The gypsy bass again

**Matthew Tucker** · #1 09-21-2006, 04:26 PM

Some one loved bending ribs ...

http://cgi.ebay.com.au/Unique-double...QQcmdZViewItem

I wonder how it sounds?

hdiddy · #2 09-21-2006, 04:52 PM

It's almost as if the sound isn't that important cuz they look so beautiful! So much character & "mojo"!

hdiddy · #3 09-21-2006, 05:14 PM

OH yeah, this bass made me think of Mario Lamarre's basses. I looked at his work again and didn't notice the scuplting of the of the top and back as it they had panels. I would think it would affect the sound but it's sure a pleasure to look at them. BTW: I just noticed that there is a powerpoint slide with the 2003 bass (scroll to the bottom) that shows very detailed shots of the scroll sculpture. Absolutely impeccable. Makes me think as if these basses and the gypsy bass came out of a Tolkien book or something.

One more thing: if you haven't seen it yet, there's also his 2006 violin thats posted on his site. Pretty amazing as well. I like the scroll. I guess he hasn't done a bass in while.

**Matthew Tucker** · #4 09-21-2006, 06:44 PM

They're very over-the-top but I do like the elephant's trunk extension!

mpoppitt · #5 09-21-2006, 09:41 PM

I love it!

Silversorcerer · #6 09-22-2006, 12:16 AM

Thanks for the heads up on this one. I love these variations on the traditional shapes. I'd like to see what is on the inside of those crevices and how those parts are joined. You'd think it requires an extra block on each bout. It looks like a carved bass from the relief at the edges and obviously is a few pieces across the top with some knots or odd variations in the grain. Some kind of magnetic pick-up on the end of the FB that I'd take off of it. It's too pretty for that clutter.

**Matthew Tucker** · #7 09-22-2006, 12:33 AM

I had a think about it and I reckon those crevices wouldn't need a block at all, just the ends of the ribs glued together. Their shape would keep those ribs rigid as anything, even more so than a "normal" rib.

mpoppitt · #8 09-22-2006, 01:55 AM

So, what do you suppose the story is on this bass?

-Where was it made?
-How old is it?
-Do the crevices sreve any purpose besides ornamentation?
-Are there others out there, or is it a one-off?

If a maker were starting from scratch, would this be that much more difficult to execute than a traditional bass?

**Matthew Tucker** · #9 09-22-2006, 02:22 AM

This one crops up in Australia every now and then. No idea of its history. The crevices look like they're great dust traps and could be used to hold a cigar ...

I can't see why it would be that hard to build; perhaps twice as long to do the ribs and linings and the rest would be the same ... but it might be harder to sell thatn to make!

Paul Warburton · #10 09-22-2006, 05:00 AM

What's up with Mario's bass having five strings and an extension?

Oh, and by the way, IMHO, Mario's basses are over the top for me....some of his heads and scroll carvings remind me of one of those fancy, dripping, candles. They don't even look like wood to me.
This, coming from a guy who some people consider plays a bass that's over the top.

**Matthew Tucker** · #11 09-22-2006, 07:19 AM

Paul what's your opinion of the gypsy bass? You like? You no like?

Paul Warburton · #12 09-22-2006, 07:51 AM

Quote:

Originally Posted by Matthew Tucker

Paul what's your opinion of the gypsy bass? You like? You no like?

The bending of the upper bout shoulders kind of remind me of my Joseph Bohmann. I can handle that, but the bottom bouts indentations are too much for me. I've always had affection for the Viennese-type tuning boxes on the cheeks...either on the top of the cheek or the back or both. My man Red Mitchell had a beautiful Klotz with thaty style, so, I guess they conjure up memories of Red. I'm not a fan of hat-peg style tuners..although, they do make alot of sense in terms of weight....they're so many really great looking machines available, especially from Engand, I' gladly swap the extra weight of the aesthetic properties for....well, as the song goes:" And I am a fool for beauty "

To try to answer your question: I could possibly put up with almost anything in terms of looks, but as Matthew said...I wonder how it sounds.?

Jeff Bollbach · #13 09-22-2006, 09:22 AM

Yeesh

Jeff Bollbach · #14 09-22-2006, 09:33 AM

Mario is clearly a genius, but do the Vikings really need another homage?

Ed Fuqua · #15 09-22-2006, 09:35 AM

Quote:

Originally Posted by Paul Warburton

....well, as the song goes:" And I am a fool for beauty "

You are too beautiful for one man alone,
So let me go call my brother....

Silversorcerer · #16 09-22-2006, 11:05 AM

Quote:

Originally Posted by Matthew Tucker

I had a think about it and I reckon those crevices wouldn't need a block at all, just the ends of the ribs glued together. Their shape would keep those ribs rigid as anything, even more so than a "normal" rib.

Very good point. those tight bends joined that way would be very stiff across the rib depth, but might actually increase the flexibility of the ribs in the top to bottom dimension, sort of like the folds in an accordion bellows.

Brent Nussey · #17 09-22-2006, 11:45 AM

Quote:

Originally Posted by hdiddy

OH yeah, this bass made me think of Mario Lamarre's basses.....

I guess he hasn't done a bass in while.

Oh, Mario is still a bass maker. He just is able to complete 1 instrument a year or so, and I guess this year he got a viola comission. Mario says he likes basses because they are less standardized and allow for more freedom and creativity, both for the maker and the commissioner of the bass. The instruments seemed really over the top to me at first too, but getting to know him, they're just an expression of a really beautiful, creative personality. He's more like an artist than any other luthier I've ever met.

Of course, I know Jeff's joking, but the viking bass was actually made for a guy from Norway, IIRC. I saw some "studies" (test carvings) that Mario did for the bass. He said he sent the guy pictures, and the guy kept saying, "make it more aggressive!" Each instrument is really a collaboration between Mario and his client. Don't think I'm not kicking around ideas for a bass related to my own adopted country....

Also, I think it's worth mentioning that Mario also does subtle work, stuff that's not so over the top, but is great too. He did a bridge for me that's just gorgeous, and gives the best sound of any bridge I've ever had on the bass. We discussed at length what kind of changes to the sound I wanted, and how to get it. The bridge looks beautiful, but the proof is in the pudding, and it sounds fabulous.

Paul, Mario has made several basses with high C strings and extensions. I think that's because one of his early commissions, someone asked for that, and he kind of became known for it.

Sorry for the digression. Regarding the Gypsy bass, all I can say is I bet it would be a bugger getting the dust/dirt out of the crevices. You'd have to have a soft toothbrush or something....

hdiddy · #18 09-22-2006, 01:42 PM

Thanks for the inside on those creations Brent. Yeah I think they can be over the top, but I never thought that they were commissioned. Makes more sense when some of the earlier basses were a bit more conservative.

But as to their over-the-top'itude, think of it as runway models guys... women don't normally dress in those crazy outfits but the fashion shows give them ideas of what can look good and what might be possible.

Jake deVilliers · #19 09-22-2006, 03:02 PM

"The bridge looks beautiful, but the proof is in the pudding, and it sounds fabulous."

Brent, do you have any pix of that bridge?

Thanks, Jake

Paul Warburton · #20 09-22-2006, 03:31 PM

Quote:

Originally Posted by Jake deVilliers

"The bridge looks beautiful, but the proof is in the pudding, and it sounds fabulous."

Brent, do you have any pix of that bridge?

Thanks, Jake

Ditto for all the above...I too, didn't give any room for suggestions from the client....Ditto on the pics!