Scallopini...

[Ken Smith]

This Bass of mine is just coming out of restoration. It was nick named Scallopini after the 8 external scalloped corner blocks attached to the Guitar-type Ribs and joined to Top and Back Corners that overlap the Ribs. Next week I will pick up the Bass and bring it home, finally. Here are some shop pics I got thru email earlier.

[Ken Smith]

The repair skills needed here were extensive. The Bass was un-playable when I acquired it and only played it for about 30 seconds before de-tuning it and putting it in the rack for repair. I have had this bass for about 3 1/2 years now. A good part of the restoration was un-doing the previous bad work done and re-repairing the Top which was in need of some serious surgery. The job took about 3 years to complete working on the slow side at first and then continuously after all things settled. The main problem was the Top which is usually the most fragile part of the bass.

The String length was longer before with the previous neck in the bass. It is now reduced to about 41" mensur with a D-neck heel. The back had some minor repairs done as well near the angle break and I also had a quasi small center 'sound-post' brace installed like on a Flatback bass. I prefer having this done on all roundbacks whenever possible. The Ribs needed some work as well. What ever work that was good was left intact but there wasn't much of that so most everything was re-done.

The Bass is now beautifully restored and I will be breaking it in daily over the Summer. I hope to play it in Orchestra next season. For now, without a C-Extension. That might be added in the future but if this looks to be ideal for a soloist, I might just leave it as-is.

[Anselm Hauke]

what do you think about that old "bononiensis" label?

[Ken Smith]

what do you think about that old "bononiensis" label?

The Label is old but that was a Lute maker. I don't know if the label is real or not but doubtful. Maybe the Label was faked when the bass was made about 200 years ago but not 420 years ago. That maker however DID produce Viola d'Gambas in Guitar Form as introduced a century earlier by Spain known as the Leg Viol. Perhaps he made this bass in the style of Brensio, his Italian name. He worked in Bologna.

On this Bass, one dealer said years ago that it looked similar to two other basses he had seen by the name of Lod Parisini. When I recently inquired about his assumption he told me about the two basses and who owned them. One of them is not far from me and when Arnold last visited me with the Storioni copy last December, he brought the Bass and owners husband with THAT very same bass to compare. The Bass has stamped on the tuner plates, Lod Parisini, Bologna 1813. It has the same body, shape, angled sloped shouldered roundback but more refined as far as the Violin shape.

About the writing on the label; http://dolcecano.blogspot.com/

[Anselm Hauke]

thanks for the info ken, very interesting!

[Ken Smith]

thanks for the info ken, very interesting!

I just found this (http://www.selectviolins.com/makers/italian_violin_makers.html) as well;

ANTONIO OF BOLOGNA (Antonius Bononiensis). There is a Viol da Gamba by this maker at the Academy of Music, Bologna.

BRENSIO, Girolamo (BRENSIUS, Hieronymus), Bologna. Reference has been made to the Viols of this maker in the first section of this work.

The second I think is related as well.

I also found these (http://www.centrostudiclaviere.it/?page_id=169);
http://www.centrostudiclaviere.it/wp-content/uploads/2011/05/IMG_4065-2-300x200.jpg (http://www.centrostudiclaviere.it/wp-content/uploads/2011/05/IMG_4065-2.jpg)
Viole rinascimentali soprano e tenore, copie di Fabrizio Reginato.
Dal modello originale della viola di Antonius Bononiensis (XVI–XVII secolo) conservata presso il Museo Internazionale e Biblioteca della Musica di Bologna.

http://www.centrostudiclaviere.it/wp-content/uploads/2011/05/IMG_4118-200x300.jpg (http://www.centrostudiclaviere.it/wp-content/uploads/2011/05/IMG_4118.jpg)
Viole rinascimentali basso e contrabbasso, copie di Fabrizio Reginato.
Dal modello originale della viola di Antonius Bononiensis (XVI–XVII secolo) conservata presso il Museo Internazionale e Biblioteca della Musica di Bologna.


