My Martini...

[Ken Smith]

I bought this Bass (http://www.kensmithbasses.com/doublebasses/MartiniBass/martini_bass_2.htm) about 3 1/2 years ago (http://www.kensmithbasses.com/doublebasses/martini/martini-old.html). In that time it has been out for some repairs, modifications and even out on trial or consignment several times between players and 2 shops. Although I have played a few concerts with the Bass, having several others have allowed me some choices when the Martini was actually here with me but often passed up for either one of my other Italian or English Basses or a less valuable Bass for safety concerns as far as the Bass goes and type of gig. In the 3 1/2 years I have owned this Bass and the approximate 40 or so Orchestra Concerts I have done in that time I don't think the Martini has even been on 10 of them.

Some Basses I have used only a few times to test them out of course but this Martini is about the most comfortable playable Bass I have as far as fitting me in every way. Having about 4-6 high grade Basses at my disposal at any given time does make it difficult to choose 'who's going out tonight' kinda thing..lol

Recently I have noticed that the Martini has something a little special to me that my English Basses do not have. That is this extra smooth silky Italian tone with sweetness oozing for each note and a singing low midrange that cuts through all the sounds around me. It is not the loudest Bass I have. Not the deepest Bass I have. Not the most expensive Bass I have and it is definitely not the prettiest Bass I have by far. It just has this sound and feel that I seem to prefer. Most people shopping or comparing Basses have often passed on the Martini as just a modern Italian Bass and nothing more. I can tell you one thing though that usually happens. Other players in my section look over and ask 'what is that Bass?', or 'where is the Martini tonight?'.

Well, cutting to the chase here, I made another thread recently about a wolf tone and a Neck problem that I had recently connected to that but also a problem that needs to be fixed permanently. This includes a Neck graft which the Bass has needed for way longer than I have owned the Bass. There are a few other things that concern me as well on this Bass. The previous restoration of 1999 in Italy may have been slightly overdone in at least one way and underdone in several other ways, one of which I have already corrected which were the tuners and plugs in the pegbox. The Top and Back are highly arched. The Top wood seems hard, the Grain is very fine in the center but turns to slab grain in the outer flanks. This is a sign of a small tree. While the arching of the plates contribute to the sound I feel that the Bassbar is extra stiffening and not allowing the Top to 'float' properly. I will have the Top taken off and any and all corrections tonally and structurally performed. Also the back is a 3-piece with the seam about 3 inches at most from the soundpost. In time, all roundbacks bulge out from the soundpost pressure. This Back is soft Italian Oppio so it goes where it's told. The Center Brace makes it more punchy like a Flatback but without the other problems associated with them. It also spreads the sound throughout the Back better and protects the Back for over bulging from the soundpost, opening the seam in that area or splitting the Back which we have seen many old Basses with rear soundpost cracks.

So, the Martini is going in for a face-lift so to speak as well as some deserving repairs. When this work is done, it will have a new Neck graft (its first) and a first time center Back brace as well as a trimmed bassbar and some other needed work. Although I love my English Basses (and so does everyone else) I seem to be the only one that loves the Martini the most as it's not yet 100 years old which in the market place usually plays 2nd fiddle at best..:(

When all the work is done sometime in 2008 I will take all new pictures and have 3 pages on-line I guess. Before, 'during' (now) and after!

[Ken Smith]

Yesterday, (yes Thanksgiving) I had a Jazz Duo Gig (Piano and Bass) that went from 4 1/2 hrs to 6 hrs with overtime. I used the Martini since it was the only Bass I had with a Bridge fitted for my Pickup as both my Gilkes and Bisiach labeled Bass are out on trial. I didn't want to bring the English Hart Bass (just out of restoration) for safety reasons and use a Mic in the Bridge or the Cornerless Bass awaiting restoration since the temperatures have dropped and the cracks are opening up so I brought the Martini.

