bassace

Steve I have used Simon Dubber Violins at Witney, 01993 772587. As the name implies he is really a violin guy but does some work on basses. He has done some soundpost adjustment for me and also replaced an end pin. He has a methodical approach to things, works from home and is definitely worth a try. Also Waters Violins in Wallingford but the only time I've had any dealings with him he came over a bit fierce. My Martin bass is looked after by Thomas Martin who is a few miles north of Banbury but he is so busy making the things that I doubt whether he would take on any set up/repairs to non-Martins. Hope this helps

[quote name='Steve Amadeo' post='763252' date='Mar 3 2010, 07:16 PM']I agree, no real need if travelling by car or van and can easily transport your own instrument. But the folding bass was, I think designed for musicians for whom space is tight or for those who fly a lot. The bass player I met in Germany had just started flying to a lot of gigs in the US and across to Europe so it saved him a lot of hassle by being able to check in the bass as luggage without too much of a problem. It also makes the difference between playing a rented bass or your own on tour.[/quote] Yes, fair comment.

[quote name='Happy Jack' post='762911' date='Mar 3 2010, 01:22 PM']The number of times at the end of a rehearsal when I've switched off the amp, unslung my bass and put it back in its case ... and someone says, "C'mon, we've got time to re-visit that middle eight before we break". I'd love to see the look on the bass player's face when he's just collapsed that folding double down ...[/quote] Ha ha! too true. I see from my accounts for tax year 2009/10 that I'll have done in excess of 13,000 miles. Never felt the need for a bendy bass. An unneccesary distraction IMO.

Firstly, congratulations on a very astute buy. Secondly, putting a mic in the f-hole is not regarded as good practice. However, the mic may be quite 'toppy' and could possibly benefit from the amount of woof that comes out of the f-hole. When you've got the system fully up and running you may care to move the mic around to see if you can find a better sweet spot. Keep us in touch?

[quote name='BassBod' post='721020' date='Jan 22 2010, 11:55 AM']I think I'm working, but may pop into town if I can. That's a long way way to go - hope Friday pays better than the Monday deps I do sometimes! I keep meaning to ask you about the Henriksen combo - any good?[/quote] No, I don't think it does! Henricksen is very good. It has a very comprehensive eq section. Mine is the older version that has the cooling fan but I don't find any disadvantage in that. The speaker handles a lot of oomph. I don't use it much these days and may consider selling it, but not until the next tax year.

Just seen this post. I'm playing at the Old Duke tonight (22nd). Happy to have a chat with any BCer re Double Bass thingies.

[quote name='jakesbass' post='720683' date='Jan 21 2010, 11:40 PM']Really really really persevere with old records. Get any Oscar Peterson with Ray Brown, any Miles Davis with Paul Chambers, you must steep your ears in it. Get books once you've got a bit of it. It is so much about the lines and how they sound and feel. and that needs to be heard every bit as much as read.... Listen listen and listen again.[/quote] I'd agree with all of that. Just to put in a bit of 'added value' could I just share my early experiences. In the early sixties we got hold hold of the new My Fair Lady LP by drummer Shelley Manne with Andre Previn taking piano lead. It's not exactly cutting edge jazz but has Leroy Vinegar on bass. You just won't find a better walking bass anywhere. It's on Spotify; listen to it - I did and I never had difficulty walking after hearing the LP.

You're lucky it happened at home. It happened to me on a gig when I was using one of those aluminium three point bridges. So the bridge and its three separate feet were launched into the audience. Luckily I managed to retrieve them all. I also had a tailpiece wire let go while I was tuning up just before a gig. It's disheartening to be winding your tuner [i]up[/i] and the note goes [i]down[/i]. So I reckon that this sort of failure is not as uncommon as might be supposed. Any other experiences?

Some good guitar and bass here. Enjoy! > [url="http://jazzonthetube.com/videos/joe-pass/happy-birthday-joe-pass.html"]http://jazzonthetube.com/videos/joe-pass/h...y-joe-pass.html[/url]

Doin' the Crazy Walk by the Chris Barber Jazz Band. From the Echoes of Harlem LP. Mickey Ashman was the DB player and his 2/4 work is spare, economical and effective. Then he lifts the whole thing by breaking into 4/4 for the front line solos. You guys will probably dismiss this as 'Trad' but if you can find it just listen and see how it hooked me and showed how a bass line should be put together. It started me on a long journey of bass fulfillment.

