Quote:
Originally Posted by Matthew Tucker
Funnily enough I've never really had a problem moving/lifting my cornerless bass. I guess I hold it by the neck a bit more than I would a standard bass, that's all.
is there any evidence how Scallopini was made? Like, is it nice and symmetrical, indicating ribs formed on a mold, or is it a bit all over the place, indicating a more freeform construction? does the front outline match the back?
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Well, one thing we can see and take a guess at is the rib and lining bends. They are scored/kerfed inside in several places with the cuts going over the rib and lining together. Meaning, he glued the linings in first and then bent the ribs with the linings already glued in place. The bass is a match 100% all around and no 2 corners or scallops are 100% exact to one another. Totally a handmade bass. I would doubt a mold was used but some jigs perhaps to hold things in place along the way. This guy made guitars as well as violins. You can see his hand/eye matching when comparing the scroll button to the scallops. Same tools as well. Definitely an interesting bass to study.
The Top is 3 pc spruce with the pith down the center of the middle piece at the ends. The Tailblock area was deemed not worthy of repairing due to several voids in the original wood so a thru patch was made in a triangle shape. The point is about 12" above the saddle and the bottom about 5 inches across, slightly askew from the center line favoring the treble side of the bass. Looking close you can see it on the right side but the joint is well disguised on the left side under the tailpiece. In this case, we went for repairing that section rather then restoring it. Restoring it might have looked more original but structurally, it would still be weaker than a fresh solid piece in that less visible area. I have the piece that was cut out and it would need several repairs in itself as well as doubling it inside. The new piece was the cleaner and stronger way to go overall. The outer flank pieces join just inside the center curve/bout and along with the center piece has some very fine grain lines in spots. Definitely a cold time in history with all the tight winter growth lines. I would also guess this bass was made buy a younger rather than older person. This because of the mix of guitar work on a violin family instrument. Not quite a refined maker yet but extremely artistic. The Ffs are beautifully curved around the eyes. One of my favorite parts of this bass in its workmanship. The most favorite is the ease of playing with the small neck block angled in from the roundback tapered to just 4 5/8" (117mm) with the ebony caps touching the neck. A joy to hold and play.
The back is old Italian Walnut with nice broad flames. The center seam was repaired a long time ago, maybe more than once. It wasn't touched this time around other then some replaced studs along the center seam. The Ribs appear to be maple, fairly thick and with some slight flame in spots. Possibly Oppio, Italian maple.