It has Flexocor 92 Starks that have been on the Bass for almost 3 years. The E/C is an old Eudoxa Steel I got sightly used and feels about the same as the Flex. It was the first time ever I had used this Bass for a Jazz Gig and a 6 hour Job as well. My fingers were fine for the most part but my feet were hurting. Usually when I play there ("The Prime Rib' at The Warwick Hotel in Philly) I take the stool from the coat room. Last night the hat check girl was using the stool and the place was so packed that the manager said he didn't have another stool to spare. I had left my padded Orchestra stool at home so I had to stand all night. We do 45 minutes on and 15 minutes off or so but did some hour long sets as well. I am just a sub there so it was only my third time working there.

Anyway, after owning the Martini for 3 1/2 years I finally discovered that it's a great jazz Bass as well as an Orchestra Bass even with the Orchestra strings on it. Who would have thought?

Oh, the sound was that smooth and deep sounding Olive Oil tone with some growl on the side as expected..

[Ken Smith]

Is anyone listening here? Please feel free to comment. No experience required.;)

The Martini (http://www.kensmithbasses.com/doublebasses/MartiniBass/martini_bass_2.htm) just went under the knife today. The original Neck came out of its Block for a Graft job and the Top came off for some interior work needed as well.

This may well be as I suspected, Martini's first Bass made right after World War I (labeled 1919). Arnold called me in the morning with some interesting findings. First off, the Neck Block/Neck joint is a 'hidden' dovetail! Yes, an Italian Bass with a dovetail joint. When the Top came off, it was more obvious as it was covering the joint. This will of course be corrected. The new Neck will sit in a slightly deeper 'mortise' joint of the same Block that will be re-cut. Unfortunately, those original Oppio (Italian Maple) shoulder caps (http://www.kensmithbasses.com/doublebasses/MartiniBass/martini6.JPG) on the Neck in matching wood will have to be replaced. One of them was totally worm eaten inside. It will be replaced in Ebony most likely.

The Back is very thick but it's a softer Oppio wood like the Ribs, Neck and Scroll so its' not a big deal. The bottom Block however is way bigger than it needs to be so it will be cut down to a more reasonable size. The Bass also needs much of its Linings replaced and quite a bit of half-edge work as well before replacing the Top.

The original Job it went in for was not a small one as I wanted 'everything' cleaned up. The cost after these discoveries of extra work needed will only increase the job by about 10-15% of what was originally estimated.

Being this is one of my favorite Basses to play despite its younger age comparatively speaking, I want whatever is best for it.

[Aren Winebrenner]

Will you be posting any pics of the work in progress? I'd love to see the action as it develops!

[Ken Smith]

Will you be posting any pics of the work in progress? I'd love to see the action as it develops!

That depends on Arnold. He's the one doing the work. The bottom block is getting trimmed. A few pieces of inner linings are being replaced touching the Top/Rib joint. A rear soundpost patch touching the Back is being added. The Back is made in 3 pieces and one of the joints is within a few inches of the soundpost. As with all roundbacks, the post in the tighter winter months push the Back out over time. This was repaired but the joint is just slightly visible. Arnold will fix this cosmetically as it's even too small to get a thin shim inside it. The rear post patch is a corrective measure so after the back seam is repaired cosmetically, it stays that way. The Neck block is being modified from a hidden dovetail to a mortise. The Neck is getting its first graft into the original Scroll which is now 88-89 years old (depending on the month the Bass was completed in 1919). This and a few other things are on the restoration menu.

In my opinion, it is not all that exciting to document. When the Bass is done, it will be re-photographed for the Website. Other than the Neck Graft and a bit or Varnish touch-up, the Bass will mostly look the same as it did before.

It is totally up to Arnold if he wants to spend time taking and posting pics. I have 2 other much bigger restorations waiting for his bench so I personally would rather he spend his time on the Bass and not on the camera.

[Brian Glassman]

That depends on Arnold. He's the one doing the work. The bottom block is getting trimmed. A few pieces of inner linings are being replaced touching the Top/Rib joint. A rear soundpost patch touching the Back is being added. The Back is made in 3 pieces and one of the joints is within a few inches of the soundpost. As with all roundbacks, the post in the tighter winter months pushes the Back out. With this Bass, it is making it difficult to keep the outer side of the joint closed as the post is pushing on it slightly from the inside. The rear post patch is a corrective measure so after the back seam is closed, it stays closed. The Neck block is being modified from a dovetail to a mortise. The Neck is getting its first graft into the original Scroll which is now 88-89 years old (depending on the month the Bass was completed in 1919). This and a few other things are on the restoration menu.

