My New Pfretzschner

[Brian Casey]

I just couldn't help myself posting my new acquisition here. Pretty much just sharing, but if anyone has any information or comments other than what I list, I'd be thrilled:

Circa 1930 G.A. Pfretzschner 3/4 carved double bass -- Markneukirchen, Germany

Branded on the inside of the back, "G.A. Pfretzschner, Markneukirchen".
Healthy top and in excellent shape for its age, bearing no major structural damage and with some superficial wear: no cracks or breaks to the neck or scroll, no cracks to bassbar or soundpost areas, and completely intact bassbar. Some older repairs. Most recent bass setup work by a D. Scott Henrie comprised installation of a new bridge and expert resetting of the vertical angle of the neck for more projection. (1930 is the estimated production year from Mr. Henrie.)

* Gamba form with curved back. Top is of wide-grained spruce; back is of two piece maple slightly figured with matching ribs. Plain maple neck. All ebony trimmings (fingerboard, nut, etc.; includes new tailpiece). Pfretzschner workshop teardrop-shaped purfling loop below the button on back
* Bridge with adjusters; also set up to accommodate a Wilson pickup
* Brass 1/4 tuning machines
* Heavy-duty brass collar endpin
* Upper bout: 51.5 cm
* Middle bout: 37.0 cm
* Lower bout: 65.3 cm
* Body length (top): 110 cm
* Body length (back): 108 cm
* Rib width: 18.7 cm
* String length: 41 1/8"

I'm still getting used to the differences between this and my Christopher 400F that I've been playing the past 2 1/2 years.

NOW, the question is what kind of PU to install on this new (to me) bass and what kind of strings. Any thoughts out there?

Huge thanks to Ken, Arnold and everyone who contributed to my search for 'an older european instrument' - I couldn't be happier with what I found....and it only took about 4 months and playing 15-20 different candidates.

Thanks again. Now it's time to get down and do some serious 'shedding.

Brian Casey

[Ken Smith]

What's with the CMs and then the String length in inches?

Nice Bass but in USA, no one understands the CMs. In Europe it's standard but with inches as well for international sales.

This is that same shop that made my Morelli who ever they are. I posted a thread here on the Forum about Shop Basses like these (http://www.smithbassforums.com/showthread.php?t=14).

I believe that the initials G.A. were used as an export brand for USA mainly as he was a famous Bow maker. The family line of CF I, II and III were the only Violin makers in that family of Pfretzschners with all others being only Bow makers.

I think aside from the shop aspect of these Basses and the integral Bars, many of them they are made a notch above the later Juzek Brand Basses made by the Wilfers. The Wilfers did make some higher end Basses but the average Gamba model was not as good in my opinion as the Pfretzschner brand Basses were.

Nice score there Brian. Don't forget some picks of the Back and Purfling area.

[Brian Casey]

Sorry, Ken and all.

I just copied the info from a sales listing I had - didn't even think about cm vs. inches.

Here's a picture of the back with the teardrop purfling loop that is in keeping with the GA Pfretzschner stamp on the inside. I'll try to get a close up of the button a little later this week.

I really like my Full Circle on my Christopher, but I'm thinking about trying the Realist on this. Any thoughts on that from anyone?

Also, my teacher has suggested going gut, at least for a while to let the top get out from under the steel of the Dominants for awhile. I'm thinking more like D+G Olivs and E+A Spiros. Again, if anyone has thoughts on that, I'd love to hear them.

brian

[Ken Smith]

Sorry, Ken and all.

I just copied the info from a sales listing I had - didn't even think about cm vs. inches.

Here's a picture of the back with the teardrop purfling loop that is in keeping with the GA Pfretzschner stamp on the inside. I'll try to get a close up of the button a little later this week.

I really like my Full Circle on my Christopher, but I'm thinking about trying the Realist on this. Any thoughts on that from anyone?

Also, my teacher has suggested going gut, at least for a while to let the top get out from under the steel of the Dominants for awhile. I'm thinking more like D+G Olivs and E+A Spiros. Again, if anyone has thoughts on that, I'd love to hear them.

brian

Brian, these Basses are often very thickly wooded. Mine was re-graduated Top and Back (http://www.kensmithbasses.com/doublebasses/MorelliBass/images/688.jpg) changing the tap-tone from 'thunk' to 'booommm'. I used Obligatos on mine (http://www.kensmithbasses.com/doublebasses/MorelliBass/images/695.jpg) but it had Spiros when I bought it.

I think the guy who bought mine is using some type of Gut Combo as well but you would have to ask Arnold about that.

On the pickup, my favorite has been the Shadow Pickup (http://www.kensmithbasses.com/doublebasses/BatchBass/Batch1.jpg) that looks like an Underwood (if you can see it mounted in my Batchelder). I have used it on all of my Basses and even bowed with it in a few Orchestra concerts where and Amp was needed.

[Charles A Thomas]

I also have a GA Pfretzschner, it looks alot like yours, except for the perfling on the back, my teardrop at the heal is differant. It was great to read some of Ken's replys, he knows more history on these basses than anyone I have talked to.

[Calvin Marks]

Also, my teacher has suggested going gut, at least for a while to let the top get out from under the steel of the Dominants for awhile. I'm thinking more like D+G Olivs and E+A Spiros. Again, if anyone has thoughts on that, I'd love to hear them.

brian

The Olivs have a much more organic, dark and warm tone than Spirocore, so I'm not sure how well they'd match. How about Eudoxa on the bottom two?

Oliv GDA and Eudoxa E sounds really nice.

[Brian Casey]

Hey Calvin - I've heard of people using the Oliv/Eudoxa combo, but I think I might miss the growl of the spiros down low.

I've been playing with the Olivs+Spiros since I got that bass, and I've got no reason to change. Also, my teacher that I referred to in the previous thread who suggested them is Glen Moore, and I really like his sound. He still tries other sets, but seems like he comes back to the Oliv/Sprio combo too.

Charles - I'm curious to see your purfling. Is it a rounder teardrop shape? I've seen that on some other GA Pfretzschners. I've very happy with my bass for a jazz instrument. For awhile I thought it was a little too tight, and perhaps too thickly wooded, but after a couple years of playing it 20 hours a week or better, it's pretty loose and resonant. If I ever have to open it up, though, I'm sure I'll try to find someone experience in re-graduation to see if they think that would help it sing even more.

You can see my other bass elsewhere in this section - a German shop bass that had been regraduated in 1940. It's a little louder that the Pfretzschner, but it doesn't play as easily, in terms of the beck profile and even the body being significantly bigger.

b

[Brian Casey]

since I've followed up on strings, I thought I'd share where I've settled on the pickup. I had been using a realist for over a year - again, the gear that Glen uses (if it's good enough for him...) But you may have noticed that the bridge on this bass is cut for the Wilson W4 system. Nearly a year ago I found a guy locally who was selling his Wilson W4 and I was able to get it for what I beleive to be a screaming deal. Now I still have the realist installed, but I rarely use it. I've found that the Wilson is extermely versatile and has the clarity that I feel is missing from the Realist. Using a simple AI Contra Series, I still regularly get compliments on my sounds, from both bass players and non-bass players.

I think I've found the gear that works for me, so I can focus on 'shedding and playing, and getting more gigs.

b