Quote:
Originally Posted by Arnold Schnitzer
I read some of the dissertation Ken M linked. What I found most interesting was the response of players to the round vs. flat back comparison. Comments were all over the place and contradictory. The author pointed out how subjective the whole subject is. I personally think there is something to having a "spring" of brace wood under the soundpost, regardless of whether the bass has a round or flat back. I have had the opportunity to add a back brace to a round backed bass on several occasions, and felt the bass responded quicker afterward. Ken S. has some experience with this as well. Your comments, Maestro?
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Well, let me start by saying if not for seeing this already in one old Italian that passed thru my hands as well as seeing it in use on New basses made by both Arnold and Jeff B. I would not have felt as confident as I did when I requested such a modification on two of my own favorite Italians.
My Candi went in for some repairs and a new Neck Graft. Due to an old repaired crack in the Back running up from the bottom to the soundpost area I suggested we put a center brace in the roundback Candi for two reasons. One, this would keep direct pressure off of the Crack from the soundpost for ever! and Two, the Candi made from soft Italian maple aka Oppio would benefit as well from this structurally and hopefully tonally.
My Martini has a 3-pc back of this same Oppio but seems to have been graduated much thicker by the maker back in 1918/19 when it was made. The soundpost had over the years pushed on the back joint that is only a few inches from the post but outside towards the C-bout, not a center joint as it is 3 pieces as I mentioned. This center brace was more of an alongated back patch but a brace no doubt joining the center and outer pieces of the back therefore once again taking the direct pressure off of that joint nearest the Post area. The Candi brace was mostly all across but did not reach all the way t the Ribs or linings. Thus a center brace/patch in one.
Results?. Both basses are louder, more focused sounding and healthier as well. I was very pleased with the outcome as I know both of these basses from before the repair.
At the ISB this summer with all of the great old and expensive basses there the Candi had quite the audience. Italian Luthier Sergio Scaramelli came by several times during the week looking it over and playing it with passion I might add. A true compliment to the bass. Sregio mentioned he owned a Candi Cello that in other words, needed his big brother back home if you get my meaning. At this same time, world renown Italian bassist/soloist Stefano Sciascia played the bass and I must tell you, this guy can make a grown man cry. He was there to play in one of the venues in which the Karr/Koussevitzky bass had been prepared for him to do so. He told me if not for the Karr bass (the one they 'used' to call an Amati) he would have chosen the Candi to play. I played the Karr bass and I must say, Sergio would have sounded much better with the Candi. It has more power and more color to the sound. If just doesn't have the Karr mojo in it. Maybe I can call Gary and have him play a few minuted on the bass and see what mojo might rub off.. You think?
There is something to be said for adding this center Brace in many cases. My Gilkes however is made from such dense wood that it was not even considered. The Gilkes is a bass made from the finest woods one could ever wish for, made by a maker with magic in his fingers and posses more power than any 3/4 bass I have ever seen matching and surpassing most 7/8ths and 4/4 basses I have seen in projection as well. This Bass needs only to be played as it was made as perfect as a Strad Cello and needs no modifications.
Modifications are good to do if it helps the bass. If it ain't broke, don't fix it!