In my opinion, it is not all that exciting to document. When the Bass is done, it will be re-photographed for the Website. Other than the Neck Graft and a bit or Varnish touch-up, the Bass will mostly look the same as it did before.

It is totally up to Arnold if he wants to spend time taking and posting pics. I have 2 other much bigger restorations waiting for his bench so I personally would rather he spend his time on the Bass and not on the camera.

I saw it on Arnold's table when I was there today. Too bad I didn't take my camera. A beautifaul bass to be sure. Other than that worm damage you mentioned it looks totally clean inside. Arnold is doing a beautiful job on those inner linings.

[Ken Smith]

I saw it on Arnold's table when I was there today. Too bad I didn't take my camera. A beautifaul bass to be sure. Other than that worm damage you mentioned it looks totally clean inside. Arnold is doing a beautiful job on those inner linings.

Brian, now you have seen more of my Martini than I have. I guess I will have to run up there before the Top goes back on. That is, unless someone takes a bunch of Pics and emails them to me or/and posts them here in the forum.

[Matthew Tucker]

The Top wood seems hard, the Grain is very fine in the center but turns to slab grain in the outer flanks. This is a sign of a small tree.

I always thought going to slab grain at the flanks meant that the wood was not cut exactly on the quarter.

I have thought about what you said above again and again but I can't for the life of me see why this is a sign of a small tree?

Not that it matters all that much.

[Ken Smith]

I always thought going to slab grain at the flanks meant that the wood was not cut exactly on the quarter.

I have thought about what you said above again and again but I can't for the life of me see why this is a sign of a small tree?

Not that it matters all that much.


Well, the center of the Bass (2-piece book matched) is ultra fine vertical grain and a few inches later, it turns to slab grain and once again at the flanks goes back to vertical grain. If you slab slice a log, it will be vertical grain towards the sap side and slab/flat grain towards the heart. This is all sap colored wood hence we think it was a relatively a small tree and cut slightly above the heart showing vertical grain from both sides of the slab. The slice/billet was maybe 14" wide before book matching.

[Ken Smith]

These Ebony Plates I made to strengthen the Scroll/Pegbox will now be replaced with matching Maple/Sycamore as used in the Graft. Arnold made the suggestion that while he's working on it, why not go all the way and keep it traditional. A week later (just hours before the deadline of the Neck going in the Block) I called him and gave to go ahead to make new outer plates.

Ebony Plates before shots;

http://www.kensmithbasses.com/doublebasses/MartiniBass/extE.jpghttp://www.kensmithbasses.com/doublebasses/MartiniBass/extG.jpg

After shots to be posted when the Bass is back in my shop...

[Ken Smith]

I just happen to be looking at this thread and realized that I offered pics of the post restoration of this Martini (http://www.kensmithbasses.com/doublebasses/MartiniBass/martini_bass_2.htm). The webpage was slightly re-done to show the new work but for the most part, the Bass looks about the same from the outside.

The Ebony plates were removed after the Neck Graft was done and replaced with Maple to match the Scroll/Pegbox better. Also done was a semi center cross bar to help spread the tone and protect the back seam on that joint area. It looks fabulous now inside and out. Sorry, but I don't have pics of the inside. You will just have to come over and take a peek inside yourself.;)

Here are the new cheek plates;
http://www.kensmithbasses.com/doublebasses/MartiniBass/rest_images/scrollR.jpghttp://www.kensmithbasses.com/doublebasses/MartiniBass/rest_images/scrollL.jpg

The Shoulder/Neck cappings were also replaced when the new neck graft was done. Here are both the before and after shots;
http://www.kensmithbasses.com/doublebasses/MartiniBass/images/187.jpghttp://www.kensmithbasses.com/doublebasses/MartiniBass/rest_images/heel_profile.jpg

The pictures don't tell the whole story. Arnold also cleaned up a few things inside as well and the Bass has never sounded better..:)