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twocorgis

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You could get one fretless from the factory. I think @Nuuska has a fretless, sunburst B-30.
So does Bobby Smith, bassist in @SmithfieldFair

134643086_4822251591182008_6726707666134725810_n.jpg
 

mellowgerman

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I have seen the scale lengths for my non-Pilot Guilds described as 30.5". I have seen 30.75" and 31." also reported but assumed the discrepancies were errors and not a change in spec. As we know, not every reported scale length is measured the same way. On my own instruments I can get different measurements by depending upon whether I measure from the nut to the 12th fret and double the measurement (the "right way") or look at the distance between the nut and a saddle. On my basses with an intonation I like, the "scale length" varies by almost .5" between the E and G strings. Since I use a yardstick or a tape measure (and not a more refined tool) I can also get some variation based upon whether I strive for the center of the fret and the nut, the same sides or opposite sides.
The bottom line though is I can't feel any difference between the "short scale" instruments which vary in spec by .5" whereas the nominal 34" Pilot is a completely different beast.

Without consulting notes I think all B-50's had split saddles and some of the B-30's had split saddles. I think the earlier B30's had the split. The split was an attempt to provide better intonation but even then things were about 10 cents off which may be why the one piece bridge was restored. The split saddle didn't really make things better.

The speaking length of the strings on a split saddle certainly varies with the split saddle but then that is also true of a harp bridge or just about any other bass where the saddles are not in a straight line.

At this point all I really care about scale length is how to use it to get strings that fit and even that depends upon inconsistent measurements and definitions.

Yeah, my guess on the split saddle was to somehow counteract the ~90degree break angle on the heavier gauge strings, which would otherwise maybe not make enough solid contact with the saddle. Slight side-effect of this (at least with this set of EB Cobalt flats) is that the A intonation is a hair flat. Not significantly, but noticeable when doing an Emaj chord at the 12th fret for example. Not a big deal
 

lungimsam

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Don't hate me, but to me that thing is begging to be fretless. Best way to fix intonation issues on a bass is with pliers. zulu's tech tips

Hmmmm…interesting idea!!!!!
That means there’s hope for every bass no matter what the intonation issues might be. Just get a luthier to put an Ebony slab on and you’re good to go.!!!
 
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Nuuska

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Yeah, my guess on the split saddle was to somehow counteract the ~90degree break angle on the heavier gauge strings, which would otherwise maybe not make enough solid contact with the saddle. Slight side-effect of this (at least with this set of EB Cobalt flats) is that the A intonation is a hair flat. Not significantly, but noticeable when doing an Emaj chord at the 12th fret for example. Not a big deal

Hello

Methinks the idea of split saddle was simply to get the intonation right - for the strings that were designed for that instrument then .

As we well know - a straight saddle has problem - at least where wound and plain strings meet on a 6-string guitar.

If a straight line on a bass from E to G would be ok - then why is it not used - on electrics ? ? ?
 

fronobulax

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Methinks the idea of split saddle was simply to get the intonation right - for the strings that were designed for that instrument then .

From a conversation of mine circa 2021.

"Hans told me the split saddle was Guild's attempt to address intonation but the circumstances were such that I don't want to quote him in public. I'm getting hammered too much for jumping to conclusions and bad memory and I like the explanation more than finding out I had misunderstood him yet again. But why ever they did it, it didn't last long."
 

banjomike

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It's so massively pretty. Makes me want to jam with you.

Don't hate me, but to me that thing is begging to be fretless. Best way to fix intonation issues on a bass is with pliers. zulu's tech tips
A former bandmate played a B-50 for years in our band. He loved it, but he eventually had the frets pulled and the slots filled because he couldn't ever get used to playing on a neck with frets.
He loved the portability and everything else the B-50 gave him, but he's really a died in the wool bassist.
After our band broke up, he sold the Guild and returned to his ancient Kay Jazz King bass viol. The guy he bought the Kay from bought his Guild and owned it until he died in 2018. It was his only acoustic bass guitar.

Big congratulations on the arrival being safe and sound! I had a new old Guild arrive in the cold snap too, and I was as tense as a cat in a room full of pit bulls while I awaited it; below-zero temps can wreak havoc on an acoustic guitar, but mine came with no damage. A great relief for sure.
 
