Big Ben?
 

Big Ben? Really?.. lol.. http://upload.wikimedia.org/wikipedi...ber_2006-2.jpg

oooooook..;)

+1 for Big Ben!:o

Glad to hear everything is coming together so well with this bass. Years ago when I joined (eh, that other forum), it was to discuss this actual restoration with you, Ken. How time flys..

well..
 

The new/old Fawcett English Gears are just being fit as we speak. I also made in the shop here a book matched pair of Macassar Ebony Neck caps to fit the modified cut Block and sent them to NY. The work is slow but the Bass is looking beautiful so far.

and...
 

Nearing the Finish line, Biase called me yesterday for some depth measurements of the Neck at the 1st Position and at the 'D' by the Heel. I walked over to the Martini with 2 small rulers. I used one as a straight edge against the Back of the Neck and measured with the other. I also checked it with Dial Calipers deducting the String and Nut height as best I could. I came up with 24-25mm deep tapering to 28-30mm. I checked another Bass that had Grafted Neck by Arnold and it was just under those numbers. When the Martini first came over I had Biase put a new Fingerboard on it. The Neck overall turned out too thick as the original Neck had never been trimmed down so I did it myself. Later on while fitting the C-Extension Arnold just cleaned up the Heel and Pegbox underside with some matching Varnish as I only had some stain on it I mixed up. When it was determined that the Martini actually needed a Graft to replace the overly soft Italian Oppio Neck, I asked Arnold to copy the Martini Neck as exact as possible because I was used to it and it was my favorite playing Bass. He did as I had asked.

After giving the Neck depth numbers to Biase I called Arnold to ask what his numbers are normally. I had only the Pollmann in the shop to compare it to. That Bass was done earlier in the year but I wasn't sure about his standard shop measurements. Turns out that his numbers are about 2-4 mm less from top to bottom. Still, I gave the numbers that were on the Martini. Then, I went and measured the Martini again and they were as given the day before to Biase.

A few weeks earlier I gave Biase width measurements of both the Nut and Heel of the Neck using the Martini as well. Hopefully the 'Mystery Monster' will be as 'playable friendly' as the Martini when it's all done.

Right now, I am hoping for a Christmas present.. A BIG one.. lol

You should consider naming it the "Biase Bass" for all the work he has done!

well..
 

Well, he was the one chosen for this Bass but remember, I have had other Basses brought back to life by Arnold and never named one after him. Jed even has one of my Basses now as well for a full restoration and also one with Nick Lloyd.

The Mystery Bass is the first project I started when I started back playing and the one that has taken so long. This is mainly due to Biase's work time on it. He didn't really want the job or had the time for it but I convinced him to do it as I didn't know anyone else at the time.

Maybe the longer waiting time between steps has helped in the stability, maybe. He mentioned that he glued some of the Rib cracks over and over as they re-cracked as he straightened them out. The Ribs were wavy across the width and warped aya from the Blocks when I got the Bass. Now it looks pretty much flat across them. The Bass lays on either side on the floor nice and flat, even. Like re-bending wood. It takes time till the wood takes. In a case like this, his goal was to get everything back to where it used to be without forcing anything.

The varnish touch up looks beautiful as well. The Bass looks pretty good on the website from before the restoration but it looks way way better now. The Patina is a sight to see in person. I hope the new pictures I take when I update the webpage looks as good on-line as it does in person.

Do they leave the little tag behind that says "Repaired by... Date...."?
For some reason, I find these labels fascinating; they are like little clues on the history of the instrument.

humm?
 

You know, I'm not sure if Biase uses labels at all. I have never seen one. In 1973 Peter Eibert restored my old Italian Bass just after I got it. About 2 years later Biase popped off the top and trimmed away some of the excess wood from Eibert's repair and the Bass opened up quite a bit. That was the last repair while I owned Bass and then sold it a few years after I retired from playing.

Neither repair/restoration were marked with a Luthier's label. The only label that was ever in the bass while in my possession was the Giacomo Rivolta label which was printed but had some hand written stuff as well about his medals won and his revival of the School of Stradivari. All of this is known history but the Bass was dated 1822 on the label. I don't know if the silver and gold medals (argento in di quella d-oro/?sp) had been attained by that date.