These are copies of instruments by the above named maker. I show this so you can see the primitive difference and the similarities between the old Guitar model Gambas and the cornerless Double Bass which came a bit later in time.

[Ken McKay]

Beautiful bass you have there.

Did you do the restoration work Ken?

[Ken Smith]

Beautiful bass you have there.

Did you do the restoration work Ken?

No, it was Robert McIntosh. I will have more pictures when we put a page up. I will do my personal set-up tweaks as usual but only as necessary. I know Robbie's work is good as I have seen it on the J.B. Allen bass Arnold used to have for sale and also on one of Robbie's own basses as well. This is the first full restoration he has done for me and at the recommendation of Arnold as he was busy with my other cornerless bass around the same time.

Ken, I said in the first post;
"Next week I will pick up the Bass and bring it home, finally. Here are some shop pics I got thru email earlier."

I thought I made it clear that it was being done at someone else's shop, as usual. If I had the time and if I hadn't given up all my tools back in 1991 I might have been doing some of my own work from time to time. Projects like these that require Top re-shaping and major breast patches should be left to the surgically inclined Luthiers rather than the general practitioners of the bass world. I have seen only pictures of work in progress on this bass but both the Hart and Storioni went thru similar surgeries as well. This bass had less done on the Back than the other two but the Top needed some serious t.l.c.. I look forward to playing it in a few days.

Also, speaking of repairing sunken Tops, Robbie knows about stress and support from another unrelated/related subject. Have a look; http://coveredbridgebook.blogspot.com/

[Ken McKay]

Oh...Robbie, I met him in Kalamazoo and saw a fine bass he made.
Yes it takes a great restoration specialist to do the work right.

[Matthew Tucker]

So, I assume you guys have been speculating WHY a bass would be built like this?? I mean, why add corners to a cornerless rib garland? What's your best guess?

[Eric Hochberg]

Solves the picking up and carrying problem with cornerless basses.

[Ken Smith]

So, I assume you guys have been speculating WHY a bass would be built like this?? I mean, why add corners to a cornerless rib garland? What's your best guess?

I guess so it looks like a normal bass from the front. Short of digging up a few graves and asking them, I think we just have to speculate. I have seen quite a few of these and that's my assumption. This is the only one I have seen with Scalloped blocks. All the others had full blocks added externally.

On the carrying comment, this one is not quite as easy to pick up but grabbing it under the Scalloped corner works fine as compared to no corners at all.

[Ken Smith]

Update, the 'E' string is pushing some air now and I have only played it for about 2 hours combined now. I would play it more but this is a busy week and have been busy every evening after work. Next week looks better for some serious break-in practicing on the Scallopini. ;)

[Matthew Tucker]

I would play it more but this is a busy week and have been busy every evening after work. Next week looks better for some serious break-in practicing on the Scallopini Parisini. ;)

Well, we don't want you cutting any corners, do we?

[Ken Smith]

Well, we don't want you cutting any corners, do we?

You made a joke.. lol..

I am thinking of a design for a new bass with some kind of rail/handle, decorative of course on the outside upper bout going across from scallop to scallop so you can lift the bass. One on either side. This Bass has already had its upper bass side corner broken off in the past most likely from being lifted with it. Now it's re-repaired with the half edging under it to keep it stronger than before. I have to lift it with the Scallop in hand to take the load partially off the actual corner. Maybe I can have this added to the bass at some future point. I have to get used to the bass first before I think seriously about any kind of modifications to this beauty.

Here's a Cornerless bass with an added handle that's pictured on the forum. (http://www.smithbassforums.com/showpost.php?p=15248&postcount=3)

[Matthew Tucker]

Funnily enough I've never really had a problem moving/lifting my cornerless bass. I guess I hold it by the neck a bit more than I would a standard bass, that's all.

is there any evidence how Scallopini was made? Like, is it nice and symmetrical, indicating ribs formed on a mould, or is it a bit all over the place, indicating a more freeform construction? does the front outline match the back?

