VSA/Oberlin Bass Workshop 2016

The next VSA/Oberlin Bass Workshop is scheduled for the week of June 25-July 1, 2016. We're looking forward to another busy but rewarding week, working together.

"Everyone teaches, everyone learns," is the basic principal established by Vakahn Nigosian, founder of the program at Oberlin. With this in mind, the Bass Workshop will bring together those interested in bass lutherie, with a mind toward sharing experience, knowledge, and ideas.

We anticipate that most participants will be professionals working in shops, perhaps bass specialists, or those in violin shops wanting to learn more about bass. We also expect we'll have some space for experienced amateurs, wanting to further develop their skills. The hope is that everyone will leave business and competitive concerns at home, with the belief that by helping each other, we raise the standards of our profession to the benefit of all.

The faculty this year will again be Arnold Schnitzer, Bill Lakeberg, and Jay VandeKopple, along with Robbie McIntosh as associate faculty. David Gage will be unable to join us this year, as he unfortunately has conflicts for that week. I (Jay VK) have agreed to coordinate the Workshop, and will be the contact person for questions, applications, etc. As in the past, we hope to invite guest speakers to help enhance our discussion. It is possible that Jim Ham may join us again, to demonstrate his new hardware system for removable necks.

Tuition for this year has been set at $1060, which includes tuition, dorm with A/C, and 5 dinners. Once we gather the Participant List, the University will contact you regarding payment of fees, likely in April.

Also, remember that the VSA sponsors this program, so attendees are expected to be VSA members. Lunch will normally be on your own. We’ve generally liked to have dinner together, and this year we’re again using one of the University cafeterias.

Each day during the week’s schedule, there will be presentations and demonstrations by the faculty, guests, and attendees. For a given topic the idea is not to show THE way to do it, but to share approaches or explore how things work and find out! We will actively seek and encourage contrasting ideas from all participants.

Most of each day (and evening) will be devoted to projects. Participants should plan to bring projects to work on. If you can't bring one, you can certainly team up with others on a project. As we get closer to the Workshop, I'll contact everyone about what you're planning, and we'll create a Project List. Then on the first day, we'll have attendees decide which Projects they'd like to work with (more than one is likely, depending on how much needs to be done). When Project Groups get together, they can decide on how to share the work.

So participants should bring tools, ready to get to work. It would be great also to bring favorite tools and jigs. As we all have to develop many of our own tools, it doesn't make sense for each of us to recreate the wheel. We always have a Show-and-Tell session during which we share these ideas.

This should be a wonderful environment where we can share ideas, helping to move our profession forward.

For further information or an application form, contact:
Jay VandeKopple
vandekopple@fordham.edu

Faculty bios

Arnold E. Schnitzer was born on 1953 in Miami, Florida, where his father ran a cabinet shop servicing the art deco buildings of South Beach. The family, originally from the New York City region, moved back north in 1957 and he grew up in that area. After High School he received a conservatory degree in music performance/composition, achieved while working full-time playing double and electric bass in various venues. His interest in woodworking was encouraged from an early age by his father, and included experiences in boat repair, carpentry and "fixing" his own instruments. Much later, he was mentored in guitar-making by Carl Thompson, and in double bass repair by Lou DiLeone. Mr. Schnitzer's non-luthiery careers have included music instruction, sales, executive recruiting, and residential carpentry. Since 1990 he has worked exclusively as a luthier and run the small business AES Fine Instruments, currently in Brewster, NY. His hobbies include golf and sailing, and he has a weakness for sports cars. Along with countless repair jobs, modifications and restorations, he has hand-built 41 double basses to date. He and his wife Barbara recently sold their horse farm and are enjoying the condo lifestyle. He has two grown children; his daughter is an accomplished Classical/Opera singer and Voice teacher in Boston, and his son works in web development. Arnold writes a column for Bass Gear Magazine, and participates with David Gage and Jim Ham in the ongoing Luthier's Corner column in the ISB magazine, Bass World. Arnold was honored by the ISB in 2013, as he was granted the Special Recognition award for Luthiery.

Bill Lakeberg was born 1954 in Oak Park, Illinois. His interest in music began in high school when he bought an old fiddle that a friend had found in her attic. In college Bill studied photography and that is where he also met his wife Margie. They have a son, Robert and a daughter, Jackie. Bill switched to violin making and attended the Kenneth Warren School of Violin making, graduating in 1979. Since that time he has worked in Seattle for David Saunders and in Indianapolis for Frank's Violins. In 1987 he settled in Cincinnati where he worked for the Bass Viol shop for 8 years doing restoration and making basses. During that time Bill also founded his own business which specialized in custom violin varnishing. Since 2007 he has been at the Cincinnati Bass Cellar working on restoration and bass making. Bill has also won numerous awards including a VSA gold medal and 3 ISB silver medals for his basses.