Back to the English Gamba, this BIG Baby (or is it officially 'Big Ben' now?) doesn't have a single marking or Stamp anywhere inside or out, not even in pencil. English Basses often have external and/or internal stamps with the makers name. Some of them have internal pencil inscriptions from either the maker and/or past repairers. The English like to write. It looks like this Bass was repaired in New England in the mid 19th century. A 3-piece X-brace replaces the traditional cross bars as evident but the shadows of scars inside the Back. In the lower Bout we see the oldest scar in that area of twin rail cross bars. Two bars of about 1/2" wide each and less than an inch between them. This is 'olde' English Gamba construction. Viol d'Gamba, not Gamba cornered Basses I mean. This was a major find in the ID process as well as the age guesstimate. Also, the Top is purfled but the Back has a few signs or inked lines. This is also a feature of the Olde English. Most authorities place the Bass in the Northern part of England in the mid 19th century. This mainly because of its Gamba shape I believe. The FFs however and their placement is nothing Northern to my eye but rather a refined or modified Strad style 'F' shape but rather long like we see on Gagliano school Basses. Gagliano (Alassandro and possibly one of his brothers) reportedly worked in Cremona in both the shops of Nicolo Amati and Stradivari. Clearly an early Italian influence is here which started in London with makers as early as Peter Wamsley (c.1715-1751) who overlapped Strads period (Strad died in 1737). The English mainly copied Stainer then as well as the earlier Amati's, Andrea & sons. It would be almost 50 years before the Strad model took foot in London gradually replacing the Stainer and Amati stylings. With this knowledge and the evidence shown on the Bass we place the dates from 1775-1825. Biase thinks it is a very old Bass made way before the Tarr school of makers ever came to be. The only Basses I have seen that resemble it were attributed to George Corsby (with internal pencil inscription inside) and Joseph Hill which Biase also thinks it looks a bit Hill'ish especially in the FFs. I have seen at least one other English Gamba style Bass made slightly on the Germanic/Mittenwald pattern like the Neuner, Hornsteiner and Seitz models but that was a large 3/4 or 7/8ths size by the numbers. Another Corsby believed to be possibly the brother of George that dates a few years earlier than George in London is in Northampton. His dates are up until 1780 or so and then we see George from 1785 dated by his known works. They say in the scriptures that their work is similar but neither or their work is prolific. In the later years of George he becomes more of a dealer in London than a maker. A pattern we have seen with many English makers as it was a sign of the times and more profitable in that period as well. My theory on them drawn from the dates and opinions that the work is similar is this. George Corsby started in Northampton (known for mostly Basses and Cellos) and then moved to London. As a maker ages, so does his work mature, usually. At least we see evolvement in many makers especially in this time period where the Double Bass was just coming into its own in a big way. The c.1800 Corsby I have seen pictured is very similar to this Bass as are 3 Joseph Hill Basses (attributed or confirmed). The Hills look like earlier work and are dated so. The Corsby is a full sized Bass like this one. A sign to me possibly that this size was needed to fulfill a purpose, the new Symphony orchestra. Remember now, England up until 1800 mainly preferred chamber music over the new Orchestra music coming about and seen by visiting Orchestras from Germany. The English making mainly 3-string Basses while the visiting Germans played 4-string Basses. The big flourish in Double Basses I believe came about with the model of Panormo which were more or less full sized Basses and the great Dragonetti who brought his d'Salo to London. The London Gamba model Basses as well as the Cello models made earlier would soon vanish from the work bench. The long forgotten Gamba 4/4 models are sadly overlooked now. With playing styles being as advanced as they are today, these bigger Gambas are in need of modifications to suit todays playing technique. Block cuts are quiet common these days to shorten the playing length we need. I know a Hill in London was recently shortened as well as my big Gamba Bass. A 4/4 Panormo school Bass was recently modified with a block cut as well.

I have to say this though. Time aside, Biase has payed special attention to the playability and originality of this Bass. I am sure any of the other good Bass Luthiers out there today could have done this as well but credit is due no less to a Luthier that very few of us know.