[Ken Smith]

Funnily enough I've never really had a problem moving/lifting my cornerless bass. I guess I hold it by the neck a bit more than I would a standard bass, that's all.

is there any evidence how Scallopini was made? Like, is it nice and symmetrical, indicating ribs formed on a mold, or is it a bit all over the place, indicating a more freeform construction? does the front outline match the back?

Well, one thing we can see and take a guess at is the rib and lining bends. They are scored/kerfed inside in several places with the cuts going over the rib and lining together. Meaning, he glued the linings in first and then bent the ribs with the linings already glued in place. The bass is a match 100% all around and no 2 corners or scallops are 100% exact to one another. Totally a handmade bass. I would doubt a mold was used but some jigs perhaps to hold things in place along the way. This guy made guitars as well as violins. You can see his hand/eye matching when comparing the scroll button to the scallops. Same tools as well. Definitely an interesting bass to study.

The Top is 3 pc spruce with the pith down the center of the middle piece at the ends. The Tailblock area was deemed not worthy of repairing due to several voids in the original wood so a thru patch was made in a triangle shape. The point is about 12" above the saddle and the bottom about 5 inches across, slightly askew from the center line favoring the treble side of the bass. Looking close you can see it on the right side but the joint is well disguised on the left side under the tailpiece. In this case, we went for repairing that section rather then restoring it. Restoring it might have looked more original but structurally, it would still be weaker than a fresh solid piece in that less visible area. I have the piece that was cut out and it would need several repairs in itself as well as doubling it inside. The new piece was the cleaner and stronger way to go overall. The outer flank pieces join just inside the center curve/bout and along with the center piece has some very fine grain lines in spots. Definitely a cold time in history with all the tight winter growth lines. I would also guess this bass was made buy a younger rather than older person. This because of the mix of guitar work on a violin family instrument. Not quite a refined maker yet but extremely artistic. The Ffs are beautifully curved around the eyes. One of my favorite parts of this bass in its workmanship. The most favorite is the ease of playing with the small neck block angled in from the roundback tapered to just 4 5/8" (117mm) with the ebony caps touching the neck. A joy to hold and play.

The back is old Italian Walnut with nice broad flames. The center seam was repaired a long time ago, maybe more than once. It wasn't touched this time around other then some replaced studs along the center seam. The Ribs appear to be maple, fairly thick and with some slight flame in spots. Possibly Oppio, Italian maple.

[Ken Smith]

The Label is old but that was a Lute maker. I don't know if the label is real or not but doubtful. Maybe the Label was faked when the bass was made about 200 years ago but not 420 years ago. That maker however DID produce Viola d'Gambas in Guitar Form as introduced a century earlier by Spain known as the Leg Viol. Perhaps he made this bass in the style of Brensio, his Italian name. He worked in Bologna.

On this Bass, one dealer said years ago that it looked similar to two other basses he had seen by the name of Lod Parisini. When I recently inquired about his assumption he told me about the two basses and who owned them. One of them is not far from me and when Arnold last visited me with the Storioni copy last December, he brought the Bass and owners husband with THAT very same bass to compare. The Bass has stamped on the tuner plates, Lod Parisini, Bologna 1813. It has the same body, shape, angled sloped shouldered roundback but more refined as far as the Violin shape.

About the writing on the label; http://dolcecano.blogspot.com/

I recently sent pictures of this bass to a very experienced and knowledgeable Bass maker/Dealer in Italy and he thinks it's from Bologna. So like the Parisini I examined from Bologna(1813) and the old label in the bass as well from Bologna (dated 1590) I think it is at least as possible that the Bass is from *Bologna so I will go with that for now. I still believe the bass is from 1790-1800 at the latest.

[Ken Smith]

Ok guys, look at these pics for comparison and tell me if the heads or bodies look at all similar. These are 3 different basses shown, 'borrowed' from 2 other websites on-line.

http://www.kolstein.com/mm5/graphics/kolstein/B2789_5.jpghttp://www.smithbassforums.com/attachment.php?attachmentid=2150&d=1310132771

http://u.jimdo.com/www29/o/sb34864868412b1e7/img/i853f7e9ba14c7bb8/1279213291/std/marconcini-1794.jpghttp://www.smithbassforums.com/attachment.php?attachmentid=2146&d=1310088364

[Matthew Tucker]

Well ... I'll stick my neck out and say no, I don't see enough similarities between the photo pairs to think the basses are from the same model or form or maker's hand. Yes there are some similarities but enough differences as well to cancel them out, in my mind.

