I'm interested to hear how Arnold approached stabilising the burled maple ribs. They looked very fragile from the outside.

how?
 

I don't think 'stabilizing' was an issue here. The two-part Ribs held up very well over its 200+ year old life. The thinner outer burled maple had cracked in several areas and with some blistering as well. A small piece or two around the sides were replaced. The inner Spruce layer was in very good condition as were the linings for the most part.

Arnold did point out one interesting thing here. The endpin hole was way off center. If measuring the long side, hole center to plate, then doubling that number comes to over 9" in depth. IF that were the case, then somewhere along the line before we were all born, the Rib depth of this Bass was cut down to its current depth. This is just a guess as we were not there back then and do not see enough evidence to certify that as fact.

Maybe Arnold will come up and explain in detail but I know he went around the Ribs working small areas at a time each day until it was all re-glued where ever necessary. I assume glue and clamps were used and maybe some non-stick material was used as a caul between the ribs and clamps for pressing any areas that were blistering. It looks very good now. ;)

Maybe in 200 years it will need some more repairs so someone write this down so we don't forget how to when that time rolls around!:eek:

Ken,
Is the hole nearer to the top or the back? How was the back edge in that area?

The hole was towards the front. http://www.kensmithbasses.com/double...ges/full_L.jpg

The back edge looked fine I believe but the center strip was falling apart at the bottom. Arnold repaired the center down there.

New photos? I can hardly wait...

pics?
 

I am kind of busy between work and playing the bass. When the web page is up, I will post the link but, it will be the same page as now, just modified with new pics.

I played it last night after a few personal tweaks (I had to force myself to put the bass down and go home as 2am was rolling around). I wish all basses had this kind of tone. The new neck is beautiful and the bass plays so easy. Now I have to start practicing to get used to the bass and be worthy of owning an instrument like this to play personally.

Actually, the linings on the back side were shot and were replaced.

I could not figure another reason why the endpin was so far off-center.

I lanced all the openings, injected hot hide glue and clamped using lucite strips to flatten the areas.

thanks. I assume the spruce doubling on the ribs was cross-grain?

yes..
 

The grain runs across Top to Back, bent along its grain lines from Block to Block.

Speculation: if the ribs were narrowed, it would seem to me more likely that a luthier would narrow them from the back; otherwise it would take a lot of re-engineering of the neck block instead of just a trim of the button side of the heel, which unless there were grave structural problems with the "top" side of the ribs would not be a cost effective modification to the bass, or any bass. And if it were trimmed from the rear, then the peg, assuming centered originally, would be farther back than forward.

I vote for it "always having been that way."

Please correct me if my reasoning is not sound (pun intended).

except that the front is flat, so to me it would be easier to re-engineer the front than the bent back. But I reckon it was installed that way. I don't always put the endpin dead centre. It depends how the bass balance feels.

???
 

I have no idea. In fact, when I got the bass it was such a joy to play sitting OR standing I never gave it an ounce of thought until Arnold mentioned it. I thought it was just that way! Also, it's not the first old Bass I'd acquired where the endpin was not exactly centered.

These are very old basses, made with 3 gut strings originally when playing bass music was much simpler. Mozart was new music then so go figure. What a particular repairman did later on while modifying some old bass to modern standards, who knows what alterations these guys did.

Remember, the violin in Strads time had a pitched maple fingerboard, not a pitched back neck with overstand. Many old Basses have the necks still just barely sticking out from the body and pitched back for the string height. Back then, who really cared about the 'fixed' peg endpin hole?

I don't think this is the case,as the back edge was almost fine, but (maybe) some old instruments were played without an endpin, with the back edge on the floor, sometimes with a clog. A Busan bass in the Elgar book has a clog glued on the back, and I saw another one in person. If so, it make sense to move the endbutton towards the top to prevent it from touching the floor. They were not so tall, back then...

well..
 

I took the Storioni out to rehearsal on Sunday for a later May program with another Orchestra and then again Monday and Thursday for Saturday, tomorrows concert with my Orchestra. The bass sounded great but too much foot traffic on stage for my comfort concerning its safety. So tonight (Friday), I brought my Mittenwald bass (attr. L.Neuner) instead and it did just fine.

Yesterday we had the first run thru with the soloist, Pianist Simon Tedeschi from Australia, a Gershwin specialist. We are doing the Bernstein version of 'Rhapsody in Blue' with him.