When I get the Bass and start breaking it in, I will report back on the playability as well as the sound. The new grafted Neck was moved out quite a bit and the pitch is modest rather than extreme. The Bridge height is about 7" but moved up about an inch with the bottom edge of the bridge feet parallel to the upper cut of the F-notches. If the bridge were lower, it would need to be even higher. Let's just wait and see how she plays an sounds.;)

ok..
 

Big Ben, aka The Gamba Supreme is finally home. I just took off the old string set used for the basic set-up and put a new set of Evah Weichs (nice strings by the way).

I can't talk. It is one freaking amazing bass. Big too I may ad but a floor shakin' sound to reckon with.

I don't know when I will post new pics but I will as soon as I can being that I need help from my web guy or my son Mike.

I will post the new measurements though and start describing a few things as well as updating the 'page' being that is is done. It still needs personal set-up work for my taste but usually bass buyers like set-ups other than what I use so it will be left alone for awhile as I break it in.

ok..ok..
 

As promised..

This; http://www.kensmithbasses.com/double.../backclose.jpg From this; http://www.kensmithbasses.com/double...2/100_0085.jpghttp://www.kensmithbasses.com/double...s/100_0085.jpg

I have played very few Basses in this class sound-wise.

Please look at the link above and give me your opinion of the before and after pics. If you like, you TBers can go over there to the Thread I Started a little more than 5 years ago and post the new page link as a conclusion to the Mystery Bass and the long wait to see the final product. If this Bass had a C-Extension, I would be sheddin' right now for next weeks concert with it. I was thinking of just tuning down but that's a bit much to think about with a new Bass. The last time I did that was the week I got the Martini. I was so excited, I wrote in the fingering on all the notes below the A-string as I tuned down to D and C a few times in the program. Now that I have a C-extension, I've become lazy.. lol ;)

So, does it look like it was worth the wait? :confused:

It looks really fine, Ken. I especially like the way Biase dealt with the way the neck sits in the shoulders; to my eyes, it looks better than original in that area. You should make sure he leaves a note somewhere inside documenting his work. A hundred years from now, someone will be grateful. Mazel tov.

notes..
 

Biase put a repair label inside under the re-built Neck Block. He also wrote something inside the Back. On just about every new piece of wood for cleats and such, I see 2005 or just '06, '07, etc. penciled on each piece he glued in. When this Bass is opened next for whatever, it will be obvious what is his work and what is not. He also mentioned that he only did touch-up and French Polish in regards to the Varnish of the Bass rather then re-coat the entire instrument in clear or colored Varnish as we see occasionally on other large restorations.

That work is breathtaking.

I'd love to see that in person.

I'll leave tonight......

added plates..
 

In my opinion, there was no way to avoid adding them.

When I got the Bass, there was no wood at all behind the bottom block, just some black colored wood putty or something. This Bass was not even possible to string up when I purchased it. Biase had to do an inlay under the external Inlay first to replace the missing wood of the Back for the lower Block fit first. Last Friday was the first time in just over 5 years I was even able to play and hear the Bass.

At the upper Block, a piece was already added. Behind it was some original wafer thin wood with two HUGE brass screws going into the upper block under the Neck Heel. I had Biase remove the remaining screws that were not cut away from the Block and Back and plug the holes with wood. This area needed an internal repair as well. Now the Neck and Back upper Block area are free from metal and 'patch-type' repairs.

I made the Plates here in my shop from the same block of wood that I cut the Scroll Cheek wood out of and sent them to Biase. He faxed me a template of the areas that needed to be covered. When He got the wood (plus some extra pieces) he called to tell me he didn't like the grain pattern because it was flatsawn and the back was perfectly quartered. He took the wood that I sent him and made book matched looking pieces with more of a quartered grain and added an Ebony center strip to each plate to match the strip running up and down the Back which seems to be an old repair inlay from the joint expansion. These are some of the details this 'old schooler' went thru to make this Bass as close as possible to a 'period-type' restoration. I have seen decoritive back plates on a Busan and a Goffriller as well as some other Basses and if done right, they look beautiful. Some however do not look as nice as others.

