My 2 cents
 

I like your original bass display background MUCH better. It's a signature look and the pics come off far more professionally. In any case, beautiful basses, as always. :)

signed inside...
 

When I got the Bass I was given pictures of some facsimile Labels that were lost in a previous restoration but photographed. I was told that the 2 of the 1829 was not all that clear but they would go with it as No. 8 would be very early in his making. I thought they meant the other label that the facsimile replaced prior to the restoration.

I took the group of the repairs and makers facsimile labels and made one label from that picture to put inside the Bass so the history doesn't get lost and glued it to the center Back brace.

When I was about to remove my light from the opposite F-hole I took one last look inside and then.. Holy Sxxt..

The real original inscription in William Tarr's old English calligraphy writing in heavy ink was there. Around the inscription was a faint line as if tape was placed over it for the last Back Restoration or when the Bass was cut down 1959.

So, this Tarr IS labeled, handwritten into wood of the upper Back just below the angle bend on the bass side opposite the Bass Bar of the Top.

This is what they were talking about as far as the trouble in reading some of the numbers.

Why can't those Brit's speak clear English? :(

Wait, that IS English, lol :D

I Speak American..:eek: .. ;) .. :cool:

wow, can you make a picture?

The white background will cause all basses to look darker, as the camera shutter will try to compensate for the white background.

Ah, yes: two great countries separated by a common language. I wish I could have been there to see your reaction when you discovered the signature!

I will try but it's a bit up into the bass.

Yes, I totally agree but it's a bit of a fight with my son. I am happy with the 'door' in all of my pics.

Maybe I can sell that door on Ebay some day..:D

My face, body language and and my excitement. I was a good moment in time for me.

update (if anyone cares.. lol)
 

I have decided to repair and re-inlay the original Tailpiece and put it back on the Tarr where it belongs. We will use regular Mother of Pearl to fill the 2 emblem cut outs that are now empty. We have no idea what was in there originally because I have never seen another original Tarr tailpiece but if so, not from that early period.

Nice idea. Thanks for sharing your process...it is quite interesting to watch it all unfold.

Page up, pics fixed..
 

Ok, we just published the Page and lightened up the pics a bit. Enjoy..

http://www.kensmithbasses.com/doublebasses/high.html

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

This bass sounds like a whole section by itself. I still can't get over how deep it sounds!

Nice pics!
Brian

Yup, it's a floor shaker. Also, easier to get around than a few other basses I have that are actually smaller in size and with a 41 1/2" string length, it's easy on the left hand as well.

Maiden Concert..
 

Tonight, I took out the Tarr and played it in a Concert, cold! Cold, meaning I did 2 rehearsals with the Hart and one with the Uebel (to test it out) and after the dress rehearsal last night, decided to take the Tarr and just wing it on stage. We did this program; http://www.buckscountysymphony.org/e...ALL-CONCERT-29

The Violin soloist played on a Strad. What can I do, bring less than my best on the 8th stand?:confused:

The Tarr by the way was shaking the stage and was easily heard over the other 7 basses in the loudest FFF sections. On some of the PPP parts, I couldn't play soft enough. The Bass was ultra smooth and very thick sounding as well as clear as a bell. About the best in tone and power I have heard in a long time. It's BIG, but manageable, more than you would think by looking at it! :cool:

This was by the way the first time the Tarr was ever played live in USA, ever, since its birth in 1829. Maybe it worked out so good because it already knows English.. ;)

Sounds like quite an evening.

Very beautiful bass. I'd love to hear this one...

Your Tarr does indeed look wonderful Ken and I'm sure it sounds equally great. It makes me wonder, though, about the nationality of basses and their uses in different countries. Most professionals here in the UK prefer English basses and if you don't have one, it can be very difficult getting work as other instruments tend not to blend into the section as well. You say that your Tarr could be heard above the rest of your bass section. Isn't this a bit of a problem rather than an advantage?

blend..
 

Well, depending on how loud I played I could either blend or play over them. There was one other large old Bass, Fussen/German school to my eye and two early 20th century German/Czech school basses in the section. The others were of lesser quality and sound. If this had been a full professional section with better basses I would have blended in just fine but it wasn't. I was free and the Orchestra is close by so I basically just sat-in to play in a large section.

I don't see it as a advantage or a problem but rather a test run of what the bass could do. It was the first time the bass was ever played in USA in the few months it's been here. With the smooth low end depth-spread and clear deep bell tone mids I felt the bass could be played from pppp to ffff without much effort at all. One of the guys trying it on stage mentioned how easy the power came out when playing it.

Also, aren't there a few good Italians and old German basses in use in the UK? How about Hawkes basses? Aren't most of them German made on a modified English Panormo pattern?

Yes, English basses are great section basses but, if you are the only one with a $100k class bass can't you just enjoy the thunder? :cool:

Get your point Ken. As for other basses used in the UK - Hawkes basses are certainly expensive now, but still not really regarded as suitable for the best professional sections. Hardly any German basses are played professionally in the UK but, of course, there are some amazing old Italian instruments in use. Then it comes back to who actually made these instruments. I was playing with a guy last year who had a beautiful old Italian bass. I asked him if he knew who made it to which he replied "No, but I'll make up a name if I ever sell it". I'm sure this is the case with most of the Italians! The number of "Amati" basses seems to increase daily.

"Number of Amati's", lol.
 

"Number of Amati's", lol. I think that when they made Cellos back then, it was referred to as the basses. We play the Double basses, Cellists play the regular basses. I have a Hart bass that looks like a Maggini somewhat. Thwaites has a bass they call 'the old lady' a beautiful old British London school bass that was called a Maggini for decades if not longer. Stuart Knussen, a former London principal player bought and played a Maggini for 30 years. When he went to sell it they told him it was a William Valentine (Hart) bass, much like my 'John Hart' Maggini 'model' according to his son Ken. So, I think we find more British Maggini's mistaken for Italians than we do Amati's.

Just can't stop looking at this bass. It is just so beautiful...