Violin vs Gamba vs Busetto

[Ken Smith]

Originally Posted by Tom Martin

And Ken seems to have a great sense of humor too !!! (see msg. #6)

Sense of humor?

Who me?

Who said that?

Speaking of this topic which has been laid to rest for almost 3 years, let me say that what ever I said in post #6 as referred to above, is no longer 100% true.

I have decided to have a bass made, copying the cornerless bass I have with beautiful woods BUT violin corners added. Not big corners but something to make it look right.

I sold my BIG Gamba bass but got another one recently, not quite as big in size or sound but fitting in an orchestra. The other one was a bit big for me and when playing it I couldn't hear a thing around me but me!

My current Gamba is a normal volume deep sounding old Bavarian bass made for the orchestra for normal sized humans.. Like me!

Anyway, I still love all of the bass regardless of their size of shape. It's just that some are easier to play certain things on.

My main Orchestra bass now is the Hart and my secondary bass is the Bavarian/Mittenwald Gamba that works just as good for Jazz. I did a concert a few weeks ago with an Orchestra featuring a famous Trumpet player that threw in two jazz tunes, a ballad and a big band number. From the 2nd chair (of 4) I played those two tunes thru an amp as if playing in a big band with strings and woodwinds. The drums were at my right surrounded by 4 basses. The other 3 basses didn't play but a few bowed whole notes on those tunes but tapped their feet to make sure I was doing my job correctly.. The Gamba bass did just fine with bow and without.

So, Gamba or Violin corners or none at all, play and have some fun.

[Thomas Erickson]

Seems like kind of a tough call -

On one hand, violin corners are very elegant; well executed they add a lot of visual appeal to a bass and can show off the maker's skills, but I tend to think that given the long and rough life most basses lead the exposed corners are a liability not only to themselves but more importantly the rest of the top and back plates. They're also going to make an already expensive instrument even harder for the musician to afford.

Perhaps the cornerless design has a lot going for it, but it seems to me like there would be some problems just in moving the bass around, resting it on a chair, etc. Also, it kind of demands that the ribs be made in one long piece, calling for bigger wood and leaving a chance (I think) for worse (maybe just more unusual) damage as the long ribs crack along the length; although, the smooth sides might avoid getting knocked around so much and avoid damage, I dunno. And, the cornerless bass just looks odd, IMO. Not bad, just... odd. I don't need any more attention at the gig, do you?

Busetto corners - well, they look fine, but they sure don't do anything for the bass except add to the cost, and probably complicate repairs down the road.

So... I tend to favor gamba shapes. I really like the idea used in Arnold's ergonomic bass though, with just the top corners as a concession to practicality and tradition.

[Samuel Budnyk]

Who's making your bass, Ken?

Originally Posted by Ken Smith

Sense of humor?

Who me?

Who said that?

Speaking of this topic which has been laid to rest for almost 3 years, let me say that what ever I said in post #6 as referred to above, is no longer 100% true.

I have decided to have a bass made, copying the cornerless bass I have with beautiful woods BUT violin corners added. Not big corners but something to make it look right.

I sold my BIG Gamba bass but got another one recently, not quite as big in size or sound but fitting in an orchestra. The other one was a bit big for me and when playing it I couldn't hear a thing around me but me!

My current Gamba is a normal volume deep sounding old Bavarian bass made for the orchestra for normal sized humans.. Like me!

Anyway, I still love all of the bass regardless of their size of shape. It's just that some are easier to play certain things on.

My main Orchestra bass now is the Hart and my secondary bass is the Bavarian/Mittenwald Gamba that works just as good for Jazz. I did a concert a few weeks ago with an Orchestra featuring a famous Trumpet player that threw in two jazz tunes, a ballad and a big band number. From the 2nd chair (of 4) I played those two tunes thru an amp as if playing in a big band with strings and woodwinds. The drums were at my right surrounded by 4 basses. The other 3 basses didn't play but a few bowed whole notes on those tunes but tapped their feet to make sure I was doing my job correctly.. The Gamba bass did just fine with bow and without.

So, Gamba or Violin corners or none at all, play and have some fun.

[Ken Smith]

Originally Posted by Samuel Budnyk

Who's making your bass, Ken?

Arnold Schnitzer, the guy that is restoring the original. He has the birdseye view of what I want and makes great basses besides. I just want one that is ALL mine.. lol