Quote:
Originally Posted by Bass Barrister  A bit off-topic, but maybe not . . .
I've read some commentary here that states re-graduation can add to an instrument's value and playability - if the work is performed correctly. There is a well-known Chicago area luthier who equates re-graduation of violins with crimes against humanity. His public assaults on some of the best known dealers and luthiers in the US for the practice of re-graduation are legend and some of his writings have led to litigation. As I am not an expert in the field, my question is whether or not his concern is valid as a general condemnation and/or whether it applies to double basses. |
Correcting a poorly made or graduated instrument is different that over thinning an instrument to make it prematurely sound old.
I have personally had Basses newish and old that needed re-graduation as well as graduation corrections. Sometimes this includes adding breast patches to even out either an overly carved bass or one that was overly thinned. Not every Bass or Violin was made perfectly or repaired correctly.
I have also had a partial center crossbar added to two of my Roundback Basses. Both of these Basses were improved by this addition.
Many think it's a sin to alter an instrument. I think of it as correcting them. With cutting Basses down as needed (as so many older Italian and English Basses have had reductions) I think this has helped these Basses so that they can be used.
How about all of the Strads and thousands of other old Violins that were made with Baroque Neck angles and pitched fingerboards. Was it wrong to alter them?
While one or a few critics like to condone alterations, players bless them when it saves something like a potentially great Bass.
If I listed all the Basses I have saved and put back into service along with each step performed, I would need to write a book.
Hey, thanks for the idea. Now I know what I want to do before I retire.
By the way, some of these Basses were generic instruments and some with master grade Orchestral Basses. Having played most of them before and after in professional settings lets me know how things turned out in the real world, not just on a spec sheet for someone to criticize.
Tomorrow I will go into NYC to finalize the measurements on the Block-cut/Shoulder alteration of my full sized
Mystery Bass. With 22" wide upper bouts, a 47" long body and a 44" string length something must be done to put this 'sleeping beauty' back into service. I don't think it's been played since I was born. I will leave the wide shoulders because the Back slopes to under 6" at the Neck. After the Block area cut, it will be closer to 6" but still playable. This will still be a large 7/8ths but hopefully easier to play as the upper Bouts slope a bit more gracefully than many older Panormo style Basses.
yes.. 
yes.. 
