So glad to hear you liked these Vids.Harriet. One more to come next week concentrating on the varnish and the final setup. Before we get to hear a little musical example. I struggled to cut the videos down from nearly 500 hours footage from my phone camera. There are just so many repetitive procedures involved in Double Bass making. I wasn't sure how entertaining that might be for viewers. However if I've given people a good overview and idea of the time taken, I'm happy that one of my goals and putting the series together has been achieved. . Thanks once again for your comment.
1. Now we see the 'blood' in the blood, sweat and tears that go into this work. 2. What an awesome timesaver to have a jig for a dremel-like tool for cutting the channel for the purfling. I always thought that was a knife, a steady hand and lots of time! 3. I've always wondered how one sharpens a drill-like bit such as the one you're using for the purfling. 4. I assume you have to keep Ebony away from the ebony shavings! 5. So. Much. Card Scrapers. 6. Does the chef in your household know what you are doing with the pasta roller?!?!?? I have such admiration for the work you are sharing with us. Thanks again.
I’m glad you’ve had an insight into the effort every double bass maker goes to building an instrument. That really was a priority when making this series of videos. That tool I use for the purfling is a nicely designed piece by Tom Croen USA. A really important timesaver I find particularly with the maple. I’m actually the pasta maker Connoisseur upstairs, And I have another machine just for that task Ebony does what Ebony wants to do most of the time… The scrapers are an absolutely critical part of the finishing. I cut different shapes out of my old saw blades. The Japanese source are particularly useful. I try to finish with no sandpaper as the hardened steel give so much more authentic beautiful look. Thanks again for your kind words, I sincerely appreciate it.
I always thought that uprights are one of the most beautiful instruments- but wow - I admire you for your attention to detail, I build Drumsets in Vienna and know that the more care you put into your product, the more the customer will be happy about his purchase - and you bring this to a whole new level
Thanks Jeff. The sound post patch is a little bit of insurance. It's about a half a millimetre thick and it saves the belly from being damaged or deformed by inevitable sound post adjustments. I can also make my sound posts a little thinner, if I want, and still protect the top from the deformities.
Very nice work. I would have liked to see the installation of the peg box, and also the bridge adjusters. I've done a few of them and I'm always thinking there's gotta be a jig to make it easier. Any advice would be great.
Master, thanks so much for these amazing videos! They are such a treasure! Wondering when installing a new fingerboard.., what thickness you usuallly go for (after all the shaving work) ? Also how do aproach the curve of it and what do you look for in the raw wood piece when choosing it? Thanks so much!!
Thanks Ruben. I enjoyed sharing this creation too. I really love working Ebony boards. I have been to India many times over the years just to hunt down the nicest pieces. I actually used two fingerboards this time. The first one was too figured and it was too hard to get the shape. So I used it as a dummy to try in the white first. The final thickness was 10mm on the edge. It’s a small instrument. I often try for 12mm on the bigger Basses. I don’t use a template for the curve as I’ve pretty much got the shape imbedded in my mind after so many years, and I like to adjust for the player or instrument. Ebony….No knots and as straight as possible. With the grain cut as close to the quarter. And Dry! I store the boards for minimum of 5 years . Normally much much longer too. Moisture content must be very low or it will possibly move after shaping. Hope this is helpful Ben
Incredible! Loved watching the "finish" work on the purfling and edges. What was that dowl you pounded in? I noticed that you made it from wood you cut off when you shaped the top, being careful to match the grain. Was there a defect or weakness in the spruce?
Thank you! Cheers! The timber, spruce from the bass bar, is the anima (soul) or sound post. And absolutely critical part in what makes the violin family sound so unique. It helps focus the sound in simple terms. It's also easily adjusted by moving it closer or further away from the bridge to give different tunnel colours. The position and quality of this little post it's SO critical the Italians refer to it as the soul.
Can you please tell me the function of the half round pins you insert in the top edge of the bass. Also do you insert the sound posts via the f holes. Many thanks from Northern Thailand
Great to see. Thanks. Do you plane the fingerboard straight initially? If not, what sort of "scoop" or "relief" do you plane into the fb as a starting point (until the player expresses a preference)?
Just out of curiosity, why do you wait to do the final carve on the fingerboard and neck until it's assembled? I would think both parts would be easier to manage as several pieces
Wonderful and fascinating. I've been binge watching the whole series of videos. Will you make one about the finish of the bass ? Is the bass for yourself or for some customer ? I hope we shall get some video of it being played by some top player (why not Edgar Meyer?) !
Hi Patrick. Thanks for your message. I just saw it. Glad you find it fascinating. Yes, there is definitely another video coming with the bass being vanished and played. Should have a beautiful recording to share very soon. Can't wait to get this instrument into Edgar Meyers hands, that might have to wait a little while until he's in this part of the world. Thanks again. Benedict
i love at 8:25 the smile, of "I made the thing." Can really see the enjoyment in the craft!
Thanks
I really enjoyed these videos. I wish they were longer! Thank you.
So glad to hear you liked these Vids.Harriet. One more to come next week concentrating on the varnish and the final setup. Before we get to hear a little musical example. I struggled to cut the videos down from nearly 500 hours footage from my phone camera. There are just so many repetitive procedures involved in Double Bass making. I wasn't sure how entertaining that might be for viewers. However if I've given people a good overview and idea of the time taken, I'm happy that one of my goals and putting the series together has been achieved. . Thanks once again for your comment.
@@atelierpuglisi oh great you are going to show varnishing!
@@harrietHHH Yes! And we will get the it player as well.
1. Now we see the 'blood' in the blood, sweat and tears that go into this work.
2. What an awesome timesaver to have a jig for a dremel-like tool for cutting the channel for the purfling. I always thought that was a knife, a steady hand and lots of time!
