Krattenmacher Solo Bass Model
This model, which I designed myself, is influenced by both the old English and the Italian school. At the same time, it carries unmistakable features of the 21st century and thus points the way to contemporary violin making. The rapid development of playing techniques and the accompanying expansion and differentiation of the repertoire have made it necessary to rethink the structures and use of the double bass. Designed for the physical and acoustic needs of a modern double bass player, my solo model is designed to provide the musician with comfort and the highest level of playability. By combining well-balanced contours, richness of sound as well as beauty and elegance, this bass is versatile – whether for solo performances, chamber music or jazz. The sound is centered and powerful, on the one hand cutting in the high registers, on the other hand warm in the lower frequencies, and it differs in a wide range of timbres.
Krattenmacher Orchestral Bass Model
- The Matthias Klotz model based on the Klone-built G-Violone is an extraordinary homogeneous and attractive instrument. This bass has a dark and wide sound. With its gamba shape it is easy to play as a five-string and the string length can be reduced to 105cm.
- The orchester A model is a continuation of my orchestral model. It combines a large body volume with good playability and an ideal string length of 107cm. Can be built with both curved bottom and flat bottom.
Possible models: Fendt, da Salò, Dodd, own orchestra model. Link to article about Klotz released in “Double Bassist” 23, Winter 2002
Krattenmacher A Model
Krattenmacher B Model
Model after a double bass around 1820
The original of this model is played by the solo bassist of the National Opera of Wales, John Law. He is convinced that the sonority of his orchestra is essentially supported by the dimension of his instrument. “As if playing a whole string section” – so the musician raves about the power of this instrument.According to the model of a double bass by Maggini, this model also impresses with its grace and well-balanced contours, as well as by its enormous dimensions, but what for this construction period Due to the flat bottom, the deep frames and the strongly vaulted ceiling, this bass can be used to create an incredibly powerful, accurate and immediate sound, but the instrument’s strengths are not limited to the volume provided by the cabinet, but also in a sound quality that allows the musician to make a well-differentiated pianissimo even in the farthest rows of a large concert hall.
Model after a double bass from 1820
Model after a double bass around 1790
For a D-Violone I have used a Viennese model, based on a Fellenreither, for quite a few, but I also like to make Violones on Italien modells like Testore and Maggini.