The Neck Block/Shoulder area 'Cut' which I forgot to photograph for the website looks very similar to the Neck platforms on both my Hart (100% original) and my Block-cut ex-Morelli. This Bass is capped at the Block as well with some Macassar Ebony cut from our own lumber stock we use for Smith Basses, bookmatched pieces no doubt! The Neck Graft is from an aged European Cello Back billet that I purchased 5 years for the restoration job. The billet sat in Biase's shop untouched for about 4 years before he started the Graft process. The neck piece cut from the 'back stock also sat around for months until he got around to it. This was actually a good thing for the acclimation process of the wood once it's been cut from a larger piece of stock.

I took Neck, Nut, Fingerboard and Bridge measurements from 3 of my best and favorite basses here to give him the specs to ensure personal comfort on the final set-up. I think Biase left things a bit heavy so I would have room to trim it down later. You can't add it back once it's been cut away! The Fingerboard Camber is about the best I have had which is only about 1-mm end to end. This is also the thickest and longest piece of Ebony I have had on a Bass as well. The highest note on this monster is an F which is a 7th above the fingerboard previously on the Storioni.

This Bass is huge and has a similar punch and crunch of air movement to my Storioni attr. Cornerless Bass. The Hart use to feel a bit broad to me getting over the Maggini-like shoulders as compared to the Martini but after playing this Bass for a few days, the Hart feels more like a Solo bass in comparison. Whom ever ends up with this Bass, I doubt it will be used for Solo Rep.:eek:

Oh, and by they way with the current set-up with the Evah' Weich's, the Pizz for jazz is like 'Killer Joe' in your face..:cool:

tonight?
 

Ah.. meet me for breakfast at the diner..;)

I will bring my wallet for the check, you bring your chops for the bass.. :D

thanks for the detailed answer!

oh.. and..
 

Hey, I have to thank Arnold Schnitzer here for his advice along the way. Also, if not for him, I would never have known what a block-cut was. I feel in a way that Arnold was somewhat of a 'ghost' on this project as I guided Biase thru the 'cut' process of the Shoulders but only after going thru several restorations and alterations of Basses with Arnold.

My ex-Morelli and ex-Prescott all needed String Length shortening and I was like a student in class discussing the planning of these Basses and taking mental notes. You gotta be 'mental' to some degree to take all the risks that I have with reviving all of these dead and sometimes oversized awkwardly playing Basses.

I consider Arnold to be my teacher in this part of the process to date. A lesson for all here is when having a bass adjusted, fixed, repaired, fully restored or even 'brought back from the dead' (like I have done many times now), try to learn as much as possible about not just 'what' was done but 'Why' it was done that way. The Why is often more important then the How!

The two possible plans originally discussed with Biase for the 'Cut' were either an actual Shoulder Cut and Rib Re-bending/shaping or his second suggestion of cutting the Upper Bout Ribs 2" and sliding them down the Corner Blocks. Then without re-shaping/bending the Ribs/Shoulders, trim the Top and Back plates to match the lowered Shoulders and re-purfle the Top area that was Cut. A new Neck Block might also be required depending on which way we went.

Then, after working with Arnold with restoration planning for a few years on the Basses I had aquired gradually the thought came to me. After several 'cries' from on-line readers of a similar Thread on TB saying to me 'Don't Cut the Bass', I thought.. "Why not do a Block Cut like Arnold did on the Morelli?"

I explained to Biase exactly what to do and how much to Cut up at the tips of the Top and it was done. The Block itself that is in the bass is not original anyway as we suspect this bass was Blockless in the Gamba style sense of the word. The Block in the Bass was dovetailed where the neck sits on Top of the Block, not IN the Block. So, cutting about an inch off the Block, adding some wood to the underside of the Block to make it extend deeper into the Bass and setting the Neck INSIDE the Block over an Inch instead of on Top of the Block made the String length reduction a Breeze. Only the Tips of the Top were Cut and the original Purfling around the Shoulders still remain intact. The String length is now just under 42" with the Bridge a bit above the notches from a length before of about 44". I remember Arnolds words in the beginning like "good luck on getting that Bass down to 42". Well, my good luck came from none other than Arnold himself with his Block-Cut idea that I borrowd and conveyed to Biase.

Arnold?.. Thank You.. Lunch is on me next time regardless of whose turn it is..:rolleyes:

well..
 

I'm just getting Started!