After studying string bass with Bill Blossom, David Gage studied string bass performance with David Neubert and Reggie Workman at the University of Massachusetts, while playing electric bass with various local bands in the New England area. Moving to New York City in 1976 to study with Dave Holland and Michael Moore, David apprenticed in The Bass Shop of Chuck Traeger in New York City. At this time David traveled to study acoustics and instrument construction/repair with Carleen Hutchins in New Jersey and Lou DiLeone in Connecticut.
Since 1978 David has been President of David Gage String Instruments, a brick and mortar shop and internet store located at 36 Walker St in lower Manhattan, that specializes in the restoration and sales of string basses, celli and guitars. Mr. Gage has also teamed with designer Ned Steinberger to produce a line of pickups and other electronics for string instruments that are staples in the industry. Originally and still primarily a string bass repair, restoration and. maker's shop he has worked with many major symphonies and jazz artists from around the world. The Gage Shop produces a carved copy of the classic American Abraham Prescott string bass. The Gage Shop also specializes in several lines of travel trunks and travel string basses to meet the contemporary demands of the active player.
David has written and consulted on many articles written on the string bass in such magazines as The Strad, Bass Player and Strings Magazine.
He is currently on the Board of Manhattan Youth, a community based program that promotes after school activities for the youth of lower Manhattan, including tutorial, arts and sports programs. David is serving his second term (previously in late 1980's) on the Board of the International Society of Bassists. In 2007 David received the Luthier Award presented every other year at the Convention of the International Society of Bassists.

Robbie McIntosh was born in 1951 and grew up in Lynn, Massachusetts, where his father's parents both worked in the shoe factories, and where his mother's Rhodes ancestors lived since 1640. He graduated Lynn English High School in 1969. Robbie studied architecture at Rensselaer Polytechnic Institute in Troy, New York, where he earned a Bachelor of Science in the Building Sciences, class of 1973. Architecture proved to be a viable choice for him even though he never practiced professionally. The structures and strength-of-materials training, coupled with the art, history, and design classes, prepared him for a lifetime of designing and building things and solving structural and mechanical problems.
In 1977 Robbie married Bliss White. They lived in a cabin that she built the previous year on her family's farm in Cambridge, New York. They added more space in 1981 when their first daughter, Annika, was two. Helen was born in 1984.
From a young age Robbie has had parallel interests in making music and in making things. In 1993, those interests came together when he embarked on the restoration of a double bass for Annika. What had been his cabinetmaking shop for 20 years became a bass repair shop, and he's been restoring and making basses now for the last 22 years.

Jay VandeKopple is a member of the VSA Board of Directors. He had been President of the Catgut Acoustical Society from 1999 until its merger with the VSA in 2004, and continues as Chair of the CAS Forum. He is a retired Professor of Math/CIS, formerly at Marymount College of Fordham University. Jay has a Ph.D. in Mathematics (with a thesis in a musical acoustics area) and a Masters in Computer Science. An accomplished bass player, Jay freelances in the Northern NJ area. His wife, Linda McKnight, is on the Double Bass Faculty and Manhattan School of Music and Montclair State University in NJ. Jay has run his own bass shop for over 35 years, part-time until his retirement from teaching in 2007 and continuing full-time since then. Jay is now beginning to make basses. His first teacher in bass repair was Joseph Cilecek of Hastings, NY, and he studied under Karl Roy at the UNH Violin Craftsmanship Institute.

Jim Ham was the founder and first Director of the VSA-Oberlin Bass Workshop. He has been repairing restoring and making string instruments and bows in Victoria BC Canada for over 40 years and has been an innovator of many repair and making devices and techniques. His basses which are in the hands of some of the finest players in America, Europe and Asia feature unique designs which improve on the ergonomics acoustics and structural durability of traditional instruments. All Ham basses feature his adjustable/removable neck system (first introduced at the ISB in 1995) which allows the string clearance to be adjusted while the strings remain in tune. He has developed a variation of this system which allows it to be used by other makers for new basses or retrofit into existing instruments. This system will be demonstrated at the 2016 VSA-Oberlin Bass Workshop.