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Found 9 results

  1. Is it usual for the bass bar to be this visible? This violin has a very dark sound, it sounds almost like a viola or celo, I'm guessing the two things are related...
  2. Double Bass closing clamps for sale. There are 40 clamps in total. 18 have been modified with a notch lined with cork to clamp basses with extra deep ribs. $150 for the set. Contact - guy@guyharrison.com Will ship to buyer if needed (shipping extra).
  3. I have a request to make a cello that would be better for travel for a gigging musician (rock/jazz music, but sometimes classical). He noted the David Gage Czech-Ease bass (http://www.czech-ease.com/). Any ideas on how this unusual size/shape affects sound? What about other compensations- graduations or bass bar? I found a few allusions to an improved bass bar on these over the years, but I'm not sure how it looked then or looks now. (https://www.talkbass.com/threads/new-improved-czech-ease-model.373533/#post-4817868, https://www.talkbass.com/threads/czech-ease-basses.390085/#post-5062693) I'm also trying looking at some ergonomic, oddly-shaped instruments to get an idea, but I've only come across pictures that are not helpful for building. Another thought I had was a normal-shaped, fractional size body with a 4/4 scale length. Anyone have good resources, or experience with unusually shaped/sized instruments?
  4. Looking for help identifying a bass I just bought for my son....not really sure of anything beyond the label (Karl Hauser). I'm not a plyer, and really have no knowledge of these instruments, so any help would be appreciated!! Ben http://s1268.photobucket.com/user/bentrcbbentrcb/library/BassPics http://s1268.photobucket.com/user/bentrcbbentrcb/library/BassPics
  5. Hey there I'm not sure if this topic belongs in this forum but I guess I'll go for it I've had my viola for a few years now and as pretty as it is, I managed to put a few ugly scratches on it, (by accident of course). there aren't that many but they're kind of obvious. To me, anyway. I like to consider myself an artist, particularly skilled in swirly doodle looking stuff, and I was curious if it would be safe to use acrylic to paint swirly doodles on my viola. I've read several articles regarding painting on the bodies, so I'm definitely aware of the effects heavy painting has on the wood and the sound quality of the instrument. However, I don't intend to cover the entire instrument in paint like the authors of the forums and articles I have previously read, I just want to do some extremely simple and light designs that are just dark enough to cover the scratches, which are mainly in one main area on my instrument. The color would be similar to that of the instrument: a reddish brown color. Nothing fancy. I was wondering if it would be too damaging to the wood or affect the sound greatly. If so, are there any safer alternatives?
  6. I'm Working on restoring an old bass, top has serious arching deformation, do to poorly repaired cracks in the past. Working on filing one spot where the original wood is missing in the lower bought and wondering if anyone had any thoughts, thinking of just doing a belly patch which feathers down to the edge. Link to a couple of pictures. http://s1060.photobucket.com/user/Mr-bubbles/media/IMAG0158_zpse4083104.jpg.html?filters[user]=143348490&filters[recent]=1&sort=1&o=0
  7. Hi everyone - I hope someone here has successfully dealt with this problem before, and can offer some insights to help me solve this one. This is actually my own personal instrument (not a customer's), an 1870's German bass with a flat backplate that has developed a nasty warp in the lower bout over the years. This bass has been here in Las Vegas, in the dry, arid Nevada desert environment since at least the 1960's, and I only acquired it about 3 years ago after it sat warped, seams open, and unplayed for at least 20 years. We got it closed and reglued in 2012, and since then this bass has performed beautifully and sounds magnificent. I've been playing it almost daily with no further problem since then. However, like most of the rest of the US, we experienced a really wicked cold dry weather snap this past weekend. In addition to that, the bass has for the past 3 weeks been housed 24/7 in a new environment - on the bandstand in one of the major shows on the strip, where it's too hazardous (and scary) to haul it up 10'-12' on and off the raised bandstand every night. So, as you can see in the pics, over the weekend the bass popped *wide* open on the G side of the lower bout, with the backplate warped back into a fairly severe concave profile. This backplate is so stiffly warped, I cannot even push it closed with my fingers without creating new cracks in the backplate, so even if I were to just crank it down with clamps and glue, I'd probably just create even worse problems to repair. Can anyone suggest a strategy as to how this warping can be eased? My instinct is to come up with a gentle way to re-humidify the backplate while clamping it flat somehow, and have some ideas how this could be done (all without taking the two-piece backplate completely off), but I'd sure like to hear from someone who has done this successfully before. Any suggestions? Just as a post script here - what I've observed dealing with stringed instruments in this harsh desert environment over the past 10 years has been the biggest challenge of my woodworking career. The desert just sucks the moisture right out of anything wooden, and I've found that humidifiers of any kind are practically useless here against the forces of mother nature. It's been better here to just let wooden instruments shrink, acclimate and find their stable new 'normal' here, and just regulate for the environment. Any attempt to maintain moisture levels in wood beyond what the desert will allow you, is a futile tail-chasing exercise in my experience. The upside is, that once the new normal is established, it's generally very stable, but getting there can be pretty rough on instruments.
  8. Hello Maestronet, I have been lurking here for some time now and I have decided to finally post I have a violin (with the Jacob Saunders method, probably Dutzenware fiddle from Shoenbach, late 19th century) that I have recently finished restoring in my apprenticeship that has an extremely powerful sound. However, I find that all strings have poor sustain, the G string in particular has a very punchy and deep sound, and there is a powerful wolf on G#. These problems probably stem from the unusually soft spruce top and maybe the lack of corner blocks? Does anyone have any thoughts on ways to fix this (other than adding corner blocks )? I have tried a few post adjustments and tuning afterlengths, etc. but to no avail. I understand that this problem isn't entirely fixable but I figured I shouldn't give up until I have asked here. For reference, I did a soundpost patch, replaced the integral bass bar, and regraduated the table. Any help or advice is greatly appreciated! Thanks
  9. Hello! I need help to Identify this old upright bass. I been searching the net and came up with nothing. I emailed some people but no luck! Please help me with your wisdom! Caution: Images May be HUGE!
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