Very well, then
 

And so it is! This bass and the restoration of it brought me into bass forums as a participant instead of a "reader", for better or worse. What an inspiration, Mr. Smith. Thank-you for doing this one so proud.

I think the process on this bass encapsulates what I have felt about musical instruments ever since my father passed several years ago and I adopted his old Harmony 173, a rather humble classical guitar, but with one of the most beautiful spruce tops I've ever seen. It too was unplayable when I brought it home, and now it intonates quite well after my efforts.

We don't really own these instruments;- ever. Once created they have an immortal potential that humans do not. We are at best humble caretakers that can make some art from them in a single lifetime, but these instruments are just getting started on their many journeys, however old we perceive them to be. You brought it back to life, Ken. Now it's your turn to create with it. Best to you always,

Silversorcerer

:o

Humble Caretakers...
 

Well, I agree about the Caretaker position. Besides all the work that has been done, it is still not where I want the Bass. I have it packed up and am sending it down to Jeff Bollbach to have a few things tweaked as well as having him make and install a Chromatic C-Extension like the one he made for my Bisiach labeled Bass.

The Neck heel was way higher than what I wanted but Biase wanted to stop at that point and have me play it for awhile before removing any wood that can't be replaced. I had giving him the Neck/Heel specs off of my Martini to sort of copy but still he left it a little heavy.

After a single rehearsal I put the Bass away until I could have this done. Last week I made the decision that driving back and forth to NYC a minimum of 2 times is more work and expense than if I just cut it down myself to what I really want which can only be done here by tweaking it daily as I play the neck in an unfinished state until it's just where I want it. I now have the neck just about there but the top of Heel and throat underside under the Peg Box needs to be Varnished back up to match. I decided that it would be best to just let Jeff finish this off from here as well as a few touch-ups along with the Extension job than driving into the city which will cost me more in time that it's worth even thought the work will be free of charge from Biase.

So, there will eventually a whole new set of pictures taken on this when the C-Extension is done and the re-carved Neck & Heel are all varnished up. The Heel will look about half the size as it does now as well as the neck and profile being thinner overall to better match the Martini.

It's not over till it's over..;)

Dear God, that is a beautiful bass.

Congratulations, Ken, on having the faith and vision to make this happen.

I hope that playing it gives you many hours of joy.

thanks..
 

I should know in a day or so if I have my booth/room set for the June ISB. If so and all goes well with Jeff's work, 'Big Ben' will be on display at the Show along with a few of my other Basses that are fully restored and sale-ready.

yup..
 

'Big Ben' is sitting in the rack a few feet from my desk. I picked it up Saturday and even stopped by Arnold's to show him the Bass as well. My Evah's were there to be put on my Lott model Bass after the Extension but that job was put on hold so I put them on 'Big Ben' instead and used ones of Arnold's benches while he touched up my modern Lott Bass which is now ready for the ISB as well.

Big Ben, aka Gamba Supreme will be at the ISB. It's a Bass NOT to miss! Trust me on that. The sound is in the class of my attributed Storioni. An Organ with Strings on it!

The C-Extension came out beautifully as well so a big thanks to Jeff Bollbach who also did a few tweaks on the Bass to say the least. "Dr. Arnold" had the last word as I had him look it over just in case he had any thoughts of his own.

This is a Bass I could keep and use for everything short of a tight spaced Pit job as she does have some girth on her to contend with, upper and lower. She measures about 60"-48"-86" in case you were thinking of taking her out for a spin..:p

BB at the ISB
 

Ok, I am back from the Show now a few days and recovering from the long hours I have been putting in over the last few weeks between my two branches of the business, the DB's and the Smith products.

Big Ben as we now call it (or is it Gamba Supreme? I forgot..) was a HIT at the ISB. Everyone who played it stopped after a few notes or just after the 'A' sting and paused before continuing. I was told by many people that it was the best Bass at the ISB. Just about every dealer came over to check it out as well after hearing all the talk about it.

Several of them examined the bass carefully trying to figure out what it was. They all were puzzled and said things like, 'I'm not sure", "Very difficult, very..", I'll have to think about it", "ENGLISH".. the usual call and then I heard one dealer whisper to another, "Gagliano?"...