That long head is interesting; its length and line doesn't seem to match the body it is attached to! (and no I realise it's not attached to the cornerless below it!)

[Ken Smith]

Well ... I'll stick my neck out and say no, I don't see enough similarities between the photo pairs to think the basses are from the same model or form or maker's hand. Yes there are some similarities but enough differences as well to cancel them out, in my mind.

That long head is interesting; its length and line doesn't seem to match the body it is attached to! (and no I realize it's not attached to the cornerless below it!)

Both basses above, head and body are made by or attributed to members of the Marconcini family. I have pictures on file of another bass by a Marconcini as well, Giuseppe supposedly. Mainly they worked in Ferrara but one of them, Luigi, worked first in Bologna and then in Ferrara. I see only similarities myself but Luigi built lutes and Viols besides Violins and Basses. I was just on a hunt when I found these when looking for makers in Bologna that made Guitars and Basses as that's what my bass looks like, a combo of the two.

The Bass I examined that was stamped 'Lod Parisini' on the tuner plate is a puzzle as well. Was he the bass maker, the gear maker, an owner of the bass like with the name 'Dragonetti' we have seen on some plates? So, without confirmation on even Parisini being the maker of that bass, I am still looking. Bologna is what some thinks it resembles in style and the list of possible makers for style and period is short.

[Ken Smith]

Ok, we are working on the Page for the Scallopini. We have a basic page in the works but not yet linked for the public. Should be ready shortly. The Pictures did not come out as good as I would like in the color mainly. We will either work on the color of the pictures or take new pics and replace them.

In the mean time, Click here (http://www.kensmithbasses.com/doublebasses/marconcini/) to see it. You will also notice that I have the bass attributed to the 'Marconcini School'. From all of my research to date including the pictures I have seen of Basses from Marconcini, I think this is a close match in the period of that Bologna/Ferrara style.

I welcome any comments from the readers here. I would love to know who really made this bass. It is a one-of-a-kind from what I have seen.

Here we go again, another 'Name that Bass' thread..;)

[Ken Smith]

Here are the labels in the Bass. One is from a repairman and one, the old 16th century Lute maker Antonius Bononiensis which I believe is false for this bass and period;

[Ken Smith]

Here is a picture of the Center Brace during the restoration. You can also see some scored lines in the Rib and Lining. This is how the Bass was made, scored and then bent with the Linings in place. Also, here is a side shot of the Bass showing how nicely the Top pressing came out along with the Varnish touch up and polishing. The Bass sounds beautiful by the way and is a joy to play on.

[Ken Smith]

Ok, I took the bass out several nights this week, Wednesday through Saturday. Wednesday was a full Orchestra rehearsal, 4 basses in the section that night. The Bass did just fine. The other nights, Thursday-Saturday were Chamber Orchestra with Concert tonight, Saturday. The Bass did just fine and I have done almost nothing to the set-up since the restoration except put new strings on the bass, Belcantos. I might adjust the set-up in the future but for now, I am just getting used to the bass.

Powerful sounding bass for the venue I played and the tone, superior to most basses I have. Since this needs some break-in time, I will play it as much as possible. If I HAVE to bring a C-extension bass, I will but otherwise, I will bring this bass out and give it so play time.

[Ken Smith]

Ok, we just took some new pics for the webpage of this bass.

http://www.kensmithbasses.com/doublebasses/marconcini/

[Matthew Tucker]

Nice pics there again. Interesting that the linings were bent with the ribs. Sounds like hard work!

Any clues on how the scallops were carved? I'm guessing in situ, but I can't see close enough to tell. Since they are so unique on this bass, suggest you include a closeup of one of them as an extra photo!

