Items of translation difficulty in Hale and Campbell

Making the mould and constructing the rib garland

Holding the corner blocks in place, René marked their profile with the mould and corner template, before Holding the corner blocks in place, René marked their profile with the mould and corner template, before removing them and cutting the (inside) central bout profiles.

removing them and cutting the (inside) central bout profiles.88 8988 89He then glued the corner blocks to theHe then glued the corner blocks to the mould. Like me René places a piece of paper between the blocks and the mould to help with separation.

mould. Like me René places a piece of paper between the blocks and the mould to help with separation.9090

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With the partly shaped

With the partly shaped blocks glued in place René prepared the C bout ribs blocks glued in place René prepared the C bout ribs for bending. Having been cutfor bending. Having been cut from the same tree, the back, head and ribs were a perfect mat

from the same tree, the back, head and ribs were a perfect match. To savch. To save time René thicknessed te time René thicknessed the ribs withhe ribs with a thicknessing sander, after which I finished them with my scrapers. The problem with using sandpaper is a thicknessing sander, after which I finished them with my scrapers. The problem with using sandpaper is that it always leaves traces of abrasive crystals and wood dust in the pores. These deposits will eventually kill that it always leaves traces of abrasive crystals and wood dust in the pores. These deposits will eventually kill the natural reflection of the w

the natural reflection of the wood under the varnish. ood under the varnish. In contrast scrapers are rIn contrast scrapers are really cutting tools. If weally cutting tools. If wellell sharpened, they should produce thin shavings. This creates a

sharpened, they should produce thin shavings. This creates a surface on the wood which is highly reflective.surface on the wood which is highly reflective.

Although using a thickness sander in this way saved hours of time, the abrasive crystals embedded in the Although using a thickness sander in this way saved hours of time, the abrasive crystals embedded in the wood do not just kill its

wood do not just kill its reflective qualities, they also blunt scrapers rapidlyreflective qualities, they also blunt scrapers rapidly. Because we wanted to have the. Because we wanted to have the best possible reflective finish, sharpening and re-sharpening my scrapers and getting first-degree blisters on best possible reflective finish, sharpening and re-sharpening my scrapers and getting first-degree blisters on my fingers and thumbs was inevitable.

my fingers and thumbs was inevitable.

In addition to creating a reflective surface by scraping the ribs I also wanted to accentuate the flames In addition to creating a reflective surface by scraping the ribs I also wanted to accentuate the flames (figure) in the wood. This ripple

(figure) in the wood. This ripple effect is a effect is a feature of most Cremonese instruments. feature of most Cremonese instruments. Even with closed eyesEven with closed eyes it can usually be detected by running your fingertips over the surface of the back or ribs. This texture was it can usually be detected by running your fingertips over the surface of the back or ribs. This texture was probably the result of using freshly

probably the result of using freshly cut tone woods.cut tone woods.¹⁴¹⁴ I usually achieved this by holding the I usually achieved this by holding the scrapper atscrapper at the same angle as the flames. Adding this extra dimension to the flame helps create a better profile when the same angle as the flames. Adding this extra dimension to the flame helps create a better profile when the varnish is being worn. Most of this final (profile) scraping was done once the ribs had been bent and the varnish is being worn. Most of this final (profile) scraping was done once the ribs had been bent and glued. Doing this after

glued. Doing this after completing the bending, had the added effect completing the bending, had the added effect of cleaning the ribs. Eventuallyof cleaning the ribs. Eventually, this, this same thickness-sanding treatment, followed by scraping, was also

same thickness-sanding treatment, followed by scraping, was also applied to the applied to the back. Fortunatelyback. Fortunately, the, the head, like the belly was done entirely by hand.

head, like the belly was done entirely by hand. 91 , 9291 , 92

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As can be seen, for a violin maker this bending iron is gigantic.

As can be seen, for a violin maker this bending iron is gigantic. 9393 The bending strap, also illustrated, isThe bending strap, also illustrated, is seen here covered with a

seen here covered with a cloth.cloth.9494This cloth was wet before being applied to the This cloth was wet before being applied to the rib and hot iron. Althoughrib and hot iron. Although in essence this entire process is

in essence this entire process is exactly like making a set of violin ribs; I recommend a course of Commandoexactly like making a set of violin ribs; I recommend a course of Commando fitness training before starting a bass.

fitness training before starting a bass.95 9695 96

I normally construct my instrumen

I normally construct my instruments using the string and block clamping system, as used by Stradivari andts using the string and block clamping system, as used by Stradivari and described by Sacconi.

described by Sacconi.¹⁵¹⁵ The following two photographs show this system being used The following two photographs show this system being used on my latest viola.on my latest viola.9797 98