So, even after several first hand looks at it, we are about where we started some 5+ years ago. The Bass even has some old Mittenwald qualities to it but we are not sure what exactly is original on the bass as well as the lower bout shape which one dealer/maker thought it could have been cut down even in that area as well as the outer Bouts which do not have any purfling left either.

So, she is big, she it powerful, she is beautiful, sweet sounding, colorful and complex sounding and she's big.. I said big twice, I know.. lol

What is it? A big and quality sounding bass that is actually fairly easy to play. One of the European pros performing at the ISB mentioned that it's a very special bass as fat as good basses go and was playing on it as if it was a solo bass hitting the high harmonics and double stops with the greatest of ease.

I was told by two pros there giving me separate informal private lessons in the booth that I needed to pick ONE bass and play it. Part of my problem in playing is that I switch back and forth between basses which have different lengths and measurements making hand position training impossible. Maybe I should just play this one and leave the others in the rack just for sale. In NYC when I made my living playing bass, I used one instrument primarily for about 15 years. Maybe that's what I really need to do again. Play only one bass for the most part, practicing and performing. Sitting, standing, classical or jazz, whatever. Just one main bass..

This was the second old bass I bought this time around when I started playing again about 8 years ago. The Batchelder was the first and that was just sold. My intention was to have this fixed and use it for myself. Sounds like I should stick with that original plan. These other basses I have been buying for my hobby/business has become such a distraction..:eek:..;)

I am happy about your successful restoration and the pride you seem to feel towards this bass. It doesn't sound like using this one as a main bass would be a bad idea, does it..?
You should allow yourself to have a special relationship to your main bass, that's my opinion. Despite owning at least one da Salo and countless other excellent instruments, and having to sell off almost everything he owned in times of financial difficulty, Bottesini kept his Testore to the end. You certainly seem to have a less "professional" approach to this instrument already! ;) And just imagine what the BB might sound like after it's had some time to break in and open up..! How about you go for it??

I agree with the one bass for everything, it's an approach I've been taking since buying my #1 bass. Even taking it places I "shouldn't" like outside. I find that I really just want to play that bass for everything regardless of the circumstances. It's the dancing partner and I learn more about her as we become really acquainted.

one bass for everything, but..
 

For some reason, I keep going back to the Martini. Ever since the last restoration with a slight modification done to the Back as well, the Bass has been sounding better and better.

A few days ago someone was playing the Basses for me and me for him, testing them for an Orchestra client. The Gilkes(Jilkes) sounded huge as usual, the Big Gamba was a bit bigger sounding and deeper but the Martini was within 90% of the other two in power (closer than usual) and the tone was the best overall. The G and D were the biggest sounding on the Martini over the other two. The Gilkes is fairly even and the Gamba very bottom-like but the Martin now re-strung with a slightly used set of BelCantos (switched the Flex 92s with the Bel's on the Hart), the Bass sounds bigger and better than ever.

Last night I played them both again, the Martini and the Gamba. This is a tough choice. For big bottom orchestra or fat jazz pizz, the Gamba wins. For solo and sweet tone but still with more volume than the average bass, the Martini wins.

I noticed something a bit strange but good at the ISB. Someone was playing the Gamba and it was huge, shaking the floor and walls. Then while that was going on, someone else took the Martini off the stand and started playing it. These were all good orchestra players here, no beginners. The sound of the Martini cut right thru the middle and top of the Gamba like a hot knife thru a pound of butter. I was very surprised but in a happy way. The Martini being just about the most comfortable bass to play within the group I have now.

All this will change in a year or so when the Storioni is out of restoration. That Bass has the power, depth, sweetness and playability of all the basses combined. Some say the Gamba sounds like the Storioni on steroids but they haven't heard the Storioni restored yet, nor has anyone.

For now, I will keep my practice on the Martini since I am more used to it. The Gamba will go out when I think it fits the job. For upper solo work within the Orchestra rep, I'm not ready for it on the Gamba. The reach over the shoulders are a bit more than I'm used to and intonation is not an option!