While warming up early (as I was as well) he started playing a few jazz heads. I tried from across the stage doodle along with him. On his drive back to the hotel, the chaperon (a board member) mentions that I was a Jazz player and such in conversation. He tells me when he got back for the 2nd half of the rehearsal (Shostakovich 5th) that maybe I should do a tune with him for the encore. I said "sure, we can rehearse Saturday afternoon before the concert".;) Tonight the conductor walks over and asks me to do a tune with him and he calls across the stage to ask which tune and Simon says 'Blue Monk'. After the Gershwin run thru I walk over with the bass and go over how he wants it and asked him to write out what I should do for the unison melody being that it was our only rehearsal, those 10 minutes. Then he asks, "do you know "the Preacher by Horace Silver? It might be better being that we are playing in a Church". I smile and say 'Yes' playing a bit of it and then I say "in 1969, I won the audition and one of my first gigs was playing with Horace". So he was thrilled and now he can announce I played with H.S. but I did remind him that in '69, 'The Preacher' wasn't a tune we did in Concert as Horace would usually play the newest tunes to promote his latest record.

It just so happens that the Neuner bass is a great Jazz sounding instrument as well. Very deep, punchy, pingy and loud enough to do the duo without an amp. I think if I played the Storioni, it might turn a few heads too many when I walk across stage for the encore with a giant looking Guitar and take attention away from the music. Carrying it with no corners to grab is also not so easy as one might imagine. The basses are tucked in the back along side the Cellos, just behind the Violas, and not across the back as usual. This is so the Tymp. player can be closer and not behind us directly. I am actually forward of the 3rd Cello row, just behind the second row Violas. Walking out for the Piano/Bass duo would be the first time they see a bass full view up close with this stage set-up as I walk between the Cellos and Violas, over the podium and stand next to the left hand side of the Piano. Kind of a first for me within an Orchestra Gig. The Nuener will handle the job just fine and not attract as much attention if at all as far as the actual bass goes.

Matt, do you know this guy? I hear is is quite famous in your land and around the world.

Yes Simon Tedeschi is well known here. But I must confess, I've never heard him play.

He's really a great player. My first time hearing him and hearing 'of' him as well. If in your area, he's definitely worth the ticket to go see and hear.

Now, back on topic. Later today I well run back to the shop and try the Storioni as a jazz bass and if I think she's ready for the task, switch her out in my case with the Neuner. Why not go all the way, right?;)

[quote=Ken Smith;22417

Now, back on topic. Later today I well run back to the shop and try the Storioni as a jazz bass and if I think she's ready for the task, switch her out in my case with the Neuner. Why not go all the way, right?;)[/quote]
Put on the Spiros!

spiros?
 

Arnold, she growls just fine with the Bels and bows fantastic.. :cool:

ok..
 

I brought the Storioni last night as I mentioned I was considering. Friday night rehearsals are always a bit hectic with people rushing thru traffic to get there on time so running across the stage the last minute and often thru the bass section is something I don't like while I'm playing or if my bass is lying down or on a chair. That's the main reason I didn't bring the Storioni on Friday.

While I was warming up last night my stand partner was about 100 feel behind me off stage trying to tune his bass with a Tuner. He has a nice '80s full sized Pollmann (Maggini/Panormo/Fendt model) with round back and sounds quite good. He told me later when we were packing up in the end that while he was trying to tune, my bass was registering on his tuner, every note I was playing. He also mentioned with a smile that I was in tune as well. Wow, what a relief.. lol

So, the bass is loud but carries thru the house as well. After the Gershwin with Piano and Orchestra the soloist did a bit more on his own and then announced me and invited me up. We did 'The Preacher' with a Piano intro and chorus solo and then I came in, no amp and, I had lowered my strings slightly from Orchestra set up in case he puts me on the spot to solo. He did, and I played two choruses, never struggling to get the sound out as I was confident I was being heard. The audience loved that Duo more then most of the program from what I had heard back.

For the 2nd half I raised the bridge back up a 1/4 turn and finished up the concert. My stand partner mentioned how loud my bass was and regardless of being to the right of me, can hear my bass over his which made him dig in a bit more where needed.

So, the Storioni is sounding better by the day after massive surgery and unlike a few people were concerned about, it didn't loose its 'golden' sound. In fact, it rings more than even from what I remember. Thanks Arnold, job well done! ;)

I really identify with this! You lay a bass down and everybody seems to head towards it like a magnet! Some idiot violinist knocked my bass over at a gig recently. Funnily enough I'd gone to the bar to get her a drink - I was reluctant to leave my bass, but she was a guest at my 91 year old Aunty's birthday.