Good post. Mostly I just get on with the bass line (all my gigs are jazz ones). Occasionally the guitarist will put me straight on a root and sometimes the leader will tell me I'm a bit loud - but that's genarally because I'm playing through my backline and he stands in front of me. I wish that sometimes I could get some constructive criticism on a gig.

[quote name='teej' post='699439' date='Jan 3 2010, 01:07 PM']That's hilarious - you mean he actually took a saw to his bass just to take advantage of a free case? Brilliant story, thanks.[/quote] Well, we bassaces are good at thinking outside the box, or in this case, inside the box. HNY Teej.

Funny the old saw thing. Some time ago I was clearing out my garage and found an old BG hard case. My young brother had just bought a BG after many years not having played and so I gave it to him. Later when I asked if it was OK he told me that after he had sawn an inch off the headstock the BG fitted perfectly. Thing is, he is such a perfectionist that when I saw his handiwork I couldn't tell that he had shortened it.

They did some good stuff - not all traditional and beautifully sung. One carol thay did and one that's been sung a lot this Christmas is the Sussex Carol. I took it for granted having sung it in my (much) younger days at Chichester. I didn't realise that it has been newly discovered, relatively speaking. It's got quite a good folky feel to it.

1) How long have you been playing Bass Guitar/String Bass for or both? Double Bass 47 years, Bass Guitar 1964-80 2) If you don’t play string bass/bass guitar have you thought of doubling up on either to get more recognition as a bass player? No 3) Who are your favourite exponents of both string bass/bass guitar? Double Bass, Ray Brown, Paul Chambers, Leroy Vinegar, Scott LaFaro 4) Do you think that both the bass guitar and string bass are important as bass instruments? They are essential in jazz/pop/rock. The influence of the bass guitar is now declining in jazz where the double bass has regained its supremacy. 5) What genres do you think are important for bass players to listen to? Every bit of music with a bass line in it. No exceptions. 6) Do you think electric guitarists can learn to play bass guitar more than string bass? Your grammar is a bit wobbly but they can IMO find it easier to convert to bass guitar, which I think was the point of your question. 7) Do you think bass can be used to solo as well as accompany other instruments? Yes, but sparingly! 8) Do you think it is important to learn to sight read? Not necessary but you'll be a more complete, busy player if you do. 9) What do you think of bass guitars such as 5 string/6 string e.g. as being an add-on to the bass players role? Whatever rocks your boat. 10) What are your opinions on electric upright basses as a substitute for the string bass? They have their place but are not a substitute 11) What is the best amp to use for bass guitar or string bass? String bass: I like Acoustic Image/EA speaker separates. The Gallien-Krueger is a very effective and versatile combo. 12) What pickups for string bass are the best for capturing the natural tone of the instrument? Are there any? Seriously, a pickup does a good job of getting the sound of the bass through the mix and out there. Natural it ain't. Best 'natural' sound is to use a good microphone through front of house.

A double bass can be an accident waiting to happen, but I take as much care as I can over my basses and amps. Back in the bag as soon as the gig is over. But I'm not paranoid and if someone catches his foot on it at a gig I take it in my stride. Equally important to make sure it's all in good working order - and that goes for the leads, outboards etc. I suspect that if you did a poll the majority of BCers would concur?

As a freelance I don't really have the luxury of liking or not liking someone. I just get my head down and play the stuff. However..........there is just one one guy who I will not accept gigs with. He's a bit of an arse but his real sin is that he is so unprofessional on the gig. He insists on demonstrating his not inconsiderable talent between numbers and his solos are so bizarre that they detract from rather than add to the tune being played. No names of course. (he's a piano player)

[quote name='bilbo230763' post='676488' date='Dec 7 2009, 09:59 AM']More plaudits!! I have just had my first DB lesson with Jake also. Marked by his patience, understanding and attention to detail, he has given me the chance to lay some ghosts to rest and to move over to an instrument I have longed to play for decades. I have just pm'd him to say that I feel like I have been reborn, playing wise, and have been given a whole new entusiasm for practising, a new focus and sense of purpose. It would be indiscreet of me to go into too much detail but I can never thank Jake enough for his generosity and encouragement at what is a crucial point in my musical career. Whatever else happens now, Jake will always have played a crucial part in it. The man is an absolute diamond.[/quote] Truly a convergence of two giants.

And it's all back to front - he ain't a left hooker.

Just beware the bossy woman with the clipboard. She'll be in a total panic and won't have a clue! Happened to us a few times.