling at every step is how we achieve the final result.
The longer we can work with a bass after it has been built, the more Gary, Jack, Chris, and Dan can reflect and adjust how the instrument responds to the player’s intentions.
That’s honing. And it continues long after you take your bass home. Every tweak and adjustment add to this ongoing process. It’s also a process of acceptance of both the bass and yourself as a player. Sometimes it’s about working with the instrument instead of against it. You might need to work around a wolf tone rather than trying to eliminate it, to really let the bass shine.
The relationship between maker, player, and instrument is very fascinating. When all three align, that’s when a bass truly finds its voice.
