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  #161  
Old 05-13-2011, 10:39 AM
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Cool New page up..

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Originally Posted by Richard Prowse View Post
I really identify with this! You lay a bass down and everybody seems to head towards it like a magnet! Some idiot violinist knocked my bass over at a gig recently. Funnily enough I'd gone to the bar to get her a drink - I was reluctant to leave my bass, but she was a guest at my 91 year old Aunty's birthday.
Richard, at the rehearsals I've done for my last 3 gigs I left the price tag hanging on the D tuner when I pulled the bass from the rack. One person looked and asked why it still has the tag on it. I said, so you know how much you owe when you knock it over!

On a more friendly note, the new pics are up now and we left the old page stand as well so people can look at both and compare if they wish; http://www.kensmithbasses.com/doublebasses/storioni/
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  #162  
Old 05-13-2011, 09:23 PM
Richard Prowse Richard Prowse is offline
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Lovely looking bass!
Why did you put the little 'wolf tone' thing on the A string?

Last edited by Richard Prowse; 05-14-2011 at 08:00 PM.
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  #163  
Old 05-14-2011, 01:21 AM
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Cool wolfy?

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Originally Posted by Richard Prowse View Post
Lovely looking bass!
Why did you put the little 'woof tone' thing on the A string?
Well, the bass is so lively that the a string being the highest off the Top is the most powerful note and over-vibrates the bass somewhat. Depending on the string, the wolf is more or less. It is mainly noticeable with the Bow and open A or A harmonic. With lighter strings, it's barely noticeable.

I did an Orchestra concert and Chamber Gig without the eliminator and had no problem at all. Playing alone in the room though I can hear everything. When I stop playing, all of the other basses in the rack are making noise. This monster vibrates everything from the floor to the ceiling and the walls as well as everything in-between.

I had Original Flat Chromes on it first and didn't like them on this bass. Then I put some played-in Belcantos on and the bass improved 100%. Then I tried the Passione's and wow, the bass loves them. I used to use Flex 92s with a Stark 92E. The Bass loved those as well. I have yet to try 92s on the Bass post restoration but the Passione's are doing just fine. I also have a set of Jargar medium's coming in but until the Passione's wear out or wear out their welcome, the Jargar's will sit in wait. I find that this bass prefers lighter than heavier strings. I have to listed to what she tells me!
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  #164  
Old 05-14-2011, 02:15 AM
Richard Prowse Richard Prowse is offline
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Well Ken, my Ab notes on E & A are a problem. Should I put my little screw on device back on? Say, on the A string?
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  #165  
Old 05-14-2011, 02:32 AM
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Question ??

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Originally Posted by Richard Prowse View Post
Well Ken, my Ab notes on E & A are a problem. Should I put my little screw on device back on? Say, on the A string?
Try it and also try on the D. The Ab wolf is what I have now slightly. Much less in the way than the A natural.
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  #166  
Old 05-14-2011, 09:18 AM
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Ken,

You must hold on to that bass at least until August! I am going to be in the North East early to mid July and need to play that one.

We are starting to plan the itinerary now, so I will be in touch to see when we could drop by the shop and take a test drive.

Best,
Brian
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  #167  
Old 05-14-2011, 12:38 PM
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Cool Lol.

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Originally Posted by Brian Gencarelli View Post
Ken,

You must hold on to that bass at least until August! I am going to be in the North East early to mid July and need to play that one.

We are starting to plan the itinerary now, so I will be in touch to see when we could drop by the shop and take a test drive.

Best,
Brian
I must? Well, I guess that's an offer I can't refuse.
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  #168  
Old 05-14-2011, 07:22 PM
Richard Prowse Richard Prowse is offline
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I must? Well, I guess that's an offer I can't refuse.
I agree with Brian's sentiment. If the bass is that good, why would you want to get rid of it - life is too short.

Hey, I've just put that little screw gadget on my A string and the Ab seems clear now on that string!

Last edited by Richard Prowse; 05-14-2011 at 08:02 PM.
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  #169  
Old 05-14-2011, 08:36 PM
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Cool ok..

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Originally Posted by Richard Prowse View Post
I agree with Brian's sentiment. If the bass is that good, why would you want to get rid of it - life is too short.

Hey, I've just put that little screw gadget on my A string and the Ab seems clear now on that string!
Who says I want to get rid of it? Today I used my Mittenwald bass and will use it tomorrow as well. The Storioni is not a bass I can take to just any gig. It needs a guard for many of the places I might play or rehearse. Not from being stolen or the audience but from other Musicians knocking it over or in to it.

Also, I have other basses I like playing as well. One other bass in particular that I have in restoration is a sweet sounding old Italian that I am waiting to play and see which I like better.

Besides playing and collecting, these are basses I sell. I would prefer if sold, the Storioni would go to a player that I look up to and admire. I play it in the shop just about every day. Until Orchestra season starts up in the Fall, I have no where to take it. The concerts I have in the Spring and Summer are just not optimum situations for a bass like this unless it's the only bass I have.
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  #170  
Old 05-15-2011, 08:49 PM
Richard Prowse Richard Prowse is offline
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Ken,
if you're happy, I'm happy.
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  #171  
Old 06-11-2011, 12:03 AM
Richard Prowse Richard Prowse is offline
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Ken, just a little question about that little wolf tone device on your A string.
I put one on my A string (same place as yours) and it got rid of my Ab wolf tones - then I discovered that G, up on the A string, had a wolf tone. I tried the little chap on the D string, but it still effected the G.
I've taken it off because it is easier to live with a funny Ab. Have you had much experience with wolf tones? Is there any logic behind how the little device works?
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  #172  
Old 06-11-2011, 03:39 AM
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Default wolfs

Quote:
Originally Posted by Richard Prowse View Post
Ken, just a little question about that little wolf tone device on your A string.
I put one on my A string (same place as yours) and it got rid of my Ab wolf tones - then I discovered that G, up on the A string, had a wolf tone. I tried the little chap on the D string, but it still effected the G.
I've taken it off because it is easier to live with a funny Ab. Have you had much experience with wolf tones? Is there any logic behind how the little device works?
I don't know much about them only that they are waht we refer to as resonant frequencies. I remember back in the early 70s discussing this same thing about problems on a bass guitar (not to mention brand) and that's what we called them back then.

