bassace

I use industrial alcohol on the strings and the body gets a wipe down from whatever hankie is in my pocket.

Very prescient of you guys to foretell NYE 2016 but I get the drift.

Amen to Gary Mac. I'll be 75 in Feb and I just hope my constitution will be up to another year of gigs. I won't be travelling such crazy distances tho. I'll try to knuckle down to some more sustained practice to improve my technique. Oh, and not to buy any more gear - although ten minutes ago I ordered a new preamp at an eye-watering price. But that was still in 2015.

What a sweet man. Considering the contribution he made to jazz - Basie, Sinatra, Armstrong et al, I'm humbled that he was never on my radar. And he must get the 'most precarious riser' award. Thanks Dave.

I don't use them but that's good news, Daf.

1. I was the worst of three trombone players so I had to find another instrument. 2. We had a double bass at school. 3. I liked it. 4. A lot. And now 55 years later.................

The man in the hat.

Jack Bruce, surely. And for those of a certain age, Jet Harris.

Great playing, but it ain't jazz. Not by a country mile.

No experience of the Thomann, or the Boosey for that matter. But the thing about double basses is that you're always wondering about something else. So enjoy your bass you've got. You have had some good bits fitted and it'll do well for you. Enjoy!

But don't underestimate Stanley Clark. Some of jazz work is just sublime, eg Chick Corea for one.

[quote name='RickyV' timestamp='1449500372' post='2924091'] Ok, there have been a few classical offerings so far and here's mine. 'Fantasia on a Theme by Thomas Tallis' by Ralph Vaughan Williams. Hairs on the back of my neck every time. http://www.youtube.com/watch?v=0U6sWqfrnTs [/quote] Yes!

Bill Evans's opening chords to Miles's So What are sublime. Even if you don't like jazz try to get a listen. Genuinely gives me shivers.

There is no cure.

[quote name='Mr Bassman' timestamp='1449001481' post='2920018'] Ya kept that quiet Roger! [/quote] Ah, we were so busy talking amps and speakers yesterday Keith, that we never got round to basses. Sorry bout that.

Yes, by and large they do. I'm very conservative with my string choices; when I started out I said that if I found strings that I was comfortable with I'd stay with it rather than continually swapping about as some do here - no names of course! That oversimplification has its advantages but who knows, there could be some very nice choices out there that could transform my playing/ sound. Anyway, back to the subject. I've been very happy with Mitts. They seem to suit the jazz work I do and the tension has never been a problem. They need a bit of playing in after initially making the bass sound like a banjo. To date, all the basses I've owned have had the Spiro sound except possibly the Martin Concert that Ive just traded in. Acoustically it was quite dead and initially disappointing but once amped with an Underwood it produced a nice mellow, almost old school sound, that brought me many compliments. Just as an aside, when I first visited Martins they were very orchestral and had very few jazz customers, even none at all perhaps. They had a nice bass that I felt could benefit from some Spiros. This seemed new to them so they put some on, took the bass to the ISB convention and got a commendation for tone. They credited me with that!

A lousy pic of a very nice bass, the light's not so good these days. Anyway I went to see George at T&G Martin last week and he had a very nice Martin Solo in the bass room. This is one of their very best basses and he offered to take my 'starter' Martin in PX for the same amount that I paid some seven years ago. So when all was added up it was an offer I couldn't refuse. It was strung with EP mediums and sounded very nice and clear across the strings with a very nice sustain. If it had lights I would have kept them but I had Spiro Mits put on instead. Also George fitted me a Full circle pickup which needed a new bridge, all for the cost of just the pickup. I also had the bridge wing slots taken out to 5mm so I can quickly slot in an Underwood when the FS craps out on a gig. It's happened. Anyway, I took the valuable instrument to a gig on Sunday and it was just superb. Ive never played as low as 5mm before but the fingerboard was nicely set up and none of the strings clacked. The Solo model has a reduction in the width of the upper bout so it's very easy to get into the thumb position. (Remember, thumb for show, nut for dough) So I'm a very happy chappie. [attachment=206375:image1.JPG]

Sorry coming late to the party, Spencer. I've just plugged in to my hifi and it sounds great. Just goes to show, a well played DB - there's nothing to beat it.

Could be a fifties/sixties German Musima. Might be ply, might be carved. Hat peg tuners indicate that it's probably a bit old. Pity it's in Stirling, I'd snap it up at that price. Can't go wrong unless there are some nasties that the photo doesn't show up.

Neil, the Roth and Junius Student bag doesn't look much cop, the handles are lacking where I would need them. But the more expensive one - probably to which you refer - looks very good for the money.

All of the above! Besides a hard case together with a DB is a very heavy combination and all but the youngest/hardiest players could handle it easily without running out of puff/knackering the back. As all of my gigs are now done via my estate car and my load in I'm happy to go for the simplest cover without too much padding, easy to get the bass in and out of and handles in the right place. You'd be surprised that there are some covers out there that don't come close to doing that.

PS If you'd care to PM me your email address I have an old email from LG together with pics of some of his basses attached.