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Well, if you wish to preserve the bass, then you will want to leave as little indication as possible that you ever worked on it. If you cut it, then you become an obvious part of the history of it, and your work will be judged. I don't see one way as better than the other, just different approaches. To me, what matters more is the quality of work and end results.
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The History IS the work that has been performed on the Bass throughout its life. I can already see 3 different crossbar patterns on the back. The Top has its original shape and no cracks in the center of the Breast, Sound Post or Bass Bar areas. This shows the makers work and wood choice was complementary to itself despite the usage of the Bass over the centuries. The Ribs have plenty of splits which shows that the Top was stronger when the Back shrunk each season and let the Ribs take the hit. The Bass has many many mars and scratches on the Back which shows it didn't always have a Case and may have been on top of a Carriage cross-town. The Bass was restored in USA around the 1840s but was reported to have been brought to the USA around 1908 by the previous user/owner. This means it was probably played by a Musician on the Great Ships from Europe to USA as it was here before and maybe brought back after it was repaired. The Scroll was 3-strings and then converted to 4-strings. The Neck has a Carpentry splice in the center. The back Button had a plate of wood and under it, 2 huge Screws into the neck showing signs that it had taken a hit or fall at sometime. This may explain the new White Bros. Scroll of Boston, 1840. The Neck Splice may be from later damage. I have a black stained maple Tailpiece that was made for 3-string but 2 holes were drilled thru it later for 4-strings.
This Bass was originally a 3-string but the 4 Gears that were on the Bass when I got it date from Germany about 1800-1850 or so and were exactly like these but without the Plates;
These are just some of the parts of its past history. This Bass is no 'Virgin' by any means. Making it work in a respectful manner for todays playing is just another step in preserving the makers intentions. A playable workable Bass for a deserving player.
I want to point out one other thing here. I have bought 4 English Basses in the last 3 years. One is gone but I will still refer to it. Three of them have tight flamed Sycamore Backs and ribs of local English growth. Three of the Tops are medium-fine grained Spruce BUT one of them has grain I have never seen except in sections here and there. This Top has some special wood. Grain tighter than the naked eye can count the growth rings. The Bass also shows signs or trimming the bouts about 1/4 -1/2" all around as the Purfling on the Top runs off the Bass but is evident in the corners, c-bouts and upper and lower portions of the Bass. It looks as if the Bouts was more of a squarer shape originally and maybe trimmed when the highly figured ribs first shrunk OR the Top was made first and the Back wasn't wide enough so it was trimmed after it was Purfled and then assembled. A composite was once considered but the C-bouts line up perfectly and they are unusual as it is and the Varnish matches from Top to Back as well. So, the Mystery of this Bass is more than just the Maker or Origin.