I note you have put a very wide bridge on this bass, it looks as if it overlaps the FFs by at least half an inch, or more, on either side. In the past, you have been adamant that this is a bad thing and causes belly to sink at the ffs. Any comment on the situation here?

[Ken Smith]

Nice pics there again. Interesting that the linings were bent with the ribs. Sounds like hard work!

Any clues on how the scallops were carved? I'm guessing in situ, but I can't see close enough to tell. Since they are so unique on this bass, suggest you include a closeup of one of them as an extra photo!

I note you have put a very wide bridge on this bass, it looks as if it overlaps the FFs by at least half an inch, or more, on either side. In the past, you have been adamant that this is a bad thing and causes belly to sink at the ffs. Any comment on the situation here?

On the Pics, you can click and blow them up a bit to see the Scallops better. I can't tell if they were carved totally after gluing to the Ribs but anything is possible. No two Scalloped blocks are alike within the eight of them. The work is quite nice and easy on the eyes as well.

On the Bridge, the width of Legs of the feet measure exactly the same (just under 130mm) as the width of the upper F's eyes. The tabs of the feet do spread out a bit past that as you have pointed out but nothing in the area of concern. The Bass side bridge Leg is right on top of the strong new Bass-bar. If the Legs themselves were wider than the F's upper eyes, this would be a concern. The Top has a fairly big 2-piece book-matched breast patch covering most of the lower bout and reaching up thru the F-holes as well. Quite impressive 'fitting' work from what I have seen. Have a look below. I guess you have to see a bass like this in person. It is quite loud and deep but does not have quite as much of the depth spread of the larger Storioni, just some extra low boom over it.

The Bass-bar and some other cleats had not been done yet when this was taken. Both the lower and smaller upper breast patches shown here with a complete half-edging as well.

[Ken Smith]

I rehearsed this past Monday with the Kreutzer bass I had used all last week but it didn't seem to fit the program we were doing, Mahler (Das Knaben) and Mozart 36. The Orchestra was scaled down, only 24 in the strings (8/7 violins, 4 violas, 3 cellos and 2 basses). The next rehearsals were Thurs. and Fri and the Concert last night on Sat. So I brought the Scallopini and heads turned around me as I was between the Violas and Cellos (they were switched from normal position with the Violas outside).

At first I was worried it wouldn't be loud enough as the bass next to me was a 7/8 (or 4/4) Pollmann Maggini model from the '80s. Big bass, loud sound. The Scallopini held up just fine and the tone is beautiful and full, especially the mid and upper register. This bass holds up as well as any 3/4 despite is slightly smaller size. I can only imagine how much more sound will come from the bass when all that new repair wood inside breaks in and ages. I won't be around in 50 years to hear it but someone will.

[Ken Smith]

Ok, some updates on this Scallopini. First off, after about a year or so (can't remember exactly) I decided to change a few things to suit my tastes. It had now been here long enough for me to know I needed to 'tinker' with it some. Back then, I put a new/longer tail wire to lengthen it some to get it closer to the bridge to maybe help with a wolf tone on the A. I don't know if that helped much but, I had to change the bridge arch and widen the spacing. It was about 1" or so, 25.5 - 26mm. My norm had been 27-28 or even 28.5 depending on the bass. This bass has a fairly wide fingerboard taper as the neck is a bit wide in the block and there was quite a bit of ebony outside the G and E strings as if, this was too wide for that set-up. The good news was that with widening the spacing, it would actually fill in that wide FB quite nicely and with ease.

The bass with Belcantos also sounded great but felt a bit loose when playing it so I tried some other strings and it seems that you can use just about anything on this and it will work. Currently, it has Orig. Flex on the G/D and Permanents on the A/E. The bass was sounding and feeling tight as we get into its second winter. So, I thought it should go up on my bench and get adjusted for these heavier tensioned strings.

I had already widened the spacing to 28mm and re-arched the bridge over a year ago and that was fine. I then looked at the soundpost and moved it back up into a more normal position as it was low and centered so I moved it just slightly closer to the bridge and slight outwards from the center. The fit of the post was also good being that it has a new flat brace on the back and a new healthy breast patch in the top so there were no bumps inside the top to hinder the re-set of the post.

