Quote:
Originally Posted by LouisF  I haven't seen a lot of discussion on French basses here - Mirecourt, Barbe, Colin Mezin etc; Has anyone had any experience with them? What's your take on their sound - the one's I've seen, from the 1920s and 30s, certainly have a distinct tonal quality (which I can't decide if I like or not!)
Thanks
Louis |
4 main styles I know of other than modern ones.
The 20s-30s as you mention are often solo-oriented Basses with a thinner than Orchestral tone.
Then we have the 19th century Gambas made in droves by every known shop like the Germans but, in French. Sound varies but generally a fuller sound over the solo Basses. They are usually heavily wooded so if re-graduated properly, they will be improved.
Third, we have the Violin/Cello model high shouldered French Basses but some with less upper width like those of Bernardel. Vuillaume is credited for those quasi-Cello models but who knows? The Violin models were made in the same manner and same period as the Gambas and have the same grade of sound depending on the Bass and the work that was done over time. Some French Basses sound great and some, not so great.
In this 19th century period of making the English and Italians are far superior in tone. Although many of these French Basses are beautifully made, the sound doesn't always follow. You will find that German Orchestra Basses made in this era although often valued lower, may have a better tone as well.
Last we have the early French which I would say are Pre-Vuillaume, Bernadel, Gand etc. These are less uniform in model, more individual looking and less common as well. I know of only a handful of names from pre-1825 Basses which include LeJeune, Plumerel and Pillement. I am sure there are others that made Basses from the 18th century on up to the early 19th but you just don't see them often. If you follow the French music scene from then you will see the reason why. Who wanted a DB then? Not many!
Also, many early French Basses look just like anything else old from that period so they may now be carrying Italian, English or even German names attached to them.
In the general scheme of the European Bass marketed schools, the French fall about 3rd on the price scale on average close to the better German class Basses. The English and Italians often close in price rank much higher in general.
Personally, I have owned 3 French Basses (they I knew were French!). Two of them I just bought (restored one) and sold bu never played out. One was in my group of 2-4 Basses (depending on when) that I used on my Gigs and that was a Gustave Bernardel (c.1859) in the Violin-Cello shape but slightly softer shoulders as seen on these Basses. The Bass was 'quick' as my teacher then (Lew Norton) described at one of my lessons. As soon as you reach for the note, 'ping' it jumps right out at you.
The others were a Barbe (7/8 Gamba) and a Quenoil Shop/School Bass stamped 'P.Bisch'.
I think the 19th Century French Basses properly worked can be a fine Orchestral bass. The Sloped shoulder Solo type models would be more usable as intended or maybe in Jazz where you don't need that wide bottom organ sound spread.
the French? 