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mellowgerman

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I had a Guitarron for a few years actually. Fun to mess around on... Until one wonderfully cosmic night at a music festival, when I decided to try and compete with a drum circle... for several hours straight. Sometime shortly before dawn I realized those coarse roundwound strings (though I believe they were essentially giant classical guitar strings) had ground my fingertips down to something resembling ground beef. Needless to say, I had to play bass with a pick for the rest of that summer. After which I sold the Guitarron.
Oh the follies of youth.
 

mellowgerman

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Fixed the intonation issue with a set of standard/long scale Fender tapewound strings (old stock mexican-made set I had in my string box). As I had hoped they might, the fatter .058-.110 gauges efficiently sharped the flat intonation of the A string, and the others seem more or less on point too. Not to mention, the tone of these strings is nice and balanced, with the same sort of loud volume that the Cobalts exhibited.

They happen to sound nice and bright and deep and loud. Only complaint is some clickety clackety sounds that come from the shiny polished nylon outer winding (part of the reason why I like D'Addario tapes so much - no shiny clickety clackety), but they sound good and I think I can finesse the clackety E string with some mindful playing, so we'll see how things go. Sure looks cool with black strings on a pretty sunburst.
 

lungimsam

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Does playing all free strokes eliminate the clack? No rest strokes?
Or with a pick?
So prressing the string sideways and not pressing toward the face of the bass?
Or without the forearm resting on body? That helps orient the hand to do sideway pulling of rest strokes instead of pressing towards bass face.
I am also trying to kill the clack with my playing!😀👍
But these days I find playing with a pick gets me better tone than with fingers, and no clack.
 
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mellowgerman

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Yeah, regardless of pick or fingerstyle, it's really just a matter of landing the strokes on the string in such a way that it vibrates enough to achieve the desired volume, but not so much that the string's vibration makes it contact the next fret down. Not hard to accomplish, but an extra thing to think about while playing, none the less. Plucking closer to the bridge eliminates the issue, but I like the sound of plucking closer to the neck, so a little more finesse is in order there. The fact that these strings are pretty low tension also adds to the distance that they move while vibrating. Not to mention, a 6.75" deep jumbo body forces you to change your playing technique a bit, so it just calls for some adaptation. All a part of the ride!
 

lungimsam

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How does it compare to the measurements of the NS B240EF?
They are basing the current acoustic bass offerings off of the B50. So I am wondering if it is any different than your B30e size.
Upper Bout Width12 5/8" (321mm)
Lower Bout Width17" (432mm)
Body Depth Upper Bout3 7/8" (99mm)
Body Depth Lower Bout5 1/4" (133mm)
Body Length20 5/8" (524mm)
Overall Length47 7/8" (1216mm)
Interesting that Cordoba made a fretless acoustic bass but no electric version.
 

fronobulax

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From a 2001 price list

B30E 350-4406-...........................................................1999.99

Acoustic bass 18” wide, 6 ½” deep mahogany body, solid spruce top rosewood fretboard 30 ½” scale, deluxe case

Not sure what specs you quoted so not sure how to answer. In general the B30 is slightly smaller than the B50 but I don't think it makes any practical difference. People looking for one will buy the other if that is what shows up in the market first.

Interesting that Cordoba made a fretless acoustic bass but no electric version.

Maybe. But unless you are Jack Casady and pushing the envelope on the projection and volume available from something that can still be called an acoustic bass guitar, "bigger" is not always practical. At some point a big acoustic bass guitar is a PITA to play and if amplifying the instrument is an option, why not amplify something that is easier to play?
 

Nuuska

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How does it compare to the measurements of the NS B240EF?
They are basing the current acoustic bass offerings off of the B50. So I am wondering if it is any different than your B30e size.
Upper Bout Width12 5/8" (321mm)
Lower Bout Width17" (432mm)
Body Depth Upper Bout3 7/8" (99mm)
Body Depth Lower Bout5 1/4" (133mm)
Body Length20 5/8" (524mm)
Overall Length47 7/8" (1216mm)
Interesting that Cordoba made a fretless acoustic bass but no electric version.

My B-30

330mm
457mm
133mm
147mm
548mm
1193mm
 
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