What's in a Restoration?

[Ken Smith]

I posted this in the Classical Strings/new Pirastro Deluxe, but it's mainly about the bass itself, the Hart. I think this is something people should be aware of when major restorations are performed.

That Flex proto set I was on the fence about? On and off the Hart, then Mougenot and then back on the Hart? Remember my comments here about that?

Well then, we did something..

Unrelated (partially) to strings, I sent the Hart in to Arnold for a 5-year check-up on the restoration break-in. A lot of new wood in there. The Back has a new center and lower brace, the upper-mid left out and only studded on the angle-break. New half-edging all around and 3 different breast patches. One at each end of the bar and one under the post. so.. I asked Arnold to take off the Top and examine the repair wood and see if anything is making the bass overly stiff. The Flex Deluxe's were smooth one one bass and stiff on the Hart so after some nearly out-patient surgery (some of the repair wood trimmed), the Top back on and re-strung with the same strings, a 4th time going on a bass, 3rd time on the Hart, the bass is like half new again. Not new in sound, just improved as if it's a different bass. Twice the power on the bottom as before and the upper notes, as smooth as they were before the first restoration. These strings NOW sound and feel great on this bass as opposed to before.

I attribute this to two possible things. The bass is improved and the strings are broken in combined but, they were broken in the 2nd time they went on and the bass sounded like itself, so it's beyond the break-in theory.

If a bass is tight within itself, a tight string will not help it. It will only amplify that situation. Like putting dark strings on a dark bass. In many cases between a bass and its chosen string, opposites attract.

The Hart is a dark smooth bass. Just not overly powerful, before! Now, it's a cannon and the Flex Deluxe set seems perfectly at home with it. I will play these strings till they 'go'. Then I will put a new set of them on that I already tried on the Panormo. I took them off after a brief trial and will have them available for the Hart when needed. These strings can make your day!

Theadditional work just performed on this bass is something I experienced on my old Italian bass over 35 years ago. Trimming the repair wood that was added can make a huge difference but you have to test the bass for awhile with the work done as-is before determining if the work needs to be trimmed. If repaired too lightly, the repairs could fail causing damage to the bass that was just repaired or new damage. Going back in after the restoration within a reasonable test/break-in time (2-5 years) is preferred.

[Scott Pope]

I agree. It's all a balance between strong enough to withstand use, but still light enough to not impede resonance. I wish I could hear the Hart in person.

[Ken Smith]

Originally Posted by Scott Pope

I agree. It's all a balance between strong enough to withstand use, but still light enough to not impede resonance. I wish I could hear the Hart in person.

Well, I will be playing it starting tonight, Monday thru Sunday with Tuesday off. Come by any night and hear it with an Orchestra. Call me for directions!

[Scott Pope]

Can't afford to get to the east coast from the mid west right now. Thanks for the invitation. One of these days I will take you up on that.

[Ken Smith]

Originally Posted by Scott Pope

Can't afford to get to the east coast from the mid west right now. Thanks for the invitation. One of these days I will take you up on that.

Ok, I played the Hart last night and it gave out much more sound than ever before. My newly acquired old Lionhead (Bohemian/German?) is another bass I need to break in and evaluatenow as well

I the case of the Lionhead, it came to me already restored in Europe shortly before its arrival. Some of the things done inside are not exactly the way I would have had them done here but I was assured it's well restored. I am also considering a C-extension for that bass if I decide to keep it for personal use. I have used it on a few rehearsals but never in concert.

One way to see if all is done well inside is to just put it thru the test. Use it and see what happens. I just finished dressing the fingerboard to correct some buzzing on the G-string that only happens in pizz, not arco. That means the high spots are minor. Now, the bass plays just fine without any buzz with my set-up and playing style. I have off from this rehearsal schedule for two days but I have another orchestra rehearsal tomorrow, different program. On the concert for this weekend though, I have need for the c-extension but it is not a must. I can tune down to Eb on one of the pieces and play the only Db in the piece up the octave while my partner plays the lower note on his bass with a German mechanical Horst extension. There are a few Eb's in another piece that I can play up and maybe one low C so the conductor said it would be ok to split the octaves in those few spots. There are some other spots that are already divided and I am playing the upper part being the first chair and him with a couple of extension notes so playing a few more notes up would fit in just fine.

So, now that I know the Hart is fine and ready for anything or anyone, I need to better evaluate this old Lion and see if it's been 'tamed' or not with that last restoration. The only way to know is to play it and see if anything breaks. I still need to get some set-up things changed including bridge, post, tailwire and maybe a few other things so until then, the bass is playable to test. If I like the sound now and after the set-up, then an extension is on the menu, Lion and all!

I LIKE how this bass sounds, feels and plays. It slightly reminds me of the Storioni I recently let go. More of a 'butterball' sound as one luthier referred to about the Storioni's sound as compared to a Gagliano and Guadagnini we compared it to a few years ago. My kind of sound!