3. I've always wondered how one sharpens a drill-like bit such as the one you're using for the purfling.
4. I assume you have to keep Ebony away from the ebony shavings!
5. So. Much. Card Scrapers.
6. Does the chef in your household know what you are doing with the pasta roller?!?!??
I have such admiration for the work you are sharing with us. Thanks again.
I’m glad you’ve had an insight into the effort every double bass maker goes to building an instrument. That really was a priority when making this series of videos.
That tool I use for the purfling is a nicely designed piece by Tom Croen USA. A really important timesaver I find particularly with the maple.
I’m actually the pasta maker Connoisseur upstairs, And I have another machine just for that task
Ebony does what Ebony wants to do most of the time…
The scrapers are an absolutely critical part of the finishing.
I cut different shapes out of my old saw blades. The Japanese source are particularly useful.
I try to finish with no sandpaper as the hardened steel give so much more authentic beautiful look.
Thanks again for your kind words, I sincerely appreciate it.
I always thought that uprights are one of the most beautiful instruments- but wow - I admire you for your attention to detail, I build Drumsets in Vienna and know that the more care you put into your product, the more the customer will be happy about his purchase - and you bring this to a whole new level
I've been hanging out for this video all week! Thanks so much for sharing these videos, they're completely captivating!
Thanks Sam. Appreciate the feedback. I love sharing the procedures as well.
Amazing!
I love these details.
I hope to get my 'French Mistress' back to you, for your 'review', post lockdown.
She is well , in the extreme!
Thank you!!
Yes I look forward to seeing her again.
"French Mistress!" I think my wife will now call my 1906 Buchanan the "Scottish Mistress."
Nice work! Those machine heads are wonderful. 😉
I love the clamping method at 14:30
All of these videos are great
Love these videos! So much respect for your artistry. Will there be one more?
Thanks James. Yes one more to come. Just waiting for Melbourne lockdown to end so i can show the finished bass in action.
Impresionante.
Great video. I’ve been looking for a video of a double bass build.
Krikey..that was some serious stuff right there ..woow 😍😎😁pip pips
I love the music matching with the carving sounds
Bravíssimo!
Quanta passione si percepisce...! Grazie...
This series is a great resource! I notice a sound post patch in the top. Is that standard for you or is there another reason for it?
Thanks Jeff. The sound post patch is a little bit of insurance. It's about a half a millimetre thick and it saves the belly from being damaged or deformed by inevitable sound post adjustments. I can also make my sound posts a little thinner, if I want, and still protect the top from the deformities.
Very nice work. I would have liked to see the installation of the peg box, and also the bridge adjusters. I've done a few of them and I'm always thinking there's gotta be a jig to make it easier. Any advice would be great.
Thanks for sharing your beautiful work, it was a real pleasure watching it!
Beautiful!
Master, thanks so much for these amazing videos! They are such a treasure! Wondering when installing a new fingerboard.., what thickness you usuallly go for (after all the shaving work) ? Also how do aproach the curve of it and what do you look for in the raw wood piece when choosing it? Thanks so much!!
Thanks Ruben. I enjoyed sharing this creation too.
I really love working Ebony boards. I have been to India many times over the years just to hunt down the nicest pieces.
I actually used two fingerboards this time. The first one was too figured and it was too hard to get the shape. So I used it as a dummy to try in the white first.
The final thickness was 10mm on the edge. It’s a small instrument. I often try for 12mm on the bigger Basses.
I don’t use a template for the curve as I’ve pretty much got the shape imbedded in my mind after so many years, and I like to adjust for the player or instrument.
Ebony….No knots and as straight as possible. With the grain cut as close to the quarter. And Dry! I store the boards for minimum of 5 years . Normally much much longer too.
Moisture content must be very low or it will possibly move after shaping.
Hope this is helpful
Ben
You are the man, thanks master! Much love from Spain
Incredible! Loved watching the "finish" work on the purfling and edges. What was that dowl you pounded in? I noticed that you made it from wood you cut off when you shaped the top, being careful to match the grain. Was there a defect or weakness in the spruce?
Thank you! Cheers!
The timber, spruce from the bass bar, is the anima (soul) or sound post. And absolutely critical part in what makes the violin family sound so unique. It helps focus the sound in simple terms. It's also easily adjusted by moving it closer or further away from the bridge to give different tunnel colours.
The position and quality of this little post it's SO critical the Italians refer to it as the soul.
bello!
Can you please tell me the function of the half round pins you insert in the top edge of the bass. Also do you insert the sound posts via the f holes. Many thanks from Northern Thailand
Great to see. Thanks. Do you plane the fingerboard straight initially? If not, what sort of "scoop" or "relief" do you plane into the fb as a starting point (until the player expresses a preference)?
Just out of curiosity, why do you wait to do the final carve on the fingerboard and neck until it's assembled? I would think both parts would be easier to manage as several pieces
Wonderful and fascinating. I've been binge watching the whole series of videos. Will you make one about the finish of the bass ? Is the bass for yourself or for some customer ? I hope we shall get some video of it being played by some top player (why not Edgar Meyer?) !
Hi Patrick. Thanks for your message. I just saw it. Glad you find it fascinating. Yes, there is definitely another video coming with the bass being vanished and played. Should have a beautiful recording to share very soon.
Can't wait to get this instrument into Edgar Meyers hands, that might have to wait a little while until he's in this part of the world. Thanks again. Benedict
What machine heads do you use here?
Hi Jonas. These are the amazing custom-built ones from Zachary Martin Rhode Island.
ruclips.net/video/y7CBggCjVIk/видео.html
👋👋💯
I'm goign to have to win lotto and get you to build my ultimate bass! It would have a croissant scroll and sound like butter! LOL :-)
Love it. With the energy of good coffee as well!
Far out....