Bass viol based on model: John Rose 1600
TECHNICAL DATA
- String lenght: 680 mm
- Body lenght: 720 mm
Soundboard: Val di Fiemme Spruce (bent)
Back and sides: Bosnian maple
Neck: Bosnian maple
F/board and T/piece: Maple, spruce, walnut and ebony
Pegs, nut and nail: Ebony
Varnish: Oil, fossil amber based
COMMENT:
This English Bass is a good example of the “tailor-made” work we do on our instruments for our clients. In this case the customer was seeking for the greatest simpleness on the aesthetic side of things and for a particular measure proportion for his viola da gamba.
He is a tall man with big hands but in the same time he feels uncomfortable on the left hand with longer string lenghts.
We choose together with him this model that has a quite big belly and we adapted the neck and the string lenght to the his needs.
For the decorations, even if the original model is heavily decorated on both the back and head we tried to follow closely the goal of simplness and kept the whole manufact on the clean side, with one little exeption: in order to quote the John Rose’s decoration we made a “hidden” inlay on the tailpiece, using walnut and ebony and playing with pigments to hide the inlay in a “back on black” ornament.
An english-style “empty” scroll closes the circle of simplness.
Bass viol based on model: John Rose 1600
TECHNICAL DATA
- String lenght: 680 mm
- Body lenght: 720 mm
Soundboard: Val di Fiemme Spruce (bent)
Back and sides: Bosnian maple
Neck: Bosnian maple
F/board and T/piece: Maple, spruce, walnut and ebony
Pegs, nut and nail: Ebony
Varnish: Oil, fossil amber based
COMMENT:
This English Bass is a good example of the “tailor-made” work we do on our instruments for our clients. In this case the customer was seeking for the greatest simpleness on the aesthetic side of things and for a particular measure proportion for his viola da gamba.
He is a tall man with big hands but in the same time he feels uncomfortable on the left hand with longer string lenghts.
We choose together with him this model that has a quite big belly and we adapted the neck and the string lenght to the his needs.
For the decorations, even if the original model is heavily decorated on both the back and head we tried to follow closely the goal of simplness and kept the whole manufact on the clean side, with one little exeption: in order to quote the John Rose’s decoration we made a “hidden” inlay on the tailpiece, using walnut and ebony and playing with pigments to hide the inlay in a “back on black” ornament.
An english-style “empty” scroll closes the circle of simplness.
