Quote:
Originally Posted by Matthew Tucker
Can you share any pictures of the back bracing/blocks/scars on that bass? I'd be very interested to see that.
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Matt, the Bass is all glued up now and just waiting for the Neck. I have never taken any pictures of the inside of the Top or Back. I did however take some pics of the Ribs while apart and posted them on my Website. The Neck Block was Shimmed internally so there would be room to cut a deeper mortise and save the existing Block. The Tailblock is the same as well, not replaced, touched or altered.
In this pic you can see the Tailblock which is relatively small as well as some of the Cornerblocks;
All of the Corner Blocks remain as well as the 'low' Bassbar and X-Brace that was in the Bass when I got it. Biase did however add some block wood in the X-area to beef up the center of the Back. He said the Tonetap was better afterwards than before.
The area in the Back by the Tailblock had virtually no wood left at all. He had to inlay a supportive piece inside, a piece outside flush with the Back and then cover it with a decorative bottom wood plate which I supplied from my maple stock (not shown). Most all of the internal repairs were done conventionally.
On the upper portion of the Back there was a very fine split starting at the upper Bout edge under that added Neck Button plate on the left (G side) and running thru that dark
horizontal scar and down a bit from there. The crack would not go together flush so on this he used a Violin repair technique as he explained. He sliced a sliver of wood from an area inside the Back near the crack and inlaid it outside where needed so that the wood and rays/grain would match up and not be visible after touch-up when turning the wood as the Flame moves in the light. He then inlaid another piece inside the back to fill the area used for the graft and then put a Patch over that as well. He also antiqued the new/old wood inlay thru that dark scar so it wouldn't be visible to the naked eye. It looked great when he showed it to me and I was quite impressed as well that he went the extra mile to do it the hard way which in the long run, was the best way.
All the pictures shown here were from before the Bass ever left my shop for this restoration over 4 years ago. I will post new pics when it's all done, I promise!
While I was there yesterday I got to play on a beautiful Bass by Paulo Antonio Testore. The Scroll however was not Testore but was told (and I agree) that it's from a much finer maker. He pointed out the details and said it's like Guarneri or Ruggeri, Cremona School. The Scroll was at least as old as the Bass (early 18th century). Then, to take some measurements and do some comparisons we used one of two big Giuseppe Guadagnini Basses he has and made comparisons for string length measurements and various stops. Then he pulled out a Violin by the same exact maker to show (and teach me) the similarities. The Arching was the same as far as curves go as were the FFs and Corners. Biase is also an international Violin dealer on a large scale. He always has several classics in his Violin, Viola and Cello stock as well as a few really great Basses. Although my trip was for my Bass in repair, it quickly turned into a lesson on Vintage Classic Italian makers and their traits. I have known Biase for my entire adult life and he is about 10 years my senior as well. I am truly grateful that he accepted this job. I have learned so much from this experience in the last four years.