From Tasmania to the World: ISB 2023

Philip Smith is a master craftsman who has made his home and atelier in Tasmania, a remote and beautiful island state of Australia. For Philip, working in Tasmania has both its advantages and challenges. While the state's natural beauty and distinct cultural identity have inspired his craft, it's isolation and small population have presented unique obstacles to growing his business and reaching a wider audience. Despite these challenges, Philip has persevered, honing his craft and creating exquisite bows and instruments sought after by musicians and collectors worldwide. In this blog post, we'll explore Philip's journey as a bow maker in Tasmania and his upcoming exhibition at the International Society of Bassist Convention in the United States.

Living and working in Tasmania has been a double-edged sword for me as a maker.

On the one hand, Tasmania is a beautiful, remote part of Australia with a tight-knit community and a strong sense of identity, making it the perfect place to develop my craft. I came to Tasmania in the 1990s to study the Rabbath method for double bass with my mentor Michael Fortescue. After training as a luthier on the mainland, I returned in the early 2000s to grow my family and dedicate myself to becoming a master maker. I am a quiet man who, like many Tasmanians, is committed to the quiet pursuit of the extraordinary.

On the other hand, Tasmania's remoteness, small population, economic challenges, and complex attitudes toward cultural pursuits have sometimes made it difficult. For years, I've been met with puzzled looks from Tasmanians asking, "What's your real job?” or “How long are you staying?” but thanks to 20 years in Tasmania, I've built a solid reputation, a global clientele and created over 60 commissioned instruments - violins, violas, cellos, double basses, and bows - both modern and baroque.

Musicians play my instruments and bows across Australia, France, Germany, Austria, Switzerland, the USA, South America, and China. However, opportunities to engage face-to-face with international makers and players are rare in this island state and were made impossible by the pandemic.

I'm particularly excited about the upcoming International Society of Bassist Convention in Ann Arbor, Michigan, from June 5-10. This convention provides me with an excellent opportunity to showcase my work and connect with potential customers and collaborators from around the world. Currently, I'm working on a quiver of double bass bows that I'll be presenting at the convention. I can't wait to hear them being played and engage in endless discussions with professionals and peers about double basses and bow-making. This experience will not only be inspirational but also a balm to my bass-playing soul. I'm thrilled about the chance to showcase the bows I make here to be played around the world at ISB 2023.

Secret Ingredient

The Philip Smith Double Bass bow No. 2 without underslide.

In the words of Kung Fu Panda,

'There is no charge for awesomeness or attractiveness."

Ticking Boxes

It's all about plugging my way through the endless list of jobs at the moment. For a while there I seemed to have started many things and not finished anything and so my wife, very helpfully, made a list for me. With tick boxes.

This violin was ticked off last week.

On the top of the list now is another violin, but I am allowing myself to be distracted by making a double bass bow with no under slide and a lower frog. This is a return to how bows were originally made. The silver underslide was added for strength but there is a strong movement towards making bows without them. They are harder to make because the frog has to fit perfectly to the stick but it will be worth it for the

improved tonal qualities

.

Now, I'll just finish this and get back to the list.

Camerata

After many years of playing along on other people's projects, some good, some great and some ... , I have formed myself a very small unconducted string orchestra. Its essentially a string quartet with double bass. I have uncovered several very talented musicians looking for a playing opportunity and we had our first rehearsal last week. We are enjoying the intimate ensemble, but may expand if required. We fancy ourselves as a

camerata

, and hope to invite soloists to join us to play. If you fancy yourself as a soloist, and have something that you would love to perform and would like an opportunity to perform, give me a call.

I finally understand my father's love of print music. The arrival of the above repertoire last week was very exciting. I find myself continuing to search for interesting musical possibilities.

Viola in progress: My tone wood supplier in Germany spent a couple of weeks searching through his racks for this highly figured one piece maple viola wood. Based on the Andrea Gaurneri Conte Vitale 1676, it is a larger model at 16 1/4 inches with broad centre bout which should result in power and projection, at a yet manageable size.

Bass bow baguettes: BAM!

Much anticipated, long awaited, procured via a process involving nothing less than bureaucratic insanity. Number 1 Bass bow is long overdue but now underway, for my long-suffering maestro. It won't be long now Michael, I promise.

Cello Bow No. 1

It's all go here in the small workshop. Two violins, a satisfyingly large model viola and a cello are all underway, not to mention the bow commissions impatiently waiting in the wings.

The bass bow wood (sticks of Brazilian pernambuco) finally arrived from the USA. It was received with much excitement. After languishing at CITES for a few weeks, the supplier was told that as it was such a small amount it didn't require certification and was sent forthwith and after months of waiting, arrived in a few days.

Due to the rarity of pernambuco and the difficulty in obtaining it, I have started a little experimentation. The first experimental bow made from Tasmanian Dogwood a has been tested and has come up - not quite right. The wood isn't sufficiently dense, its too light and is refusing to be bent into the correct cambre. It works but unfortunately is not an adequate replacement.

I have another half a dozen Tasmanian species to try, but I am not sure when I will have the time to continue the experimentation.

I will keep you posted.

Tasty Tools

This week I have temporarily satiated my appetite for certain objects of desire.

There is nothing quite so satisyfing as a parcel of brand new tools, and this lot of bow making tools have arrived ... sweet! Swiss chisels and files, planes from Germany and the block plane from the US of A, as well as a difficult to find hand chuck from Italy and the leather knife from Japan. The knives are Tasmanian, handcrafted by my good self.

The big block plane is a beauty. I think it is my new favourite.

The vintage Japanese lathe was sourced from my friend

the horologist

, next door. Excellent quality for precision bow making.

Theses tools have facilitated a little bit of bow making progress with a bass and a violin frog now well on the way.

Instrument Making Session

Over the years, quite few people have expressed in interest in learning the dark arts of violinmakng so I have started a casual evening session, Tuesday's 7-9am to guide people in the process of making an instrument. The first one kicked off last night. If you are interested in coming along, give me a call. Booking is essential as space in the workshop is tight.