Gareth Hughes

[quote name='Lozz196' post='1212326' date='Apr 27 2011, 09:16 AM']It`s amazing how pampered we bassists are, in comparison to our guitar-playing chums [/quote] Well, as we say in these parts - F**k 'em!!!

Hey Michael - Good to see you here. Get the soundtrack to the show - the Broadway version, not the movie - and give it a good listen. Like skej21 said - don't bother with learning it yet - chances are quite a bit of what you end up playing will not be what's on the recording. For instance, sometimes the recorded tunes are in a different key than what's in the pad. Not fun transposing whilst trying to remember what cuts have been made for that tune. And all the others. So just work on your reading till then.

Good suggestion Bassace - I should have thought of that too. I used to rent a bass out to a bluegrass festival and it always came back like that!!!

If I were you I'd get the set-up done by a reputable luthier. It's worth the expense - plus, if you're soundpost falls down inside while the strings are off that will be a nightmare to get sorted. Sadly double basses aren't like electric basses in that they aren't as user friendly. To adjust the action on an electric bass I wouldn't think twice about taking allen keys to the bridge and even tweaking the truss rod - as (within reason) everything can be put back to the way it was. Not so with an upright bass - once you've sanded down the bridge that's your new bridge height. So anytime you're buying a new double bass it's good practice to keep in mind the cost of a set-up from a luthier - it's like a hidden extra but a very vital one.

Time for that nip and tuck I've been putting off for a while

Just to clarify - I've never tried a Barefaced cab and wasn't speaking ill of them, more that I'm referencing it as an electric bass designated cab because that's what they seem to be aimed at. I hope no-one took it that I meant Barefaced cabs weren't good for double bass - they could well be bloody amazing and I'm missing out. No offense meant Alex

Yes, in a nutshell. But, you might find that the Barefaced cab (or any cab that's great for slab) might not work so well for the upright. Obviously your needs and live scenarios will vary from mine and others. In my experience I've found that cabs that work exceptionally well for electric bass tend to be too muddy for double bass. The reduced low end of my Shuttle 3.0/10T combo works wonderfully for double bass at gig volume but not so well with the electric. The wide open low end of my Epifani cabs is everything I need for my 5 string live, but it's utter indistinct mush with the electric. *oops - obviously meant upright, not electric* So, before you sell on your Acoustic Image combo (and I know you're thinking of it) I'd see if you can try the Aggie head into the cab and the AI head into the Barefaced before making your mind up.

Jeez, you didn't have to go and push Mrs C just for our benefit. But never let it be said that Clarky is one to let the side down. Seriously though - I hope there's no lasting damage, I'm sure that kind of injury can't be much fun. Here's to a speedy recovery - and lots of pampering from Mr C.

[quote name='JAUQO III-X' post='1203086' date='Apr 17 2011, 11:49 PM']I have been using and endorsing Ashdown amps and cabs for well over a decade. I have yet to run into a problem with any of their amps or cabs. But once I did have to replace a light for the vu meter. I own a LG1000 and it has never shut down on me nor has it given me any type of problem. I play pretty much every genre of music there is and the Ashdowm amps are not at all a one trick pony. Guys before you dismiss the new Mibass it really wouldn't hurt to give one a spin if you get the chance.[/quote] Good to see you here Jauqo. Welcome.

Hey Laurence - Apologies for taking so long to reply, I forgot to check this thread. I can only make a comparison of the AptFlex against the Realist based on the Realist that I had on my Eminence bass. I did try the Realist on a carved bass I had but they didn't work well together - a very muddy sound. I prefer the AptFlex on my Eminence versus the Realist. I found that the AptFlex has a much clearer and even sound, especially in the lower mids/mids. With the Realist I was forever taking out low mids in a vain effort to brighten the sound. With the AptFlex I generally run everything flat now, with maybe a little bass boost around 80-120Hz. The AptFlex is by far my favourite pickup for a full size bass. To be fair I'm now using a hybrid bass, which has helped immensely in reducing feedback, so the Realist might have faired better on this bass. I'm playing through a Genz Benz Shuttle 3.0/10T combo - and I do believe that this amp is as much responsible for how good everything is working for me now. That combo is surprisingly loud - and it can be heard very clearly, which I'm putting down to the reduced lowend that comes from having a smaller cabinet. On a jazz gig last week, where I was playing alongside a notoriously loud drummer, I brought along a 1x12 extension cabinet to help out. I had the master volume at about 3-4 and was thinking all through the gig 'yep, this is sounding good and doing everything it should, no need to tweak anything'. At the end of the gig when I went to pack everything up I found out that I hadn't even plugged in the extension cab. I was mightily impressed at that combo's ability to fill a room. Back to the AptFlex: On my Eminence bass I find I have to use a preamp booster to raise the volume - something I don't have to do on the regular bass. I'm guessing that's down to the Eminence having a smaller body and not actually making that big of a sound to begin with. One thing I discovered by accident is that the input impedance plays a big role in getting the best results. I know that's old hat, but I'd taken too many things as gospel without testing them for too many years. For instance - I'd always thought that the higher the input impedance the better - so for years I'd been using my Fishman Dual Parametric DI, with it's 10 MegOhm input - thinking that was the best thing to do. But I'd always struggled containing the lowend I got - eventually trying to use the Fishman EQ as a hi-pass filter. Something made me check out the impedance of the Boss TU-2 tuner I use - found out it's 1 MegOhm - as are all Boss pedals. I tried this on the APTflex and it cleaned up the lowend immensely without thinning out the sound. I'd also been using a Barge Concepts GLZ buffer/boost pedal as an impedance matcher - but found the same thing, it was letting through too much lowend.