Then I thought, why not bring the TP back down almost to were it was when it was restored, 2 octaves and a 5th (instead a 4th) being the lower bout is short, I figured that maybe the extra length might open the bass a bit as it was tight with these strings. A completely different set-up than with Belcantos. Also, I tuned the wolf weight to D on the A-string after length just to see.

I heard some buzzing while practicing right after and thought something came loose. Nope, it was the 8ft florescent lights 10ft up and the metal cabinet/closet in my office all vibrating from the power of the bass. Also, on the G and D it makes the other basses in the room ring out as well, more so than the other larger basses I have here.

So, what ever I just did and had done in the past, the bass is working. With Bel's on it before with the old adjustments, it also worked but I think I could have tweaked it a bit back then as well.

So, after 2 1/2 years, the bass is just barely breaking in. One thing for sure is that it seems flexible to sound good with any kind of string you put on. I have used that I can remember, Flexocor 92s, Belcantos, Passiones, Original Flex with 92E, Original Flex with Permanents 1/2 n 1/2 and even Evah Weichs as seen at the ISB last June. This is a flexible bass as far as strings go. Not many basses would be so friendly as this one has been with all those string changes. ;)

[Ken Smith]

Here are two pics from the ISB with the great Stefano Sciascia with the Marconcini. Also pictured, 2 of the 3 modified copies I had made in Europe and just recently completed in set-up by Mike Magee (pics from his shop). The first copy is being re-built by Mike and will be ready some time in the near future. The first copy was done from measurements and pictures taken from the website. The other two were commissioned after I evaluated the first bass and made some modifications to slightly increase all of the measurements. As you can see, these have actual violin corners, unlike the original 'scallopini' design.

[Ken Smith]

Here is the Marconcini with a beautiful C extension and new antiqued gears as well. NOW I can use it regularly in Orchestra. The sound is as good or better than any.

[Eric Swanson]

It looks lovely! Who made the extension?

[Ken Smith]

It looks lovely! Who made the extension?

Made at AES, Arnold's Shop.

Doing a Pit job this week where I usually use the Kreutzer BUT, I brought the Marconcini in last Saturday for the first rehearsal and on the break leaned it on the outer Pit wall against the Amp. So, I am using it in the Pit tonight, Friday and 2 shows Saturday.

I am parked along side the piano to my back left and the drums on my direct left with the trumpets in front of me. Two or three times my bass or bow (Fuchs) hit the Ride Symbol by accident in a perfect spot in the music and tempo. I told the drummer to 'write that in'! .. lol

Two years ago I used the Marcucci in the pit for another show as well but last year I went back to the Kreutzer in the Pit for safety purposes. I told another Luthier I was using the Marconcini and he said ' In the PIT?' .. lol.. I think the feel and sound is worth the reward to be nervous here and there with movement in and out of the Pit.

[Ken Smith]

Hey, after Gary Karr played my Bass at the ISB and told me how good it was, I think I need to listen to him! :)

[Matthew Tucker]

Gary Karr? What would he know ...

;-)

[Ken Smith]

Gary Karr? What would he know ...

;-)

lol.. your guess is as good as mine.. ;)

[Ken Smith]

https://www.youtube.com/watch?v=LcRfJ9wrp6Q&fbclid=IwAR2PdOQuEtNbKCJbs7CdHBCRp7xl3_dzYWRcOAJ2v zkZEoNRRj74joIu4Xw


https://www.youtube.com/watch?v=QAJn84tAS2M&fbclid=IwAR0m7I2OG_920tHcvliRsvPamItFbSbqMiuDdf6r5 PVvy-f4_yggjVQpKkQ


https://www.youtube.com/watch?v=OnOR97ZhFhs&fbclid=IwAR1xuoec_JYAyuA0VKd1PY2xx26oEDLESgq94J7aD wC-C-MASnGaHY35ToE