Double bass

I craft two styles of double bass, the Maggini and Viol, the basic difference is the Viol form has sloping shoulders. Either style can be made with a flat or carved back, I usely use Spruce for the sound board. Having said that, the bass I presently play has a sound board constructed from short thin blocks of laminated Baltic pine. If you really want to know, I found an abandoned packing crate, I was impressed by the remarkable quality of the timber. Long story short, I took the packing crate back to the workshop, selected some of the timer and laminated it, eventually carving it into an Arch-top for my double bass.

I think there is a certain amount of morphing between an instrument and the player. This particular double bass largely due to the sound board has a unique sound that works well with Jazz, perhaps the qualities of the instrument and its personality has effected my style, tastes and judgment. What I find interesting is the the possibilities are not limited to convention when it comes to an instruments construction and in particularly the sound board.

In the building of instruments there is a trend to use modern materials, some I feel are just wrong but others have produced splendid results. Personally I build instruments in the conventional way, using hand tools and where necessary I use modern machinery, I don't use CNG routers or computers to decide the outcome, the question I often get is why?

I feel the instrument's I make are based on the combination of many materials and the slight differences that a hand made instrument offers over a computerised instrument is the sum of the instruments personality and this comes about due to the anomalies that you get from a hand made instrument. Making and treating every component the same removes the potential and personality of an instrument. Homogenized sound is of no interest to me.

Many musicians I talk with want something unique, and as I found with my laminated Baltic Pine double bass, I like the difference this instrument offers. Something about creating my own sound. The instrument if it has a great personality will have a big say in what that sound is.


Luthier Peter Stephen's double bass being played in his studio by musician Jae
Maggini Style Double Bass. Hand carved laminated Baltic Pine soundboard. Pickup electric condenser.

Peter Stephen layout a double bass in it's first stages

Double Bass

Featuring : Hand carved solid Spruce sound board. Spruce is considered one of the finest tone woods and is most suited for sound boards. Back and sides Maple.
Finishes : Nitrocellulose lacquer / Wood oils / Shellac
Detailing : Ebony fretboard.
Hardware : Rubner tuners
Nut : Hand carved ebony.

Dimensions : Double bass

Item Description
Neck Scale 41.3 – 43.3 inches (105 – 110 cm)
Frets Fretless
Pick up Optional - Poetize, coil magnet, condenser, microphone ...

Cost

The question of price varies depending on the setup and detailing of the instrument, to discuss having an instrument made for you it is best to contact Peter at his Studio. PH : 64-3 328 8033

Peter Stephen putting the basic elements together for designing a double bass
Peter Stephen's workshop, a double bass soundboard is ready to begin shaping
Peter Stephen shaping a soundboard for a double bass
Peter Stephen is shaping the bindings for the back and sides of a double bass
Peter Stephen is glueing the sides of a double bass
The sides of a double bass are glued ready to be assembled in Peter Stephen's studio
Peter Stephen's double bass's body is assembled and ready for the neck
Maggini Double Bass : Maple back and sides - Spruce soundboard

The back of a double bass just after it's been assembled in Peter Stephen's Studio
2006 Peter Stephen : Viol Double Bass - Poplar back and sides - Douglas Fir soundboard.

Peter Stephens built the double bass for Ari the new Wizard Apprentice of Christchurch.
2009 Peter Stephen : Long scale Viol Double Bass. Fiddle back Ash back and sides - Douglas Fir soundboard. Ari - Musician & owner.

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