Maker & Restorer of Violins, Violas, Cellos & Double Basses.

             This large Neuner and Hornsteiner double bass came into my workshop for a complete repair/restoration job and conversion to a 5 string instrument. 

               In spite of this instrument's appalling condition it actually arrived strung up! There were many open cracks to the ribs and front, the back’s centre joint glued completely out of line (as were many of the cracks in the front and ribs). Many of the front’s edges were missing. Just to make matters worse it had a 44 1/2” (113 cm) string length, it was simply enormous and virtually un saleable in the UK as such. 

                                             
               The photo right demonstrates how large this bass was in comparison with the double basses I make (instrument behind finished and in 'the white' in front).

 

     The photo above demonstrates how much glue had to be clean off and the effect it frequently has   on   varnish! With the estimate calculated and then approved by the Contrabass Shoppe, work commenced in August 2008. The back was removed and work started with the cleaning of the centre joint, re gluing and replacement to the internal reinforcing strips where necessary, a repairer/ luthier can expect to get fairly dirty at this stage! The original braces which had become unglued in places were re glued as necessary, fortunately in this case their replacement was not necessary.  As a result of a previous repair to the back button area a new back button was grafted on.

      The major repairs to the back were concluded with a new band of ebony being inlaid up the entire length of the centre joint as the original was missing, cracked or butchered. Concurrently work to clean out all the cracks of the most amazing amount of glue progressed to both ribs and front. With all the cracks in the front glued up work started on the edge repairs starting with the bottom bout. This comprised of half edging, purfling and new edges to the greater part of the lower bout such was the extent of the damage. Progressing to the top bout where a minimum of 4 cm. was needed to be reduced from the front’s length in order to make the string length manageable. I made the decision to entirely reshape the top bout starting at the corner blocks. This was done in order to maximize the shortening of the front but still retain as much of the instrument's style as possible. The pattern was made for the front’s new top bout outline and work began with half edging the particularly badly damaged edges followed by cutting down the top bout to the new outline. In the photo to right it can be seen that almost  the entire neck joint at the top of the front was effectively 'removed' by this process.

          

       In the photo above the entire top bout has been half edged and the purfling grove has been cut and the purfling fitted. The absence of edge to the left hand end is a function of the damage previously received hence pins have been used to keep the purfling in place while the glue dries. The 'arc' that runs between the new purfling starting at the last pin on the right and the outline is actually  a piece of original purfling and is the last vestige of the top bout's former shape. Next the remaining original wood outside of the new purfling line was cut away down to the half edging and new wood was fitted to form the new raised edges. The photo below shows the front as this stage, behind are the back and ribs.

       Furnished now with the instrument’s new outline, a pattern for the new top rib's shape was required. This was made and the bottom and 'C' ribs were temporarily attached to this board, the top ribs were then re glued to the corner blocks in such a position as to reflect the new outline. In this particular case the top ribs were effectively shortened at both ends. As can be seen from the photo above the repairs to the other ribs were well advanced at this stage. The work to the top block was then undertaken.

        The now complete ribs were now offered up to the back and the new outline marked out. The back was then rough cut followed by the ribs being glued to the back, note the repairs to the ribs and back below right. It should be pointed out that the back is not purfled on this instrument thus simplifying the work considerably.    

     Returning to the front for final edge thicknessing, fitting of new bass bar, fitting of studs and sound post patch. The photo left shows the completed interior repairs and alterations to the front. With the front glued on attention moved to the head repairs and alteration, and to a neck graft. With the neck fitted the edges were finally shaped and the bass prepared for a considerable amount of varnish work. 

         At frequent intervals during the works, cleaning and touching in progressed as it was such a big instrument, (it is easier to deal with whilst in pieces) and because there was so much of it to do. Any restorer who has spent a whole day touching in varnish will know that the old adage ‘a little and often’ will result in a better job, having said that it still required 2 days work to complete  touching in the varnish once the neck graft and new finger board had been completed.

 

        The re machining and fitting of a new set of English machine heads  with brass plates, a new end pin, bridge and sound post completed the instrument’s restoration.   The photos below show the finished instrument. As a matter of interest the new string length was 42”(106.8 cm), 2 1/2” (6.4 cm) shorter than originally.  The instrument was finished late October 2008. The bass is now in Japan.

 

The client's description of the instrument on completion -

'A truly magnificent five string instrument in exceptional condition.'