One other thing I noticed is how different the basses sound sometimes when various people play them. This is the puzzling factor. How do I sound between all the basses? Which Bass do I play the best and with enough volume as well? Listening to the Martini in comparison to the Gilkes, Hart and Gamba is almost unfair as these are not your average sounding basses at all. They have always made me think less of the Martini when comparing. That is over now. The Martini can hold it's own as I've heard it cut thru the Gamba. That's enough proof for me right there.

So, Big Ben will have its time when the setting is just right. I would love to use it in a rhythm section. It just kills with the Evah's on there now. Next string change might be Evah Weichs which I had on it before but didn't have an Extension E/C. I heard they are available now so it's on the menu, some day.. ;)

ok, so..
 

At the ISB I was fortunate to have met with Michael Krahmer from Pollmann, the cheif maker (along with his younger brother Ralph) and a respected Bass expert as well.

Michael put the bass up on a stool on its back and had a look inside and out but without a needed light. Then upon examining the lower bass-side corner a 'smoking gun' came out. Under all the Varnish and repairs the C-Bout Purfling coming down on the Bass side crosses over the Lower Bout Purfling coming up to the C-Bout as well as a small Joint exposed between the edge and the Top just where the Purfling route joins the Top under the Corner.

Conclusion, 'estimate'? This Bass was CUT down. It is huge now but was even wider as I suspected on both the upper and Lower Bouts as the Bouts themselves have no Purfling at all. The Purfling runs only along the Top and Bottom Block areas as well as the C-Bouts but the edges have worn there. I was told that this was wear but the 'lines' of the Bouts tell me a different story with about 1/2" missing in width of each bout, about 1" overall Top and Bottom. That was my initial feeling some 5 years ago and now I am reassured that my eyes and brain were working just fine back then.

Those soft lower Corners, one of the big mysteries up until now is actually a later modification, we think!

Just as we were trying to pick the period and location of the maker in England we find this out. Still, the modelling and mix of flavors point to English but by who, where or when?

So, as far as origin goes, we are still not certain. As far as construction goes, the Bass was bigger originally in the width, not necessarly the length by much. The re-curve is only evident at the Top Bout so the Bass could have been an inch longer as well with the Purfling being replaced as evident up at that suspicious lower bout corner.

I owe this discovery(we think) to Michael Krahmer as everyone else missed it.

Decisions, decisions, decisions..
 

Ok, ok.. for the last week I have been changing favorites more often than I had meals. At least twice a day, for real.

Last week I had an outdoor concert, the last of the season and took out the Big Gamba to play. I was able to hear everything bowed or pizz'd including the C-Extension notes. We were set up in the Grass but I demanded a carpet so I wouldn't be standing over anything wet with my Bass or Shoes at risk. It rained for about an hour just before we started to play but we had dry sunshine for the Concert.:)

I was almost set on just playing just the Martini for everything and then went to the Hart for the easier Eb reach and then the Gilkes for the same but more presence and then back to the Martini for the heavy bottom and D neck and then back to the Gilkes. Then today I A-B'd all the Basses again sitting as well this time (which I do normally in concert) and the Gamba just seems to 'spit' the notes out quicker and easier. This bass has Evah's on it but so did the Gilkes in the past but never played or sounded as good as it does now as far as these strings go so it's not the strings. The Gilkes and Martini both have the Bel's on and that's the best they've sounded with the Hart strung with 92s at the moment.

I just think that with all things weighed in, the 'Gamba' pushes out more sound with less effort overall. The Shoulders are something to get over and the Neck Heel barely a D (which can be fixed) but all in all, it's the most fun to play, especially if I have some Pizz. Also, it just kills for jazz as it is.

So, 5 years plus on this Mystery Bass, its restoration and now its place in the 'rack' saga. 'First Bass' is my appointment for the Gamba. It looks the part too..:)

update..
 

This Bass has now been Sold. As it turns out, the Martini (sold now as well) and Hart Basses are closer to what I am used to as far as body size goes. After playing this Bass a few times I came to realize that it is just a bit too big for me the way I play now.

It was fun these past few years searching and discovering as well as discussing all the possibilities and finds. This particular 'saga' has now come to an end as far as being in my possession. A very talented professional Orchestra player now owns and plays the 'Big Gamba' on a daily basis. 'Big Ben' has a new home and will be played and loved daily..:)