You can find a wolf on any instrument no matter how subtle but it's there.
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  #173  
Old 06-11-2011, 05:06 PM
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Quote:
Originally Posted by Ken Smith View Post
I don't know much about them only that they are waht we refer to as resonant frequencies. I remember back in the early 70s discussing this same thing about problems on a bass guitar (not to mention brand) and that's what we called them back then.

You can find a wolf on any instrument no matter how subtle but it's there.
Thanks Ken. Sounds like that Ab is just something I'll have to live with.
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  #174  
Old 07-12-2011, 09:16 PM
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Lightbulb Cornered Cornerless..

I made a new Thread for one of my Cornerless Basses that has Corners but outside Scalloped Blocks. Thread here.

I have also seen several basses that had single Guitar Ribs but the Top and back had Corners. On the Ribs were glued on external corners across the Ribs. Only on of these I have seen in person. Inside, it looks totally Cornerless Guitar style. Here are a few borrowed pictures.



I have seen a few others as well with similar external Blocks. One attributed to Testore, one to Montagnana and one just Northern Italy. None of them resembled each other in the actual style of the bass so I would say 4 different makers.

So whether Scalloped blocks externally or full blocks, there is more then one method of making a Cornerless Bass internally or rather, a Guitar model Bass.

To date, I have played each of the 3 styles, two of which I currently own.
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  #175  
Old 07-12-2011, 11:34 PM
Nathan Parker Nathan Parker is offline
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I'm a bit confused as to the scalloped blocks. Are they what appear to be (for my novice eyes) rounded violin corners? That's how I'm perceiving them. Could they have been added later, or where they build with the bass?

Either ways, very nice looking basses. How do I go about getting in your will, Ken?

Edit: After looking closer at the pictures of your Scallopini, I see it a bit more clearly now. That is some impressive woodwork. Are the purely for beauty, or do the have a function? Perhaps they make the bass easier to lie down?
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  #176  
Old 07-13-2011, 02:35 AM
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Quote:
Originally Posted by Nathan Parker View Post
I'm a bit confused as to the scalloped blocks. Are they what appear to be (for my novice eyes) rounded violin corners? That's how I'm perceiving them. Could they have been added later, or where they build with the bass?

Either ways, very nice looking basses. How do I go about getting in your will, Ken?

Edit: After looking closer at the pictures of your Scallopini, I see it a bit more clearly now. That is some impressive woodwork. Are the purely for beauty, or do the have a function? Perhaps they make the bass easier to lie down?


The first time I saw pictures of this bass I had my own doubts as the blocks looked detached from the actual bass in design. When I finally saw the bass in person it all came together in seconds. The Blocks are original to the bass. Without them, the corners would break off having no support under them. When Robbie (the Restorer) first saw the bass, he thought they were ingenious (or some comment like that Arnold mentioned to me).

Upon closer examination, the 'fluting' of the Scallops in the Blocks looked just like the Neck Button carving. The same hand, without a doubt in my mind. Internally, this bass looks a bit like a large elongated guitar. Externally, it looks like a violin model bass. The Scalloped blocks and the hooked 'tooth'-like corners leads me to believe it was a maker near a sea coast. That is why I suspect Genoa. My Candi bass has a carved out Crab in the Gear handles. I have been told these are from hotel keys and I have seen the same handles on other Italian gears as well. So Sea-like ornamentations on one Genovese bass leads me to believe it was a sign of the culture. Having the Scalloped Blocks, hooked like Corners (Shark tooth?), a Guitar/Violin maker in the period of this Bass named Lodivico and an actual similar shaped bass model almost as old (but more refined in its Violin style) seen with the inscription Lod Parisini 1813 (Bologna) all seems connected within this bass.

I might be totally wrong on the maker's name here but the other bass with the same shape, size and angled sloped shouldered round back looks like a match to me. I have never seen a bass like this before, all things considered. Look at the Scroll pics. This maker made this Bass. Similar carving to the Blocks but the Violin skills shine the brightest in the Head and also the beautiful Fs.

My bass cover is in the car. In a few hours I will hit the road to get this beauty. More to come on this...
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  #177  
Old 12-19-2011, 01:58 PM
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Cool Two recent shots

Some recent shots now on FaceBook
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  #178  
Old 02-18-2013, 02:02 PM
Eric Hochberg Eric Hochberg is offline
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Default Reinshagen Bass

Don't know if this bass has been discussed here, but here it is.

http://www.reinshagenbasssale.com
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  #179  
Old 02-18-2013, 06:23 PM
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Originally Posted by Eric Hochberg View Post
Don't know if this bass has been discussed here, but here it is.

http://www.reinshagenbasssale.com
Yes, a few times and it was back in 2009 the first time it was posted here, many many pics. A very plain looking bass with a German style scroll but looks different in the back. The owner was more famous than the maker from what I see.
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  #180  
Old 02-18-2013, 09:10 PM
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I love the nickless FFs.

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