Kolstein Maggini
 

New Bass!

http://i596.photobucket.com/albums/t...LowerAngle.jpg

http://i596.photobucket.com/albums/t...rontofBass.jpg

http://i596.photobucket.com/albums/t...ss/F-Holes.jpg

http://i596.photobucket.com/albums/t...sOnItsSide.jpg

http://i596.photobucket.com/albums/t...s/BassBack.jpg

http://i596.photobucket.com/albums/t...assProfile.jpg

http://i596.photobucket.com/albums/t...lAndTuners.jpg

http://i596.photobucket.com/albums/t...hExtension.jpg

http://i596.photobucket.com/albums/t...tsSideBack.jpg

nice..
 

Looks big.. lol

My stand partner has one by Pollmann similar to this. I don't know if it was a Kolstein import at the time but was back in 1984 or so.

His is marked Fendt model, a name which Kolstein promoted as well.

Here's the thing about both your bass and my friends. Maggini and Fendt (who sort of copied the Maggini/d'Salo model) made these models in a Flatback. I don't recall ever seeing either of them with a Roundback as Maggini and his master d'Salo made all of their Bass 'instruments' as Flatbacks. I say 'instruments as not all of them (or maybe any of them?) were made as 3 or 4 string Double basses but have since (the few real ones that are certified) been converted for modern playing over the last 200 years or so, possibly more.

The person/maker that combined the Maggini style model with a Roundback was Panormo! So, any of these broad shouldered 'Maggini-like' Basses are really Panormo copies, not Maggini copies. The double Purfling may be a 'feature' used both by Maggini and d'Salo but not exclusively. That is the main thing I see that points directly to Maggini but not the back, lower bouts or f-holes.

Both the Brecian model by Maggini and d'Salo as well as the Panormo Roundback have a pronounced angle break from the middle of the upper part of the upper bout.

The lower bout width looks more like a Hawkes Panormo copy than Maggini or Panormo as the real models they made were quite wide at the bottom.

Still, it's a nice looking bass. Enjoy it.

Well, I don't think what it is a copy of is a huge deal to me. This is one of their US Made models (not their masterbuilt though) I just love the way it plays :D

ok..
 

I agree with you but from the bass business standpoint I feel compelled to point this out. Basses are wrongly named, attributed and copied more often than you can imagine.

A bass that I have in progress from Arnold is being called an 'inspired copy' rather than an actual copy of the bass that is being used for the model. This is because we are adding corners to a cornerless bass as well and making a roundback instead of a flatback like the original. Just trying to be accurate in the 'labeling' of what it is and isn't.

All of this is ok but I think professional marketing needs to be responsible when ever it can be. Mistakes are often made as well but I would prefer things named more accurately whenever possible.

Enjoy the bass and let us know how that extension works out. I haven't used one like that since before you were born..:eek:

I can't help but like the style of this bass, but you'd better start looking for a chiropractor if it's as big and heavy as it looks in the photos! :D

The mechanical extensions - I haven't played enough to say for sure, but I don't think I'd want one. Maybe if someone made a complete new one that was really perfect, or if I knew a guy who was really pro at making one work right. The one's I've played (and heard played :rolleyes:) have been less than great...

I think it's interesting how a lot of the Kolstein basses have very prominent slab cut wood in them, when that's something that so many other shops/makers/whatever seem to really avoid. Personally I'm not so comfortable with it, at least in theory, but given how many great old basses were made from similar cuts of wood I tend to think that (long term anyway) my hesitation is unfounded. I can't say I'd be so open minded in buying a new bass, however.

I think I forgot to mention - Nice bass! It looks like a beast! ;)

I find the extension to work very well, although there seems to be a little bit of sympathetic vibrations going through it. I find that the chromatic could be better, if harder to use, than the mechanical because of the buzzing, but it isn't anything the audience would be able to hear AND most of the players in NY Phil appeared to be using mechanicals so I think that is something that is common.
NOTE: The buzzing only occurs on the open G and Ab on the G string and only while playing pizzacato and it definitely comes from the Extension. Rather odd.

Extensions..
 

In most Orchestras with mechanical extensions you will find that they are quite old, most of them. In the same orchestras, the chromatic manual types are the newer ones. The metal flute-like noisy extensions are slowly being replaced by the lighter ebony/wood manual chromatic or single latched extensions. Very few mechanical extensions are being put on new today. Just call shops around the country and see what they put on basses today providing they are putting or making something good for the professional. A bad extension, any kind doesn't work at all in the long run.

Wasn't someone in the US either making a good reproduction mechanical extension, or at least refurbishing and selling old ones? I thought I had a bookmark, but seem to have lost it. :confused:

Lemur has re-issued the Stenholm extension machine.

Thanks Arnold!

Thinking about the possibility of getting a chromatic put on. There are little idiosyncrocies with the mechanical, like it is slightly out of tune and two of the levers jam. While I realize those are probably rather easy to fix I would kind of like to have a fingered extension like on my Shen, although a bit flashier if possible :D
Regardless, does anyone have experience with exotic, attractive chromatic extensions? I just want something different than straight ebony, a "fingerboard" on an attractive piece of wood would be quite nice.

Exotic you say?


:D


Want to sell your funky mechanical unit? ;)

exotic?
 

You want the Chromatic because as I mentioned earlier, the mechanical is not as practical today and harder to work, correct? If you want it to actually 'work', be more concerned with the function of it than the looks. Laminating woods is fine. All Ebony to me is more in line with your Fingerboard.

What do you think about that adjustable tailpiece?

I have had one of those adjustable tailpieces, and IMO they are too heavy and have a significant impact on the tone(not necessarily in a good way). Depends on the bass of course. I put mine on a fully carved Chinese before I sold the bass and it darkened the tone. Choked the bass it was originally on though(1850's German flatback with a thin top plate).

Nice looking bass BTW! All of the Kolsteins I have played have been nice instruments.

Yeah, they look like they could weigh a lot. How did the "adjustable" aspect of it work - more or less as expected?

works well?
 

So Sam, is this the Stenholm or Facwett Extension? I think the Facwett is chromatic with the keys from nut to bridge in direction and the Stenholm is in reverse, correct?

Which one do you have? I ask because I might consider trying one on a bass of mine just for those times when it's easier in the music than the fingered chromatic. I hear that for the most part, the Facwett is better but that on some pieces, the Stenholm reverse chromatic works easier depending on the music.

Looking just now on the web at both the Tom Martin site and Lemur site while making this post, yours looks like the English Facwett from the finger shape and the Stenholm must be what I had before it was busted in a car accident in late '72. I only had it for a little more than a year or so but did get some use out of it.

It is a Fawcett/English Extension, but it sounded like (due to the way Mr. Kolstein described it) it is manufactured for Kolstein.

ok..
 

Regardless of it being Kolstein or T.Martin, I think it is the same machine. Is your ext. fingerboard painted black under the machine or is it Ebony? I ask becase from England they come mounted on something other than Ebony and are painted black from what I have heard. A luthier I know says he makes a new ebony ext. board and re-mounts the entire machine on it.

After looking at pictures on-line I know now my old one in the early '70s was the Stenholm so I have never used this exact kind. I will get to try one out though before long as someone is coming by within the next month that has one.

I am working on Mendelssohn's 'Overture zu Ruy Blas' for next week and it has a few quickies in there down low, especially towards the end. I am trying to decide between 3 basses with the same extension which one I can 'spit' the notes out quicker, cleaner and easier on. It looks like the Hart but I am working with a new set of strings on the Panormo. Let's see.. lol