- Jan 24, 2002
- 2,117
- 950
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- NS Design / AER Endorsing Artist
I'm new on here, so I thought I'd break the ice by posting about my bass. I bought it in August of 2003 for $15,000, but was later appraised at around $35,000. In fact, I found it in the Oregonian classifieds from owner Jerome McGill, a former member of the Oregon Symphony.
The bass is missing its label, but McGill was able to demonstrate its authenticity. I double checked with Hammond Ashley, which is where he bought it from, and they do have a record of a Jerome McGill buying a Paul Toenniges bass in 1989 from their store (for $10,000 or so, if memory serves). I could also see, when I had the sound post adjusted, the supposed comissioner of the instrument's signature on the sound post itself (Arthur Ray of the Seattle Symphony).
Last summer, when I was having work done at Robertson's shop in Albequerque, he offered to make a certificate of authenticity, being certain it was, in fact, a Paul Toenniges, likely made between 1936 and 1945.
Here's a picture of it shortly after I bought it:
It was in a state of semi-disrepair. The sound post has slid down a good four inches, which took me several months to notice (boy, those some nasty wolfs!). McGill had put a false nut in the finger board, because the neck was way too long. Unfortunately, this false nut was made very poorly and created a fairly nasty buzz. In fact, the entire fingerboard was shaved quite thin and somewhat warped. The bridge was original and bent back about half a centimeter. The edges were crumbling a little, as well.
Last summer, I had it sent to Albequerque. I had a new fingerboard put on, with an extended end to go to a high E. New bridge with adjusters. New strings (original flexocore medium orchestral series, with a heavy tension helicore E). We had the nut issue dealt with in a fairly unorthodox manner (see image). In addition to that, I had a C extension put on, and the edges were fixed. Here's the new and improved version:
[Invalid or Expired Link Removed]
At this point, it's probably worth well over $40,000. I couldn't be happier with it.
The bass is missing its label, but McGill was able to demonstrate its authenticity. I double checked with Hammond Ashley, which is where he bought it from, and they do have a record of a Jerome McGill buying a Paul Toenniges bass in 1989 from their store (for $10,000 or so, if memory serves). I could also see, when I had the sound post adjusted, the supposed comissioner of the instrument's signature on the sound post itself (Arthur Ray of the Seattle Symphony).
Last summer, when I was having work done at Robertson's shop in Albequerque, he offered to make a certificate of authenticity, being certain it was, in fact, a Paul Toenniges, likely made between 1936 and 1945.
Here's a picture of it shortly after I bought it:
[Invalid or Expired Link Removed]
It had been in a closet for several years before I bought it. Turns out, I found the classified ad only a few days after Mr. McGill had posted it. Apparently he had gone deaf in one ear, prompting him to retire.It was in a state of semi-disrepair. The sound post has slid down a good four inches, which took me several months to notice (boy, those some nasty wolfs!). McGill had put a false nut in the finger board, because the neck was way too long. Unfortunately, this false nut was made very poorly and created a fairly nasty buzz. In fact, the entire fingerboard was shaved quite thin and somewhat warped. The bridge was original and bent back about half a centimeter. The edges were crumbling a little, as well.
Last summer, I had it sent to Albequerque. I had a new fingerboard put on, with an extended end to go to a high E. New bridge with adjusters. New strings (original flexocore medium orchestral series, with a heavy tension helicore E). We had the nut issue dealt with in a fairly unorthodox manner (see image). In addition to that, I had a C extension put on, and the edges were fixed. Here's the new and improved version:
[Invalid or Expired Link Removed]
