Luthiery shop for the
doublebass
contrabassetto and cello
Building of new instrument upon
original models
as well as old instruments copies
I use very first choice tonewood
imported from Italy
germany and east europe
Beside classical tonewood I get
nobles tropical woods
as bahia rosewood and purpleheart
Tweaks and maintenace services as
fine graduation
of fingerboard and bridge
Maintenace and repair of
french and germany bow
with high quality horse hair
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Damasco

Friday, 22 October 2010 03:42 Last Updated on Wednesday, 30 November 2011 17:47 Written by Administrator

The Damasco

This bass was born of the marriage between two functional and practical models: the Gamba and the classical guitar. It represents a philosophy of pure detachment from conventional forms in search of better acoustic and operational results.

Sandrino Santoro

The upper bulge, with generous proportions, greatly facilitates contact with the instrument, allowing easy access to the highest positions and for a stable posture. The absence of the lower violin corners, and their respective blocks, provides the front and the back panels with greater use of space and increased lightness, augmenting the total volume and the performance of the acoustic membrane.

Another detail of this model is the existence of upper viol corners, which greatly facilitate handling and transporting of the instrument.

Voluta do Damasco

The upper scroll, with a conical section, is already recognized by some as my “signature” and is sculpted in a similar way on almost all of my instruments.
It’s not always totally conical, sometimes only the intermediate turn. I make it like this because I feel I am simply continuing the natural motion inherent in the back shell of the scroll, and my eye insists on seeing this turn continue after its cycle. I frequently prefer to extend this movement until the center of the spiral.

This characteristic is influenced to a lart part by the Brescian school, and above all by the scrolls of Maggini, who was the most renowed apprentice of Gasparo da Saló and the only exponent of the Brescian school from the time of Gasparo’s death until his own death at the age of 50 (Maggini died tragically between 1630 and 1631, probably due to the black plague).

Encaixe do braço

The neck is removable and adjustable; this is done with one screw, and there is no need for keys or tools of any kind. It is possible even to adjust the neck during a performance, if this proves necessary.

In my adjustable neck the handle of the screw is removable, in case it is preferable that the machanism remains almost totally hidden.