I heartily recommend Chuck Rainey's Electric Bass Method Volume 1. I learnt to read with this book - lots of great repetitive examples. A great, no nonsense, very logical and non-confusing introduction to reading.

Whilst I am more than guilty of being a gear slut, I finally came to the conclusion that, for me, it was a hinderance having too many options. I never really got to know one instrument inside and out, or one style of instrument - as in just a J bass or a P bass. At one point I was going back and forth between 34, 35 and 36 inch scales on 4, 5 and 6 string basses. Didn't help at all - I never felt comfortable with any of them. After much internal dialogue I changed things up and now everything is 34 inch and I feel it really helps normalize everything. One thing that helped clear things up for me was realising that most of the great guys and gals we all know and love are associated with just one bass. Marcus and his 70's Jazz, Wooten and his Fodera, Anthony Jackson and his Fodera - he literally has played the same bass for the 15 or so years. The ultimate is Herbie Flowers who has only ever owned one bass. I now have one main bass and a few other mess around things. The main one is the only one that leaves the house, and the one I practice the most one. And it's worked too in making me focus on what I'm practicing instead of 'maybe the fretless would work better here, or maybe the 6, or maybe I need a new preamp' etc. Not saying I'm a better player, just less of an indecisive one.

FWIW - I remember reading something (don't ask me where) a while back about speakon connectors on Markbass heads being a little prone to bad connections. As the owner of an LMK and previously an F500 I totally agree. Seeing as the sockets can accept jack or speakon I just use jacks, but it's still frustrating.

Mods - can we ban Clarky until he gets back from his holiday? I'm already depressed listening to the rain outside

TIM!!!!!! oh, and 78 users. That's all I have to add to this.

Liking that a lot Laurence - nice playing from everyone. Digging the tone of your bass too - is that direct from the pickup? Couldn't see any mic's on your bass or amp.

I've had Ashdown heads and cabs, and Epifani heads and cabs. Still have the Epifani cabs. In my experience I could never get the clarity I wanted from the Ashdown - probably why they sound so 'warm', IMO. My current set up is a Markbass LMK head into Epifani cabs - for me it's a perfect balance of clarity and warmth.

[quote name='Clarky' post='1195319' date='Apr 11 2011, 04:46 AM']and in between times am off on hols for a week to the Alps (which is why I am up so early) [/quote] See - and there was us all feeling sympathetic for you and now you're off to the Alps?!?!?!?!?!?!?? Anyone know if Rattlin Bone's drummer can bring a two kick drums to the next gig?

[quote name='LawrenceH' post='1194813' date='Apr 10 2011, 05:40 PM']If the stage space and material does also, and you're exciting exactly those frequencies with your combo coupled directly to it, then you will always struggle.[/quote] That's a very important point indeed LawrenceH. More often than not I've found that the culprit in generating feedback isn't the bass or amp itself, but frequencies from other sources. I do a regular restaurant gig with a pianist. I've stood laughing during intros where I'm not playing and watched the input meter on my GenzBenz head light up with every vocal line. Once that's happening, you're fighting a losing battle. In that particular scenario, after I exhausted the 'can you turn your vocal down?' option, I had to move the vocal monitor completely away from me as a last resource. Worked a treat. Given the large number of guys onstage with you Clarky, it might be an idea to have a diplomatic talk with the guys that are in the same sonic space as you. Do the keyboards/guitars/whatever need THAT much low-end? If they don't it could lead to a better, workable volume level overall. And then once again the band will sound amazing because of the bass player and NO-ONE will know why

Definitely give the foam ball trick a go. On my fully carved bass I used to wedge a mini foam rugby ball between the tailpiece and the front plate to mimic my hand putting pressure on the top plate. That helped a lot to reduce feedback - possible because I was also dampening the tailpiece too. In case it hasn't been mentioned already - try deadening the afterlengths of the strings between the tailpiece and bridge. I'm using thick studio foam to kill any movement. In-ear monitors are also a good option - used in conjunction with your amp. I use my amp to give me the body/low-end of the sound and the in-ears to provide definition. One good tip I got from an experienced soundguy was to get cheap in-ear headphones because they'll let in a certain amount of stage noise/room ambience. That way you're not shut off from the rest of the band/audience and you don't have to worry about setting up a channel/mic to hear every one else. I use a hardwired pack from Fischer and had Thomann headphones before changing to Sennheiser IE8's.

Result!!!!! As a noob I must have gone about 4 years playing with the most hideous, demoralising action before I went to a luthier. I always put it out because I thought it would be insanely expensive. Thankfully it wasn't, but even if it had been it would have been worth it to have an instrument that was a joy to play and not a struggle.

Thanks. It is a lovely thing indeed to have an appreciative audience - tho it makes it all the harder to play the gigs where you're little more than a glorified jukebox. My biggest joy working with Kieran is playing beside a guitarist with a great sense of rhythm - that's a rarity!!

Here's one from 2008, though the DVD was just released last week. Playing my much missed, but sadly feedback inducing, carved bass I bought from Ken Smith. I can't blame it for my dodgy intonation tho Artist is Kieran Goss, with special guest Brendan Murphy