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Howev

Howeverer, I had the , I had the feeling that this bass feeling that this bass would require the mooring hawsers from a battleship. In this re-would require the mooring hawsers from a battleship. In this re-spect I was more than happy to leave the rib bending and construction to René. Interestingly while I was spect I was more than happy to leave the rib bending and construction to René. Interestingly while I was recording the process on Maestronet, Trevor Davis sent me the

recording the process on Maestronet, Trevor Davis sent me the following photographs of his bass ribs beingfollowing photographs of his bass ribs being assembled, using a Cremonese style inside mould, in conjunction with the Cremonese block and string assembled, using a Cremonese style inside mould, in conjunction with the Cremonese block and string clamp-ing method. It would appear that no further proof is required.

ing method. It would appear that no further proof is required.99 10099 100

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As can be seen on Trevor’s bass, there is one glaring difference between bass ribs and those of

As can be seen on Trevor’s bass, there is one glaring difference between bass ribs and those of violins, vi-violins, vi-olas and cellos. On

olas and cellos. On instruments of the instruments of the violin familyviolin family, Cremonese makers invariably used a one-piece t, Cremonese makers invariably used a one-piece top rib,op rib, which ran across the top block. This was done to

which ran across the top block. This was done to counter the risk of counter the risk of the top block splitting as ththe top block splitting as the neck wase neck was being nailed on. As already mentioned, like most basses, this Amati bass has upper bouts similar to those of  being nailed on. As already mentioned, like most basses, this Amati bass has upper bouts similar to those of  a Gamba. This means that the

a Gamba. This means that the ribs do not come together at the ribs do not come together at the top. For this reason it is possible, as was thetop. For this reason it is possible, as was the case in Milan, that t

case in Milan, that they used a two-piece block to help prevent the block from splitting while the hey used a two-piece block to help prevent the block from splitting while the neck wasneck was been nailed and glued. In f

been nailed and glued. In fact it seems likely that an act it seems likely that an entirely different method was used to attach the entirely different method was used to attach the neck.neck.

This may have been similar to the wedge system used by

This may have been similar to the wedge system used by Jacobus Stainer for his Gambas. It Jacobus Stainer for his Gambas. It may even be themay even be the case, (although given Cremona’s fixation with the inside mould, fairly unlikely), that a partial outside mould case, (although given Cremona’s fixation with the inside mould, fairly unlikely), that a partial outside mould was used. Unfortunately as far as I can see, not enough evidence is currently available to make even a was used. Unfortunately as far as I can see, not enough evidence is currently available to make even a cal-culated guess.

culated guess.

Although on a much larger scale, bending bass ribs to fit the mould is accomplished in much the same way Although on a much larger scale, bending bass ribs to fit the mould is accomplished in much the same way as bending and fitting the ribs around a violin mould. The ribs having been thickness, as described earlier, as bending and fitting the ribs around a violin mould. The ribs having been thickness, as described earlier, were cut to the required lengths and bent to shape.

were cut to the required lengths and bent to shape.101101The only important difference being the S shapedThe only important difference being the S shaped bending required for the two top ribs.

bending required for the two top ribs.

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René then bent

René then bent and inserted the and inserted the willow linings. René’s mould is extremely cleaverwillow linings. René’s mould is extremely cleaver. The top an. The top and bottom sec-d bottom sec-tions can be removed allo

tions can be removed allowing the linings to be inserted. Linings are inserted to stiffen wing the linings to be inserted. Linings are inserted to stiffen the top and bottomthe top and bottom edges and provide a larger gluing

edges and provide a larger gluing surface for atsurface for attaching the ribs to taching the ribs to the back and bellythe back and belly. René then . René then trimmed backtrimmed back the linings to lose weight. Finally he planed the

the linings to lose weight. Finally he planed the ribs to their final height. This ribs to their final height. This process included creating theprocess included creating the angle to match the eventual bend

angle to match the eventual bend of the back.of the back.110 111 112 113110 111 112 113

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While I was busy

While I was busy in Germanyin Germany, preparing purfling , preparing purfling and cutting the and cutting the head, over in Holland, as well as head, over in Holland, as well as makingmaking the mould and ribs, René had sawn the two back panels. With the aid of a

the mould and ribs, René had sawn the two back panels. With the aid of a shooting board, these panels wereshooting board, these panels were  jointed using

 jointed using a long Baia long Bailey jointing ley jointing plane.plane.114114René initially thicknessed the back by machine and then René initially thicknessed the back by machine and then withwith the back jointed, he finalized the thicknessing by hand. There is just one point

the back jointed, he finalized the thicknessing by hand. There is just one point to make here. When two flatto make here. When two flat pieces are being planed square for

pieces are being planed square for jointing, one of them jointing, one of them should always be reversed before gluing. This can-should always be reversed before gluing. This can-cels any slight angle differences between the

cels any slight angle differences between the shooting board and the plane blade. Furthermore, when joint-shooting board and the plane blade. Furthermore, when joint-ing thin flat pieces in this way it is also necessary to keep them pressed down on a flat even surface while ing thin flat pieces in this way it is also necessary to keep them pressed down on a flat even surface while the joint is

the joint is being clamped.being clamped.115115