Scallopini...

[Ken Smith]

Originally Posted by Matthew Tucker

Well, we don't want you cutting any corners, do we?

You made a joke.. lol..

I am thinking of a design for a new bass with some kind of rail/handle, decorative of course on the outside upper bout going across from scallop to scallop so you can lift the bass. One on either side. This Bass has already had its upper bass side corner broken off in the past most likely from being lifted with it. Now it's re-repaired with the half edging under it to keep it stronger than before. I have to lift it with the Scallop in hand to take the load partially off the actual corner. Maybe I can have this added to the bass at some future point. I have to get used to the bass first before I think seriously about any kind of modifications to this beauty.

Here's a Cornerless bass with an added handle that's pictured on the forum.

[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 mould, or is it a bit all over the place, indicating a more freeform construction? does the front outline match the back?

[Ken Smith]

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?

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.

[Ken Smith]

Here are the labels in the Bass. One is from a repairman and one, the old 16th century Lute maker Antonius Bononiensis which I believe is false for this bass and period;

[Ken Smith]

Here is a picture of the Center Brace during the restoration. You can also see some scored lines in the Rib and Lining. This is how the Bass was made, scored and then bent with the Linings in place. Also, here is a side shot of the Bass showing how nicely the Top pressing came out along with the Varnish touch up and polishing. The Bass sounds beautiful by the way and is a joy to play on.

[Ken Smith]

Ok, I took the bass out several nights this week, Wednesday through Saturday. Wednesday was a full Orchestra rehearsal, 4 basses in the section that night. The Bass did just fine. The other nights, Thursday-Saturday were Chamber Orchestra with Concert tonight, Saturday. The Bass did just fine and I have done almost nothing to the set-up since the restoration except put new strings on the bass, Belcantos. I might adjust the set-up in the future but for now, I am just getting used to the bass.

Powerful sounding bass for the venue I played and the tone, superior to most basses I have. Since this needs some break-in time, I will play it as much as possible. If I HAVE to bring a C-extension bass, I will but otherwise, I will bring this bass out and give it so play time.

[Ken Smith]

Ok, we just took some new pics for the webpage of this bass.

http://www.kensmithbasses.com/doublebasses/marconcini/

[Matthew Tucker]

Nice pics there again. Interesting that the linings were bent with the ribs. Sounds like hard work!

Any clues on how the scallops were carved? I'm guessing in situ, but I can't see close enough to tell. Since they are so unique on this bass, suggest you include a closeup of one of them as an extra photo!

I note you have put a very wide bridge on this bass, it looks as if it overlaps the FFs by at least half an inch, or more, on either side. In the past, you have been adamant that this is a bad thing and causes belly to sink at the ffs. Any comment on the situation here?

[Ken Smith]

Originally Posted by Matthew Tucker

Nice pics there again. Interesting that the linings were bent with the ribs. Sounds like hard work!

Any clues on how the scallops were carved? I'm guessing in situ, but I can't see close enough to tell. Since they are so unique on this bass, suggest you include a closeup of one of them as an extra photo!

I note you have put a very wide bridge on this bass, it looks as if it overlaps the FFs by at least half an inch, or more, on either side. In the past, you have been adamant that this is a bad thing and causes belly to sink at the ffs. Any comment on the situation here?

On the Pics, you can click and blow them up a bit to see the Scallops better. I can't tell if they were carved totally after gluing to the Ribs but anything is possible. No two Scalloped blocks are alike within the eight of them. The work is quite nice and easy on the eyes as well.

On the Bridge, the width of Legs of the feet measure exactly the same (just under 130mm) as the width of the upper F's eyes. The tabs of the feet do spread out a bit past that as you have pointed out but nothing in the area of concern. The Bass side bridge Leg is right on top of the strong new Bass-bar. If the Legs themselves were wider than the F's upper eyes, this would be a concern. The Top has a fairly big 2-piece book-matched breast patch covering most of the lower bout and reaching up thru the F-holes as well. Quite impressive 'fitting' work from what I have seen. Have a look below. I guess you have to see a bass like this in person. It is quite loud and deep but does not have quite as much of the depth spread of the larger Storioni, just some extra low boom over it.

The Bass-bar and some other cleats had not been done yet when this was taken. Both the lower and smaller upper breast patches shown here with a complete half-edging as well.

[Ken Smith]

I rehearsed this past Monday with the Kreutzer bass I had used all last week but it didn't seem to fit the program we were doing, Mahler (Das Knaben) and Mozart 36. The Orchestra was scaled down, only 24 in the strings (8/7 violins, 4 violas, 3 cellos and 2 basses). The next rehearsals were Thurs. and Fri and the Concert last night on Sat. So I brought the Scallopini and heads turned around me as I was between the Violas and Cellos (they were switched from normal position with the Violas outside).

At first I was worried it wouldn't be loud enough as the bass next to me was a 7/8 (or 4/4) Pollmann Maggini model from the '80s. Big bass, loud sound. The Scallopini held up just fine and the tone is beautiful and full, especially the mid and upper register. This bass holds up as well as any 3/4 despite is slightly smaller size. I can only imagine how much more sound will come from the bass when all that new repair wood inside breaks in and ages. I won't be around in 50 years to hear it but someone will.